michi answers

anonymous asked:

If muscle mass has only a small impact on fight abilities, what's with the prevalence of weight classes? And why are martial arts and boxing champions generally men?

See, you were trying to sneak around it with that start on muscle mass but this is about the idea that women can fight and or fight as well as a man. We get these questions a lot, and the answer is always the same. However, the question itself always displays the asker’s ignorance on the subject matter and about combat in general. You aren’t the first to go, “but boxing!!!” as if it means something or is a winning point. Usually, “muscles” is a go to standard because that’s what so many have been led to believe makes men superior.

When I get these questions, I can always tell this person who asked has never been to a martial arts competition of any kind. If they had, they would know Women’s Divisions are a standard practice. They would also know that with an exception of major tournaments where there are enough participants to justify it, the girls and the boys spar each other at the ranks below black belt. Sometimes, the boys win. Sometimes, the girls win. The breakdown is by age (adults/kids) and belt rank, not by gender.

I’ll tell you though, none of the boy’s in the black belt division wanted to jump in with the girls. Those girls were vicious. Men’s sparring was much more laid back, and slower. Women’s TKD… yeesh.

Again, in most martial arts tournaments there are no weight classes. The breakdown is by age and rank, with gender as a secondary when there are enough participants to justify multiple divisions. Weight classes are a boxing tradition and other, similar bloodsports which rears it’s head when they have enough participants to justify one. In many Taekwondo tournaments, you can easily end up with a 150 pound black belt sparring one weighing in at 250. And you won’t know what they weigh anyway because there is no “weighing in”.

I’ve explained before why there are weight classes in boxing. The moment you stop and realize that it’s a sport with a purpose to make money, the reasoning behind the weight classes will become fairly clear. (Hint: it’s entertainment and aesthetics.)

That said, the “boxing champions are generally men” crap is, well, crap. They don’t let women box men professionally, or at the collegiate level. It’s hard to make a case for muscle mass when citing professional sports where women are barred from competing. Now, there was a time when there were women boxers who boxed with each other and against men. In the 1800s, it was called bareknuckle boxing. This is the granddaddy version of modern boxing, when it was all back alleys without gloves or handwraps.

That said, women’s boxing is making a comeback at the collegiate level. There’s a National Champion in Women’s Collegiate Boxing walking around somewhere in the US right now. There are multiple female martial arts champions from a variety of disciplines wandering around all over the world. The UFC has opened a division for female fighters. This is like asking why there aren’t female wrestlers (there are) or female quarterbacks (there are). One of the greatest snipers in history is a woman.

You just don’t hear about them or the women who did the hard work pushing back to fight for the categories to be re-added.

That said, comparing the restrictions applied in sports to a person’s “fighting ability” is a mistake. You’re not asking an honest question so much as floundering for a popular misconception. It’s essentially the same as saying, “it’s ridiculous for there to be female fighters in this historical fiction because there were no female warriors”.

1) That assertion is patently false.

2) When one gender is barred from participating by the established rules of a modern sport whose history you don’t understand, you can’t then turn around and ask why most of the champions are men.

History makes a case for a lot of female combatants throughout history, but you’re not going to know they’re there if you don’t go looking for them. Their accomplishments tend to get wiped out.


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anonymous asked:

Any chance i can wheedle/bribe/beg you for a snippet of the time Anakin removed his slave transmitter by himself and obi-wan found him afterwards?

There is some of my Tatooine Slave Language sprinkled in here, which if you follow Fialleril might confuse you because while I take some inspiration from their works, my idea of TSC is different that theirs and we have different languages. (Though, for two people who aren’t in any way linguists we certainly do invent a lot of words for our fiction language lol) As I read a lot of their wonderful things, our versions of tatooine slave culture overlap in certain ways and don’t in others.

Anyway, the words here should be easy enough to figure out their meanings via context clues, but I also have translations at the end of this piece, so if you’re curious, that’s where they’ll be.

Anakin finishes the scanner when he’s eleven. He’s had to remake it from the ground up at least twice, the first time because he misremembered the order of things and it didn’t work and the second because he was careless and fell asleep with it in the open and Master Kenobi found it. He hadn’t known what it was, but Anakin suspected that he knew that he’d lied when he said it was the base for a cleaning droid.

Master Kenobi wasn’t a bad master, all things considered – he was kind, in his own way, and he let Anakin eat on schedule and never hit him. He taught him things, all sorts of amazing things about the universe and the Force. He helped Anakin when he had problems in his course work and only yelled when Anakin did something bad or stupid. He was there when he got all his shots and blood work done, was there when he got really sick and didn’t get angry when Anakin missed classes because he couldn’t stop vomiting.

He supposes this is what it feels like to have diamond chains – he’s prized and it’s so easy to believe them when they tell him he’s free. He’s free, as long as he doesn’t think about or try to contact his mother. He’s free as long as he listens and obeys what they say. He’s free as long as he does everything correct and proves his worth.

He’s free as long as he changes into someone who is happy with his diamond chains.

At night, he lays in the dark and painstakingly recreates the image of his mother in his mind, in the quiet places that he hides from Master Kenobi when they meditate, in the corners where the light and shadows merge into a blinding gray. He pictures the curve of her smile, the wrinkles around her eyes, the dry and brittle texture of her hair, the warmth of her skin, the dip between her eyes, the small shadows under her eyes. He thinks of her voice, the stories she used to teach him their history and language, mouths the words to himself so he doesn’t forget. She had told him, as all parents told their children since the first bombs were implanted in them, that one day they would not be together. It was a rarity that families were kept together; at least it was if you didn’t belong to the Hutts, for private masters didn’t have the means to keep families together. (Or the want.)

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chromsai  asked:

numbers 4 20 6 9

Send me a number!

4.  If you could make a spin-off of any anime, what would it be?

A spin-off, like same general ‘verse but new characters and plot, right? Um… Gawd, all the anime I’ve ever seen just flew right out my head. Akatsuki no Yona maybe? Ooh, or KHR.


Also, if I made it, I can guarantee it’d be a disaster, cuz I don’t plan or think things through lol

20.  What is your favorite adventure anime?

Overall I’d say FMA (cuz MAL says its genre is Adventure), but for just adventuring, it’s actually One Piece that comes to mind (even though I’ve given up on it since the time skip).

6.  List your top 5 anime OSTs

Off the top of my head (cuz I don’t usually pay attention lol):

  • Tsuna Awakens (KHR)
  • Fuuki Iinchou (KHR)
  • A Song of Storm and Fire (TRC)
  • Futari no Kimochi (InuYasha)
  • Sadness and Sorrow (Naruto)

All five are for nostalgia reasons lmao

9.  Name an anime character you absolutely hate

I’d say Zarc cuz what the hell, but you mean actual hate-hate and not god-I-thirst-hate lmao

I’m just gonna go the easy route and say Roger, cuz he’s absolutely repulsive and I can’t think up any animes rn asdfghjkl

anonymous asked:

I love solavellan fan stuff but I get a little tired of people who depict Solas as being some kind of creepy, older man, "wolf" type. It makes me wonder if they actually like Solas or just their idea of him. He's a lot of things but I've never gotten the impression he's a steamy, romance novel, hypersexual hunk who likes to use his dream powers to seduce innocent maidens.

I’m really not sure what this is asking me, to be honest. It feels like you’re just looking for someone to vent to. In which case, I’ll say:

Yes, there’s a lot of Solavellan fanfiction out there that’s more based in the idea of who the author wants Solas to be rather than who the narrative depicts him as. A lot of fanfiction is written by women, often young women working out their own sexual desires/fantasies. So when we get a character like Solas, there’s an impetus to change him into a romantic figure like a romance novel hero that they’re more familiar with.

It’s very strange and nonsensical in context to the material, but what can you do? Other than learning to differentiate between the authors you enjoy and learn to see the tell tale signs in the fanfiction to know where it’s heading, there’s not much you or I can do on that subject.

Most people turn to what they’re familiar with and when one desires to be desired, the player who embraces the pedestal Solas sets Lavellan on and has very little experience actually expressing their own sexual desires then it’s going to come off cheap, sleazy, more than a little corny, and consent need not necessarily apply.

I think it’s important to remember that despite the way its disparaged as a genre, writing romance is hard. (I’m really resisting the urge to make a manhood pun here.) Writing romance, often like experiencing it, can be embarrassing, uncomfortable, screwed up, and the author in question is left with few guiding pointers.

One of the pointers they have is the character you’re describing. That asshole is universal. If you’re writing romance for the first time, he’s an easy first time ride. (There I go again.)

Solas isn’t really a complex character when we get under the hood. (Not gonna stop.) However, imagining a character and imagining how a character goes about engaging in sex are two very different endeavors. Contrary to what it feels like in the game, Solas’ relationship feels pointed but is very general. He’s got orifices everywhere and not just the good kind. (Had to go there.) He’s a bit of Swiss cheese, and if you’re writing him then you’ve got to fill in most of the blanks for yourself. His background, his previous sexual relationships, whether he’d ever consider sex at all given the circumstances or any kind of deep emotional attachment because he’s very back and forth about it.

So, my advice to you is if this:

Don’t waste your time getting mad. Don’t waste your time getting frustrated on people not getting it right. Or do. If you are, I advise trying to write it for yourself if you haven’t already. Find the authors you like and stick to them like glue. Find authors who give recommendations that are up your ally and stick to them like glue. Appreciate them for the time they put into getting canon right if canon matters to you. Appreciate them for writing stories you enjoy.

However, if you were hoping to bond with me in this salting experience then, honey, I gotta tell you you’re too late. Its been two and a half years.

I’m over it.

There are a few offenders in the fandom that I’d still righteously like to sock in the face but that’s personal. You’re not gonna get any passionate heat from me these days.

Do yourself a favor. Don’t chase this particular cobra down this dark and nasty hole, it’s just gonna find a spot where it widens out, whips around, and bites ya. Love yourself. Don’t willingly chase the poison.

Talk to me about what you think Solas is like in a romance. What do you think he’s like? What do you think he’d be good at? How would he relate to his partner? Why do you like his romance?

Until then,

ree-fireparrot  asked:

How realistic or unrealistic are battle couples, provided they have sufficient mental discipline? Is it even realistic to have two people working together to fight the same opponent hand-to-hand, or is focusing on both your opponent and your partner too much? What if one person is a distraction (by fighting the opponent head-on) so the other person can stab them in the back, so to speak? Is that too risky?

You’re asking a lot of questions here and most of them have absolutely nothing to do with having a romantic relationship with your working partner.

Some things first:

1) The relationship between a battle couple and any platonic working partnership are not really any different in most cases except that they share a romantic relationship.

2) You don’t need a functional or professional partnership or partnership at all to fight in a group or gang up on an individual.

3) Fraternization just as often falls into casual sex as it does a romantic relationship, if not more often.

4) Almost none of what you’re asking has to do with romance.

Falling in love on the battlefield happens, it happens a lot. Combat is a high stress environment and people are people. Just because something isn’t a good idea or is unprofessional doesn’t mean it won’t happen, it just means you’ve got an added benefit of complications.

Some people can handle romantic relationships with an SO who also engages in combat, even one who engages in combat with them. Those are the ones who can compartmentalize between being on the battlefield and being off it. However, if they can’t (there is a very good possibility that they can’t) then it becomes a real problem. When they can’t handle the stress or the distraction, if they can’t put the romance aside, then their relationship puts everyone at risk, including their mission.

When you’re fighting, especially with a goal in mind, one person’s life cannot be more important than the mission.

It takes a significant amount of trust for a battle couple to function because their romantic partner cannot afford to jump in and save them when things start going sideways. Both participants need to be the kind of people that when the choice is between their partner or the mission, they choose the mission.

This concept is one that’s very difficult to grasp if you’re setting out to write a romance, because most of the normal steps you’d take to fulfill that romance will leave the battle couple hamstrung and unable to function. You can’t have the guy or girl jumping in to save their guy or girl when it looks like they’re about to die, they have to trust their partner to save themselves.

That is hard.

This is a very difficult state to handle emotionally. Imagine, you are at risk of losing your loved one at all times and you can’t do a damn thing about it. You can’t obsess or brood over it, because you can’t afford that kind of distraction. Whether they’re right in front of you or on a battlefield somewhere else, you can’t think about it. You’ve got to focus on keeping yourself alive, because that keeps everyone else alive, and by doing what you can you help to ensure the survival of both your loved one and your team. You’ve got to do your job, even when you’re about to lose everything you ever gave a damn about and its within your power to stop it.

A true battle couple is one who exists in complete equality, trust, and partnership with their significant other on the battlefield. They keep a cool head and a cool heart while in the midst of gut wrenching emotional turmoil. They don’t baby, they don’t hover, they don’t keep a careful eye on, and they don’t obsess until the fighting’s over. They don’t sacrifice their own life or their own body to keep their lover from getting injured. They don’t break position.

If they do any of the above, they will both die and so will anyone who is relying on them. If you are writing characters where the relationship is more important than the mission, more important than the team, more important than surviving the fight in front them then you have, narratively speaking, a serious problem.

This is not a bad one to have in a story or an unrealistic one in life, romantic relationships on the battlefield are built around this concept, but it does need to be addressed. If its not, tragedy strikes.

If you’re writing a battle couple, you need two characters who when faced with the choice between saving their loved one and stopping the bomb from blowing up downtown Manhattan, they pick the bomb.

And, in fiction, that’s not normally what love is.

It also has to be both of them, they both need this very specific outlook to function while in combat together. If one has it, but the other doesn’t then tragedy strikes. If neither have it, tragedy strikes. They need to be on the same page.

The reason why the military and other combat groups prohibit fraternization is because romantic relationships inevitably fuck everything up. If they can handle it, great. However, the all to likely outcome, for either one or both parties involved, is they can’t.

They’ll do it anyway though, because people are people.

When you engage in violence, that violence and training separates you from the general population. You’ve been through experiences that most people cannot comprehend or relate to and that makes maintaining relationships difficult. There’s a lot to be said for being in a relationship with someone of similar background, who can empathize with your experiences, who has been through what you’ve been through. You don’t need to look much further than the rate of divorce among the FBI or CIA to understand just how difficult maintaining a relationship in an incredibly stressful environment is.

As humans, we crave having a partner we can relate to. With whom we can share our secrets. Who won’t judge us for the terrible things we’ve done. When you have to rely on each other for survival, attraction, desire, even love becomes easy. It’s often a false sense of connection built on desperation, one which if born inside the environment won’t function outside of it, but that doesn’t mean it feels any less real.

When you might die tomorrow, sometimes you just want to feel something, anything at all, and that’s where the causal sex comes in.

Casual Sex:

In mixed gender units, casual sex is really common. Not romantic relationships, mind. It’s just sex, and it doesn’t go any further than that. It’s desperation, it is all about sensation, and a reminder for the participants that they are alive.

When dealing with these types of relationships in your fiction, its important to remember that the emotional component is neither needed nor wanted. They’re not looking for comfort. They’re looking for sensation, to feel something before they (potentially) die.

Because the author controls everything in their fictional world, it can often become difficult to remember and insert qualities like the random chance of dealing with the unknown. We’ve often got characters that are necessary to the plot, who become identified as “safe”, and behave differently because they know they’re going to live through the fight or battle to get to the end of the story.

It becomes important to learn to live in the moment. To live in the twilight hour on the night before a battle, to be unsure, when the character doesn’t know what will happen next. If you don’t then there is a whole array of human emotions, experiences, and terrible choices that you’ll never touch on in your fiction.

If you don’t, you’ll be all the poorer for it.

The Two on One Battle: Real.

You don’t need to be in a relationship, or even particularly well-trained, to accomplish this. Two versus one happens a lot and the pair off usually wins because eight limbs trumps four. One person locks up the individual, the other circles and attacks on vectors they can’t defend from. We’re social animals. Our natural instincts will help us more when we’re fighting in a group as opposed to fighting alone.

1 v Group is a bad situation to be in if you’re the one, and it doesn’t matter how well trained you are. Numbers will kill you.

Part of the reason why you see single characters fighting groups in movies and other fiction is to establish that they’re great fighters. The problem is that this has become so widespread that we now think fighting a group is easier than fighting a single, skilled individual. This is untrue. The group will kill you because the individuals within the group can move onto vectors that cannot be defended.

What your describing in your question in a battle between three people in a two on one is normal behavior, its standard tactics. However, you’re also demonstrating the exact kind of behavior for why two people engaged in a romantic relationship should not be on the battlefield together.

If you’re ever sitting there and wondering if something that is a basic and bog standard tactic is now, suddenly, too dangerous because your characters are dating then that is the exact problem.

Things that are normal suddenly become too risky, and the focus transitions to preserving their lover’s life rather than making use of their significant advantage over their enemy.

That is the exact kind of thinking which will cost them their lives, and for no benefit at all.

Good job.


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anonymous asked:

what are your headcanons for how anakin might be a bit not-quite-human due to being an actual force baby? if you have any

I have so many and…I honestly kinda trickle them into my writings all over the place. In little things and details that aren’t for anyone else but me to grin at. 

But they all have these things in common, so I’ll yammer on about those:

  • He can see and hear in more places of existence than he should be able to 
  • He can see time concurrently if he concentrates - it’s why he’s such a good strategist - but it also means he can see the past and the future in equal measures. This makes meditation a fucking nightmare
  • In every version of Anakin Skywalker, he experiences some form of body dysphoria because there’s a sizable part of him that isn’t used to having a single form, unchanging. 
  • If his mother had been anyone else, he might have had a less human shell and wouldn’t have been able to become Darth Vader at all - how do you put someone into a iron lung, after all, if they don’t have a single form?
  • His love is the thing that keeps his form stable - even as Darth Vader, he was still heart-endingly in love with Padmé and he still loved Obi-Wan as much as he hated the man and he loved Ahsoka still even if he never wanted her anywhere near him ever again. He loved Sheev Palpatine still and hated himself for the dependence. 
  • The Dark and the Light whisper and coo at him at all times and both of them are more than capable of doing him serious harm if he isn’t paying attention
  • The first time he saw Padmé Amidala he saw everything she was, could ever be, ever would be, and everything she could not be. It was so bright and so much and he could remember, in the deep places of himself that cry out in agony at all times, that they were connected somehow. He asked her if she was an angel because what else could she be?
  • He can feel planets pretty much at all times, like white noise. Sometimes they sing or hum, but mostly it’s just the sense of the gravity, of the environmental stress, of the draining of resources, of the life happening on it. If he reaches too much with the Force, he can loose himself in them. 
  • His emotions make his control better, make him stronger - regardless of what those emotions are.
  • He can reach across star systems and feel Padmé with only a little bit of strain as long as they’re both in the same core of the republic - like, if they’re both in the core, or the mid-rim, or the outer rim. This is terrifying because each core has quite a LOT of star systems and even Yoda can only feel things happening in the star system he is currently in.
  • He should be sterile from the amount of radiation that flows through his blood naturally, but isn’t. He should be toxic to be around, his blood acid, but neither of those things is true in practice
  • If you look at him in the Force, somehow manage to make your eyes see a plane that isn’t supposed to be seen just felt, Anakin has wings and scales and fins and eyes everywhere. He shines and vibrates and drips blood and stardust. He has claws and fingers and teeth and fangs and a gaping mouth with multiple tongues. He is terrible and beautiful. 
  • Being half force did not save him from anyone, if anything it made things worse

nugromancer  asked:

Any way to get your breath back after getting winded? And I mean like, getting hit hard enough in the back or stomach that the wind gets knocked out of you and you can't breathe for almost a minute. I had it happen to me as a kid and nearly fainted, and I can't be sure whether or not me smacking my own back actually helped or not.

So, what happens when the wind gets knocked out of you is that all the air in your lungs is forcibly ejected from your body. (Literally, the wind gets knocked out of you.) The only way to recover from that is to get the wind back into your body, and that is all posture.

When we’re winded, our first instinct is often to lean over. You’re breathing heavily, your back gets tired, and you just hang there. (Basically what happens when you get punched in the gut, except the gut punch is the more severe version.) This is one of those bad instincts because it keeps you from getting that air.

You’ve got to get yourself upright and breathing, get the oxygen back into your lungs. The oxygen goes from your lungs to your blood to your tired muscles including your new injuries in the abdominal muscles and that’s what helps you recover.

You’ve got to straighten, open your chest, and force yourself to take long, deep, controlled breaths with your diaphragm. Your body won’t want to do that. It’s gonna hurt. Your body is going to want to stay bowled over. However, when you’re hanging there your ability to breathe is negligible. You won’t get enough air into your lungs for it to matter. Unless you’re doing a sport or practicing martial arts they’re not going to tell you how important breathing is.

One of the first things they will teach you in any martial art is how to breathe. Most people breathe using either their lungs or their stomach, you don’t do either. You breathe with your diaphragm. The faster you get air back into your body then the faster you recover. (This works in the short term too, the more oxygen you get into your lungs then the faster that gets to your muscles which helps them recover. If you cannot breathe then you cannot fight for long periods, or perform any sport. That hissing sound you often hear in martial arts movies that lots of people make fun of? That’s them breathing. The kihap is also breathing. They’ve trained their bodies to exhale on the strike, which negates the chance of having the wind knocked out of you when you’re hit in the stomach.) The more we work out and practice at this then the stronger our lungs get and the better we become at breathing.

Breathing is a learned skill.

The best part about rigorous physical exercise is that you’re used to being out of breath so you learn to work through it, recover faster, and get back in the game. Practice is how you get your breath back.

Basically, you had to straighten in order to smack your back which is what let you recover your breath.


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anonymous asked:

Sith Obiwan and empress Padme finding their run away Jedi lover Anakin after a couple years.

You know I started this with the idea of having a short thing and then THIS HAPPENED. Some mild warnings: the last scene in this fic is not how consent works at all. Do not do the thing in real life, this is fiction. Also, this is not an accurate portrayal of intersex people in any way, shape, or form.

Out of all the things Obi-Wan expected to find, he can honestly say he didn’t expect this. When he realized that Padme was in danger, he had expected anything from someone pulling a blaster on her to another flunky of Sidious’ – not a little boy with tears in his eyes and a determined face as he held a blaster to the Empress’ head. The boy had a steady hand and his blond hair was familiar in a way that made Obi-Wan ache, but more pressing was the fact that he was clearly strong in the Force – strong enough to keep every handmaiden and guard in the room pressed against the wall while also keeping his attention on Padme.

Padme herself is still seated on her throne. (‘It’s not a throne; don’t be ridiculous, Obi-Wan! I just refuse to sit in a hard chair for hours while I unfuck the Galaxy!’) He could easily disarm the boy before he manages to get a shot off but those blue eyes mixed with that head of hair is making him want to be gentle. He switches his lightsaber off and tosses it in the boy’s direction. The lightsaber skids across the floor and then changes course to jet out of the window, creating a small hole in its wake. Obi-Wan sighs and tries not to hear Anakin’s sarcastic voice –

Oh no, did you lose your lightsaber? Guess your life isn’t that important to you!

Anakin, really?

And fails, as he usually does.

“As I said a few moments ago, you have my attention, child.” Padme says, voice regal and steady, and the boy’s eyes dart to her momentarily before going back to Obi-Wan. Someone has clearly taught him to always keep his eyes on the enemy, that’s good, but he’s young enough that he hasn’t learned that just because someone isn’t as strong in the Force as he is doesn’t mean they’re harmless.

“I need help.” The boy says and he sounds so young, so small. Padme’s jaw clenches and an old grief wraps around her momentarily. Interestingly, the boy jerks as if to go to her side, to soothe her pain, before he remembers himself and levels the blaster back on her. He swallows and sniffs, the very image of a determined child doing something even when they’re frightened. “Jabba the Hutt has taken my father and sister hostage and I managed to find out that my sister was smuggled into the Empire recently. I can feel her in this building. I know she’s here and I will take her with me when I leave. I don’t want to hurt you; I just needed the building to go into lockdown.” He continues.

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anonymous asked:

Hikaru's and Michiko's friends mistaking them doing romantic cliches. Bumping into each other (doing it on purpose), sending cute letters to each other (boasting about their grades), pulling them to whisper something before going away with a smirk (whispering death threats), holding hands quickly when they were partnered for dancing in physical education (death grip), and other mistaken for romance shiz. "Hikaru-san just pulled Michiko-san away! Are they-" Somewhere, "Guess what my score is?"


anonymous asked:

So I just played the Witcher 3 game, and I was marveling at the fighting style Geralt uses. Obviously there are so many differences between that game and realistic swordplay, but the main one I wanted to know about was where you'd store your sword when you're not fighting. I know you've said storing a sword on your back isn't very practical, but what I'm wondering is where you'd store a long sword or a hand-and-a-half sword. Would it still be at the hip? Thanks in advance for the reply!

I love the Witcher 3′s combat system, so you get no arguments from me.

The sword is called a sidearm, you may have heard that term before in reference to handguns. It’s the same, the modern handgun has replaced the sword as a weapon but serves a similar purpose both functionally in combat and culturally. You wear it buckled on your hip.

For a weapon to function, it needs to be in a place that’s easily reached and at the ready. Whether it’s a sword buckled on our back or the staff we left in our room or the pepper spray buried at the bottom of our purse. A weapon doesn’t do us a lot of good if we don’t have access to it.

When you’re trying to come up with ways your character might store or what places on their body they carry their weapons, here’s some simple rules.

1) Accessible

2) Easily drawn

3) Nowhere that hinders

4) Sensible i.e. not annoying

The action of drawing your weapon, whether it is a knife, a gun, or a sword should be one smooth motion that transitions quickly into a defensive stance. If you’re about to be attacked or in process of being attacked then time is a luxury you don’t have.

On to the Witcher:

The Sword’s Path has a great breakdown on The Witcher 3 combat vs HEMA (Historical Martial Arts) fencing. I would give it a look. He talks a lot about the fundamentals of sword combat and how you could use techniques similar to what we see in the Witcher 3 but would actually work. He also does a great job of explaining the fundamentals and logic behind it. He’s got a nice video for beginners interested in HEMA with a great breakdown of the longsword and lots of resources.

I’d also checkout sieniawskifencing, a channel run by Sztuka Krzyżowa dedicated to the Polish fencing discipline called Cross-Cutting, Sabre Cross-Cutting, or Polish Sabre Cross-Cutting. Compare with Scholagladiatoria dueling with what will be probably be the more familiar 19th century British military sabre.

The Witcher 3 is a video game made by Polish developers. The games are loosely based on The Witcher series. The books are written by a Polish author, Andre Sapkowski and are basically the Polish Lord of the Rings or Harry Potter. If you ever want to hear Sapkowski get testy about the video games, you can find it. (Read his books, you’ll understand.)

Both draw heavily on Polish history, Polish culture, Polish fairy tales/mythology, and the Polish approach to medieval/renaissance/longsword combat in their design rather than what we see from Western Europe like France, Germany, England, etc. They’re Polish. Sword combat in Western and Eastern Europe is not unified, it varies culture to culture, sometimes a lot within the same culture, and the limitation in HEMA is that its a historical reconstruction based on the sources available. The only documentation we have is from the people who bothered to write it down, and were lucky enough to have their writings survive. So, pointing to a historical text and saying “that’s how this German swordmaster did it” doesn’t help us that much when it comes to looking at Poland.

Geralt’s fighting style is obviously over the top and built on flourishes, but I remember seeing that The Witcher 3′s combat was based off a fencing style or there were fencers who consulted. I unfortunately can’t source it. However, if you look at Polish Sabre Cross-Cutting you may see some move sets that are similar even though they’re performed with a sabre instead of a longsword.

The combat in The Witcher 3 is not quite as far out of reach as you might think. It just needs a little tweaking and less spinning.


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anonymous asked:

Mama bear Steve teaching the kids how to drive, or maybe just Dustin as Nancy would teach Mike and Johnathon would teach Will.



Nancy: Steve, Jonathan and I can teach our little brothers how to drive!


Jonathan: yes, you’ve said, but really - 

Steve: I thought I was going to die from a car accident! After fighting hell dog things and other nonsense, I thought what was going to kill me was a NORMAL CAR ACCIDENT! IT’S NOT HAPPENING!!

Nancy: Oh my god, Steve, it wasn’t that bad!

Steve: I. Am. Teaching.Them. 

Jonathan: Fine, jesus….whatever.

Nancy: yeah, it’s whatever. 

Steve: Kiss me for luck, Will is up first and I think we might die. 

Nancy: I’m not kissing you. 

Steve: I wasn’t talking to you; I’ll kiss you when Mike gets behind the wheel. 

Jonathan: Uh….Wait, what?

anonymous asked:

Aya letting her jealousy and insecurities get the best of her and asks Hikaru's friends about Hikau's supposed 'girlfriend'. They tell her that they met under a cherry blossom tree, under Hikaru's umbrella and Hikaru giving Michiko her red string back. That they have secret and private meetings, they're always partners in practically anything. That they both went to a sex shop together. That Michiko was the top of her high school, a fellow scholarship student, and neck to neck with Hikaru.

As someone who’s constantly comparing herself to others, I can really relate.

anonymous asked:

Does Michi sit on Gyu's lap while they answer anons?

Michi: Yeah, we like going through the asks together and seeing which one we’ll answer first.

Gyu: I’m always surprised at how many asks this blog gets. There’s currently over one hundred unanswered asks and we still get some everyday… We don’t mind though because it’s nice seeing everyone’s questions and comments.

Michi: Although a majority of them are people fangirling about Shiren–

Gyu: Shut up. Don’t tell them that.

anonymous asked:

I've often heard that knife fights are mutual suicide, simply because it's so hard to avoid getting hurt while disabling an opponent. Is that true? If so, could you give any tips on writing a realistic knife fight between two relatively equally skilled characters?

We did a post called “Knife Fighting Do’s and Don’t’s” which you might find helpful, it’s also full of links to other resources which may be helpful.

Knife fights are dangerous, in large part because every blow is potentially fatal due to cumulative bleed out/nicking something important or even seemingly unimportant, there is no time for error much less room as combat happens remarkably quickly with the high lethality causing a sudden end, and the fight itself often happens in a blitz.

Even in the hands of someone who has no idea what they’re doing, the knife is incredibly dangerous. Just bull rushing into someone and stabbing them repeatedly in the sides or gut often as many as ten to twenty times will kill them. This is often the case in muggings, for example, and why the knife is a very popular choice. You don’t need skill in order to kill someone with a bladed weapon. You don’t even really need it to be effective beyond understanding the concepts like slashing and thrusting, swinging wildly in the heat of the moment is remarkably effective in this case.

This is the first and perhaps most important tips to writing a character who is experienced and skilled, they understand the dangers inherent in the weapon they are wielding, they recognize it, respect it, and respond accordingly. One of the problems some writers get into when trying to convey skill is to go with the approach of, “it’s not a problem for me, but it will be for you”. This is valid, the problem is that they assume the danger is nullified rather than their character’s comprehension of that danger being the deciding factor. If I know the risks involved, I can take more or navigate more easily than someone with no experience at all. However, the danger itself never goes away. No matter how skilled you are every fight can end with you lying bloody on the ground.

That’s just the way it is.

If you write a character who fights, they and you should always carry the worry of them dying in the back of their minds. And if they don’t, then you should figure out why instead of assuming it’s natural because they have “skills”.

All right, let’s dig in: Knives

Remember, two hands.

When people who have never done martial arts (and even sometimes people who have) there’s often an over focus on the weapon or on the striking, the hitting. In knife fighting and just in general, the off hand or the second hand/hand without the blade is extremely important for both defense and control. All blocking, deflecting, and the openings created will be made with the off-hand. You stop the arm with one hand, cut it with the knife. This protects you and allows you to keep fighting. The off-hand may become a sacrificial body part as necessary to lock up the enemy blade, getting the knife lodged somewhere non-vital if perhaps unpleasant is sometimes necessary to opening the path to victory.

Defense is important.

The blades will not be clashing like a swordfight (which they shouldn’t be clashing in a swordfight anyway, but that’s a different kettle). All blocks, defenses, and redirects will happen with that other hand.

Keep It Tight

Tempting as it is to use words like “swinging” or others in a similar vein, try to keep your vocabulary to descriptors that imply tight, controlled motion. You don’t want a feel that’s wild and out of control but rather intentional, directed, and focused.

“He lunged forward, swinging wildly.”


“He stepped back, off-hand catching the wrist and redirecting the incoming dagger. Slashing his blade across the back of the enemy’s hand, he dropped down. With a forward lunge, he cut up along the underside of the arm, tucked tight, and drove his weapon into their gut.”

Debilitate, Disable, Finish:

If you have the option to lunge for the kill then great, but the best way to keep your enemy from stabbing you on the way out is to get rid of their weapon first. Attacking the hand that holds the weapon on your way in ensures that you can get rid of it. The best way to avoid a double suicide is to not be so focused on killing your opponent that you forget about their weapon. The guy you just stabbed six times in the gut can still stab you before he collapses.

Prioritize your threats.

If you have the opportunity to remove the participant before the weapon then fine, but 9/10 you’re going to want to focus on ridding them of their ability to kill you on the way out before moving in.

Move, Move, Move

It can be difficult to think in multiple directions, especially if you have no experience with two bodies interacting. They aren’t going to stand there hacking at each other, they’re going to try to create openings. As any hit from the knife can be deadly due to cumulative bleed out, avoidance is the primary name of the game.

Understand Anatomy

While knife fighting is fast and vicious, it’s also very much about anatomy. You get get downright surgical with a knife if you want and when writing your fiction it’s best to brush up on all the tendons, ligaments, veins, and so forth that are close to the surface and up for grabs or slashes in this case.

Medical knowledge will help you with combat in general, but with knife fighting you really want to know what can get cut to make X stop working before moving in for the kill. It sounds simple in practice, difficult in execution.

Study Actual Knife Combat/Combatants

This may seem like a no brainer, but if you really want to understand what it looks like when someone experienced handles a blade then you want to spend some time looking at guys like Michael Janich, the bladed weapons practice in Silat, Krav Maga, Marines, etc. It’s best to get that experience in person, but YouTube will also be your friend here. There are a lot different martial styles which include knives as part of their disciplines.

Take everything with a grain of salt and remember that videos online won’t make you an expert. If you’re a US citizen, you can also track down most of the Department of Defense manuals for the military available for free online. Some of the information such as that from Rex Applegate is outdated but finding his books and reading through them may help you imagine.

Half of writing anything is studying, learning what it is, what it does, learning so you can imagine the techniques in different ways. Theory for a writer is just important, if not more so than technique. You may not be able to perform it in life, but if you can grasp the theory then you can start applying that to your characters and their approaches to different situations.

Remember Violence is Problem Solving, Think of Your Character’s Personality.

Learning that all combat is not universal, that different approaches exist will help you branch out when writing your characters and allow you to develop combat styles unique to them. A good example of a narrative which does this is Season 2 of Netflix’s Daredevil, wherein Matt, Elektra, Frank Castle, and Wilson Fisk all have different approaches to using violence as a means of solving problems, where the way they fight is also an expression of who they are as people. The kinds of violence your character engages and the way they choose to utilize violence as a means of problem solving is an expression of their personality, not just their skill level.

Two characters of similar skill level can have very different fighting styles, even if they’ve studied in the same style. Take into account who these characters are and let that dictate how they choose to use violence. Not all characters are going to be efficient killing machines. Some are going to be joyous free spirits bouncing their way from one enemy to another, leaping and bounding with a blood streaked grin across their face.

You may think you know nothing, but take what you learn and then apply that knowledge to your character. Let them decide what to do with it. They might use it, they might ignore it.

Don’t sweat the small stuff.

What is most important here is figuring out how to sell the scene to your audience in a variety of different forms.


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anonymous asked:

I wish you would write a fic where Obi-Wan is the first person to know Padmé is pregnant. Literally the first, before even Padmé.

It’s funny because the reason Anakin found out kinda late in canon is because him and Obi-Wan have been out in the Outer Rim on various campaigns that keep rolling into one another so for this to work you’d have to fiddle with some other things first. Like, for instance, why Obi-Wan is apart from Anakin - so I guess I’d start that fic with some explanation for why they’re apart. Maybe its something that Palpatine did or maybe it’s something as simple as Obi-Wan being a few inches to the right at the wrong moment and having to go back to Coruscant for medical reasons.

So, in that case, he comes back to Coruscant early and stops by to see Padme, because he wants to check in, see how she’s doing, maybe update her on how Anakin’s doing, stuff like that. (And, yes, Anakin may have been very embarrassing convincing in getting him to make sure Padme was okay when he came back.)


So he’s just mentally like *angry face emoji*. And I feel like this might actually be something I’d write as a crack-taken-kinda-seriously fic. Obi-Wan would be like “I cannot possibly return back to the front lines, I have to…water my plants.” And the council is just like “omg, Kenobi wants to TAKE A BREAK?? Yes we are ALL OVER THIS PLAN, THIS IS A GREAT PLAN!!”

And then Obi-Wan is just like “oh, I’m going to just shadow Senator Amidala, for her safety since she’s so important to the war effort, and also coincidently gets free drinks from the Senate when she’s at her office.” And he’s still ike *angry face emoji* at the whole pregnant thing. Meanwhile, Padme is pleased that her friend is back home and able to visit with her so much, especially since Obi-Wan has so many stories about Ani and she is always there for embarrassing stories about Ani’s youth. *Happy face emoji*

And then he manages to get a comm call out to Anakin, through like seven different encrypted, secure lines and is immediately like YOU ARE IN SO MUCH TROUBLE, YOU ARE GROUNDED! I DON’T CARE THAT YOU’RE TWENTY-THREE AND NO I’M NOT TELLING YOU WHY YOU’RE GROUNDED, YOU JUST ARE! And Anakin is just *confused emoji face*

And then Padme figures out she’s pregnant and Obi-Wan is just like FINALLY, OH MY GOD WHY DID YOU TAKE SO LONG TO FIGURE THAT OUT? And Padme is like I’M PREGNANT!!!?? A BABY WITH ANAKIN??!!! And then she’s like ANI’S STILL ON THE FRONT AND HE DOESN’T KNOW!! *dismayed face emoji*

And then the Chancellor gets kidnapped and Anakin comes back, saves the Chancellor, and comes back to the news that he’s going to be a daddy! And Obi-Wan is like SURELY THIS WILL BE WHEN I GET TO OFFICIALLY KNOW ABOUT THE AFFAIR!! THEY WILL TELL ME ABOUT THE AFFAIR NOW!!

And Padme is like “Obi-Wan has been so helpful since he’s been back and he’ll totally help us! We’re super good friends and he’s missed you so much!” And Anakin’s like I’VE MISSED HIM SO MUCH, I’VE MISSED YOU SO MUCH, I WANT CUDDLES and this means I can tell Obi-Wan everything???

And then they surprise him by going “Obi-Wan, we’re married and expecting a baby!” And Obi-Wan is like WHAT?? I THOUGHT YOU WERE JUST HAVING AN AFFAIR

And Anakin is like *outraged face emoji* I WOULD NEVER HAVE SEX OUTSIDE MARRIAGE, WHAT DO YOU TAKE ME FOR??




And Anakin is like O.O! And Padme is like FINISH THAT SENTENCE, I DARE YOU!!!

And that would be the fic.

anonymous asked:

Michiko definately yelled at Hikaru for being in a friends with benefits relationship with Aya to cope up with the stress and the nightmares he had. And to make the whole Aya walks in on them worse, because they're both doing an examination on each other, they're both in their underwear and Michiko still has some bruises and hickeys she got from her girlfriend

Aya stares at them both with a stunned, slightly hurt expression, and asks Hikaru, without quite looking at him, “This is why you wanted to break things off?” and without waiting for an answer, she turns and runs.

SaiGenos Virus!Verse

Fandom: One Punch Man

Pairing: Saitama/Virus(Genos)

Author: Writers_Writers

Status: Complete

Word count: 2,030

Summary:  It’s been months since Saitama let the rogue cyborg, Virus, stay with him and it has been anything but pleasant. Not for the lack of trying on Virus’ part. One thing leads to another and Saitama is faced with a daunting question. 
Is virus as evil as he appears to be, or is he just another victim of a tragic turn of events? 

Inspired by @linesporadic‘s cool ocs and au.

Thanks for the help with writing it.

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