Genre: Angst, Fluff; Soulmate!AU where you can hear music only if you have a soulmate.
Word Count: Roughly 3K
Note: Happy Birthday to our very own Min Yoongi! This is basically my way of trying to celebrate it, and it was supposed to only be a drabble but… ¯\_(ツ)_/¯
The silence only lasts for a moment. It’s
brief, and it’s fleeting, just like your love seems to be.
Jinyoung’s looking at you, you can tell;
you don’t need to look at him to know
it, since you can feel his heavy gaze resting just between your shoulders,
under your neck. The air is cold, just like your heart, and when you finally
turn around, to meet his eyes, the gale stops too, as though it knows. Your
head is empty, no soft music murmuring into it, and when you look at him, you
can tell from the hollowness of his eyes that his is too.
“I guess…” You speak first, softly, fists
clenching, “I guess this is where it ends?”
“It doesn’t have to.” He answers, just as
quiet, though his stance speaks volumes, “We can still try.”
“It doesn’t work that way.” You cross your
arms, head still ringing from the silence, and it’s tough trying to stop your
eyes from stinging, “You…You know that as well as I do.”
“Soulmates aren’t everything, Y/N.” Jinyoung
asserts, looking at you with his eyes crinkled, not in joy, but in solemnity, “Just
because you don’t hear anything doesn’t mean you can’t feel it.”
“You found your soulmate though,” Your
words are flat, dead, “I have no place in your life anymore Jinyoung, and I
think…I think we both need to accept this.”
You hold up your wrist, showing him the
“My soulmate’s dead. There’s no way to turn that around, and I’m okay. But you’re
not,” You gesture helplessly at his wrist, where an intricate pattern of
flowers blooms beautifully, rich with its pink hues, “You still have someone
out there waiting for you, crossing
their fingers to find their soulmate, so you can’t leave them all by
The tears finally spill out as you take his
hands—his warm hands—in yours,
smiling up at him through blurry vision.
“Y/N—” He breathes out, his own eyes
glistening, and you shush him, reaching up to card a hand through his hair.
“Always remember,” You say gently, voice
shaking, before you lean up to press your trembling lips against his, letting
the tears slip freely, “That I love you.”
He looks at you once, before his arms come
to wrap around you, and you let him.
1. Hinata and Kageyama. In which we all were Yachi Hitoka. One of the things that always comes to mind when I think about this fight is her eyes full of tears seeing Hinata talking about Kageyama, calling him his partner despite having just been through the ultimate breaking point in their relationship. It was hard and heartbreaking but still it’s my favorite fight of all, because it finally made them (and all the team with them) realize the extent of their relationship and how much they need each other to play, to be happy, and to grow.
2. Asahi and Nishinoya. Angst is the way to my heart and their fight made episode 9 my overall favorite of the first season. We never saw any of them as furious as they were during this fight, and the most heartbreaking thing is that they both thought they failed the other and their entire team, that they were not good enough. And none of them can stand it. We know this affected Asahi way more than Noya, but, even if it seems the exacts opposite, this fight showed how unbreakable their bond is, how loyal they are to the other, so much that Noya decided to never win a match without him. Ever. He’d give up his talent and his future because of him. And every time I think about it I die.
3. Oikawa and Iwaizumi. A fight that changed Oikawa’s way of thinking forever and showed us that sometimes Iwa truly has to use the hard ways to make that obsessive mind that’s Oikawa Tooru understand an easy but still life chancing concept that’s “the team with the better six is stronger”. The aftermath of this brief fight is amazing, with Oikawa saying: “I suddenly feel invincible” and Iwa being all concern of having hit him too strong. This is…the most iwaoi thing they have ever done.
4. Tsukishima and Yamaguchi. When they fight I’m ALWAYS rooting for Yams like hell. You tell him boy! You know it’s not my top, but still no one gets a grip of Tsukki like Yamaguchi does, especially from season 2 on. I love how, even if he respects him a lot, he’s not afraid to take him by the shirt and yell in his face the always iconic “What else do we need besides pride?”, hitting like a hammer in Tsukishima’s already cracked wall. This fight made all Tsukki’s limits crumble, it lit the flame inside him, it brushed all the pain his brother cause him in the past, but mostly it showed us how very very cool Yamaguchi really is. A+
5. Yahaba abd Kyoutani. This is more of a confrontation that a fight but still (I have realized that there aren’t so many fights ??? HOW ???). This is a softer version of the iwaoi fight, in which Yahaba only needed a slam against a wall and some cutting words to make Kyoutani understand what means to be a true part of the team. Yes, this is Yahaba letting out his “future captain” side, but you know, it’s the first fight that creates the bond…and I sense that these two will have a lot to entertain us with next year…
Kosovo’s ‘NEWBORN’ independence monument gets an annual redesign to mark Kosovo’s independence day on 17 February.
the monument has been adapted to incorporate the phrase “No Walls”.
“In a world where walls are being built every day, and freedom of movement is becoming ever more limited by narrow minds, while a wall here continuously harms Kosovo’s sovereignty, NEWBORN wants to bring those walls down, for the sake of humanity,” said the creator of NEWBORN, Fisnik Ismajli.
This was already done to a much funnier degree on twitter, but let’s talk about why this is the quintessential MGTOW apartment. Key elements of Sad MGTOW Apartments (SMGTOWA) include, but are not limited to:
standard rental apartment colored drywall (white/off-white)
little to no decoration on walls
in this case, the decoration is limited to a single unframed poster of Minecraft that was probably obtained from a magazine.
the flash is the only source of light in the photo; indicating a lack of lamps and/or that the owner sits alone in the dark most of the time
‘entertainment center’ which is just a shitty nightstand
and which is located in the center of the room, probably further indicating this is an efficiency/studio sized space
mattress which appears to be inflatable
are those diapers on the mattress? a fucked up sheet situation regardless
a full-sized motorcycle parked inside.
and of course, this display, which is incredibly depressing, was voluntarily posted by the reddit guy as a means of establishing bragging rights. no girls allowed!
I just adore your art style, it's so cute! I'm thinking of making comics myself. Do you think you could give me some tips on angling or facial expressions or overall detail?
Thank you so so much! I really appreciate that! Like, a whole lot. ^^
I’m not exactly sure how much I’ll be able to help you, though I can at least give you some pointers on expressions! I’ll do my best. I’m sorry this is coming a bit late!
I’m going to use Bendy for my examples, just because he’s super easy to draw and I have him on hand/mind at the moment. But! These can be used on just about anyone.
Keep in mind: this is just my way of doing things. There isn’t one “set” way to create great art! There’s a lot of experimenting, testing and growing when it comes to artwork.
When it comes down to expressions, there are a few things to consider: what are they feeling? How intense is this feeling? How far can, or should you push it? How can you make this feel realistic? In visual storytelling, showing what a character is going through is far more important than telling the reader. In a comic setting, there’s a very fine balance–since you have images to go with the words, but you can’t convey each minute action… At least in a reasonable amount of panels, the dialogue and the images have to work together when they’re used in tandem.
When a character is shouting, you have to push their expression further–it won’t be enough to show them with their mouth slightly open, or with a flat face. Give them wide eyes, or shut their eyes completely with frustration. Open their mouth wide, maybe even get their body language involved if you have enough room. Throw their arms in the air, have them pulling at their hair!
Likewise, if what they’re saying is quiet or somber, soften their expression. Have their gaze ill-focused, or looking to the ground. Their shoulders could be slumped, their brow could be low. Their mouth could be almost, or entirely closed. Or are they happy? Raise their eyebrows, widen their eyes with joy! Bring out that smile! Use as much variety and as many shapes as you can!
Because I’m a visual person, here are a few examples to give you a better idea of what I mean:
(I’m sorry if my handwriting is hard to read)
Which facial expressions are more interesting? Sure, the ones on the left are going through the motions of emoting, but the ones to the right REALLY show how the character is feeling!
Body language is also immensely important when it comes down to expressiveness. Every part of the body can be used to convey a message. The crossing of arms can indicate disgust, or even put a small barrier between two people. Slumped shoulders show disappointment or sadness. Every little movement a character makes can have a massive impact on their overall tone. Here are a few examples like the above:
Even minute changes to a static pose can make a BIG difference! Test around and see what works best.
I’ve noticed that some animators have mirrors near their desk. This is so they can look up at their reflection and make a face into the mirror. They project their character’s feelings onto themselves, that way they can see what sort of facial expression would be best suited to that emotion. Nowadays we can just google this, but it’s still a good idea. Don’t be afraid to look up references whenever you need them. I know I do frequently! There’s no shame in using references!
I’m sorry I can’t help you quite as much with angles. I feel that I’d need to do a little more research in order to be able to articulate this more fluently. Perhaps some other time I can try and revisit this and go more into depth about perspective and foreshortening, but for now, here’s another great guide that might help you along in the right direction. I use a similar structure for my own drawings!
I know you didn’t ask for it, but I’d like to give you some tips about comic making. If you don’t want them, then I guess you can just stop reading, pfff. Either way I’ll put it under a cut so this post doesn’t take up so much of the dashboard.
Working on my one of my original novels for the first time in years, lol.
Lord Devrah of Casasis bore three daughters during his reign over the southern desert. He liked to think they were considered the prettiest sand flowers in his kingdom, but his opinion was limited to only himself and those that served within the castle walls. For, as decreed twelve years prior, no royal skin was to come in contact with that of the common folk. Not after Lord Devrah had lost his dearest wife to the plague—a sickness which had begun to wear on the borders of his kingdom during his father’s rule. In order to protect his daughters, he forbade their exit outside the palace walls and that they touch none but each other, thus they would be safe from infection.
And so they grew, safe behind the glass and stone of the palace. The first, Lady Amirya, was to be heir and inherit rule following her father. She was of stable mind and strict judgment, raised to the position despite how her fogged eyes saw her people through clouded windows. Though this ailment weighed on her, she was determined to follow in her father’s shadow and become empress of what she had been taught was the greatest kingdom in all of Vraed. She suffered in much of the conceits of any natural born princess, but was not so heavily burdened with the sentiment as some trailing her in birthrights. Lady Ventya, the youngest of the three, was as equally spoiled as she was ignored. Having not been brought into the world first, she was of little significance to her father, whose favor fell for none of the qualities she had to offer. Rather, she was littered with gifts and favors if only to distract her from her own triviality. Her vanities seemed to dominate her person, a trait of her existence that was treated with patience by Amirya and disdain by Nadraya, the middle of the three sisters.
Nadraya, despite her rank as only second born, had somehow managed to win her father’s favor. Perhaps it was because she seemed a bit cleverer than her sisters, or because her temperament left little to be doted upon. No matter, she was the favorite in her father’s eyes. She was like her mother in appearance and her father in the capacities of mind, such qualities sometimes making the emperor consider how much happier he’d be were she the first to have been brought into the world. Amirya was sure to do well, but he was convinced Nadraya would have led the people in ways her elder sister could only ever observe through her underlings.
And though she was aware of his favors, Nadraya was quite content with her position. She knew her father preferred her, leading to her own conceits, but her satisfaction at being without responsibility overcame any of his praises. While Amirya had been educated in the ways of leadership, Nadraya had been left to her own diversions. Many times she’d been found in the knights’ quarters, observing their practices, or in the gardens upon her bay steed. But more often than not, she was atop the castle wall, staring out into the city and the desert beyond with an expression of pointed contemplation upon her brow.
Her current situation, however, fell into none such categories. Presently, she was sitting up in bed, her silk gown dampened with sweat as she forcefully steadied her breathing. Hand on her chest, she counted the fast beats of her heart against her palm, only vaguely aware of the sinking sunset flashing in through the windows.
Me and my friend travelled to an old house in the middle of nowhere and convinced the demon that lived there to let us meet her son. When we met him, we had to trick him into letting us into his room so we could steal his rare Shrek merch. When we took a limited edition Shrek doll off one of the shelves, the walls collapsed and we were on the set of Dr Phil
I’ve had a few people recently ask me how I go about writing my fighting scenes and how I make them exciting and realistic (even with unrealistic weapons/magic) without having any real training myself. So, I’m just briefly going to make a post to reference people to.
It’s actually really simple: I watch and read a lot of fighting tutorials. Even before YouTube was a thing, I would watch foreign martial art films (not those cheap American-made ones with stunt doubles and stuff) and rent books on fighting and fencing techniques. Now that the internet is so easy to access, it’s appalling how many writer’s don’t take advantage and use it for research. YouTube is going to be your best friend when it comes to writing fight scenes.
I take notes and rewatch moves over and over, rewriting several different lines about the move I just watched. I probably spend about two hours watching them before I write a big action scene and I’ve been doing it for so long that it comes as second nature to me when describing fluid movements and the weight of a sword when angling it certain ways. But, knowing fighting techniques and their names doesn’t do much for the reader because chances are, they’re not going to know what you’re talking about. So that’s another reason why it helps to watch the movement of real people fighting with real weapons. One day I want to take fencing classes to get an actual feel for what I’m describing, but for now watching other people fight over and over has been an immense help.
I do a couple of things to keep it fast-paced. I keep surrounding descriptions short. You want to keep your reader in the moment. Going into lengthy explanations about sounds and smells and how many trees your character is surrounded by is great for building the scene, but not when the action is happening. Build the setting before the fight, give your reader some credit that they won’t forget where your character is. Not to say leave surrounding detail out completely during a fight but there’s no need for GRRM banquet hall descriptions when it’s life or death for your character. Some things to keep in mind:
*positioning—where are your characters standing/facing? What hand(s) are using the weapon and what one is free? When your character turns so does their direction.
*show don’t tell—this is important in writing anyway, but fight scenes is where this rule really really counts. Make your character out of breath, tired, sore arm maybe, sweating, thirsty, etc. Fighting is exhausting. Show it.
*Don’t make something conveniently aide your character during the fight unless you’ve led to that point first. I don’t know how many stories I’ve read where all the sudden there’s a door they just now noticed or a crowbar just randomly leaning up against a wall.
*Limit the dialogue—talking is a distraction, so use it wisely.
*It’s okay for your character to lose. They don’t have to win every fight. In fact, losing could give them incentive to try harder, which is great character development.
*Keep your points/attacks direct. There’s no need to go into lengthy detail about the flick of your character’s wrist and the way it twirls like a ballerina on one toe, slicing through the air with their pointed blade. Keep the poetics to a minimum and save those for a bigger fight. Not every fight scene has to be an award winner. Stay on point.
*Have fun. If you’re not having fun writing the scene, no one is going to have fun reading it.
If I remember anything else, I will be sure to add it in, but these are just a few tips about what I personally do when it comes to writing fight scenes.
A small cemetery has been found outside the western limit of Aquileia. It consists of five enclosures separated by brick walls. The sarcophagi/monuments in each enclosure belonged to members of the same family. A small sculpture (original at the Archaeological Museum) portrays a (dead) woman being comforted by Psyche, a very young girl with wings who accompanied the dead to the underworld.
Many of the sarcophagi/monuments are finely decorated. Some of their reliefs show jars, most likely a reference to funerary ceremonies. A relief with dolphins around a trident, which was very popular in many contexts, when placed on a tomb might have indicated that the dead was a seaman or a ship owner or that he was about to begin his last journey to beyond the Pillars of Hercules, which the living were not allowed to cross.
This time around I thought I would try something different for this class's encounter: a skill challenge. A skill challenge is a series of skill checks made by the PCs to complete a complex task introduced in D&D 4th edition. This one will run a tad differently than D&D 4e. The challenge progresses by players rolling initiative at the start of each new skill encounter and taking turns rolling one skill check of their choice. The team must succeed at a certain number of checks before moving on to the next encounter.
This still being a part of Monk Week (late as it may be), monks have an edge up on other players during this skill challenge when making some of the skill checks.
Skill Challenge: The Trials of the Masters (CR 4-7)
Setup: For whatever reason, the players need the help or trust of a group of insular monks of Zuoken that have perfected countless martial arts. The monks will only help the PCs if at least one of them can complete an obstacle course they use for training their initiates.
All players will attempt the course simultaneously, but only one of them needs to cross the finish line to succeed.
Unlike a regular skill challenge this one does not count your failures, but rather the elimination of players from the obstacle course. If all players are eliminated before the course is finished, the challenge ends in failure.
Each player can use a skill for each skill encounter only once to count as a success (unless otherwise noted). Further use of a skill already used in that encounter will not harm their progress, but will not count as a “success” towards the completion of the encounter. Note that multiple players can choose the same skill and each will count towards completing the encounter, but the same player cannot choose the same skill twice.
Players may use an unlisted skill as a success for an encounter if they can describe adequately how they do so. The DC for such a check is 14. Any other results of success or failure for an unlisted skill are up to the DM’s discretion.
Skill Encounter #1: Balance (6 successes required to pass)
Over the loudspeakers in my head
comes the startlingly loud voice
of the man on the radio from the 1950s
THIS WEEK’S BRUISES ARE BROUGHT TO YOU BY:
The paranoid stumbling down dark hallways
in the middle of the night
when the nightmares become too real
and you can’t distinguish the shadow monsters
from the places you want to hide,
so you bump into everything from the walls
to the furniture, to your own limitations.
ALSO BROUGHT TO YOU BY:
The intense rubbing of your own hands
against the outside of your thighs
in an attempt to stop the shaking,
it never felt like you were causing blood
to rush to the surface but look!
you are black and blue the next day.
AND SPONSORED BY:
One of the many prescriptions you take
which list ‘may cause bruising
or bleeding under the skin’
as one side effect of many.
Reader x Hank McCoy
Warning: Smut. This is pretty much just smut and some cursing.
Summary: Reader attempts to seduce Hank McCoy.
A/n: My second attempt at writing smut. I think it turned out pretty well. This features blue, furry, Beast Hank. Comments are always appreciated.
You had some serious doubts about what you were about to do. But you had needs, and right now those needs were taking priority over your better judgment.
So what if you’ve never dated or kissed the man you were currently about to seduce? He was so damn self conscious, that even if he felt attracted towards you, he’d never pursue it. You were tired of admiring him from afar.
You had asked Charles, God knows how many times, to read Hank’s mind to see if he had feelings for you. Of course he always refused, because of the principle of things.
It was always, ‘Y/n, it’s not right to invade his private thoughts like that.’ or ‘I’m sure you’d be rather upset if I read your mind without permission.’