non lethal takedown

Originally posted by vintagejosh

title: they’re all gone (part 1)
pairing: peter parker / reader
word count: 1, 894

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  • Zoro: So. No women, no children-
  • Sanji: No women, no children. Them's rules. Seperates us from the baddies.
  • Zoro: But what if she's an enemy agent?
  • Sanji: Uh-uh.
  • Zoro: An assassin?
  • Sanji: No.
  • Zoro: A double-agent assassin who just killed the king?
  • Sanji: No sir. Non-lethal takedown only.
  • Zoro: Oh. Hey, how about, you know, uh... a lady Dracula?
  • Sanji: You mean, le vampyr? Nosferatu?
  • Zoro: I guess.
  • Sanji: Undead. Not technically a woman in that regard, so you got no beef there. Also, fictitious.

anonymous asked:

leliana & josephine for femslash february? maybe something about playing the game in orlais?

(Still taking Femslash February prompts!)

“We’ll not be required to actually kill people tonight, I hope?” Josephine is aware it is a ridiculous question to ask, but it is something she must know.

Leliana laughs softly, as if it was expected, but still amusing. “As well as your training is going, you are not ready for anything of that level of import. This is strictly an intelligence-gathering mission: we slip in during the party, find the comtesse’s study, and get the letters.” Josephine nods, even though she and Leliana have gone over this a dozen times. They have memorized all of the chateau’s exits and hallways, and accounted for all the guard schedules. Josephine has practiced her non-lethal takedowns until she can do them in her sleep. (If Leliana is to be believed, she actually did once. Josephine still thinks she’s joking. Most likely.)

Leliana puts her hand on the door. “Are you ready?”

Josephine puts on her mask and best gracious smile. “As ready as I can be, for such a thing.” They sweep into the party, fashionably late, greeted by all.

It is not actually a terrible soiree. The music is tasteful and at an appropriate volume, and the food is good, if a bit unimaginative. She flirts and makes conversation that is witty, but not too opinionated, filing away inconsequential bits of gossip that may prove useful later. There is a lull, and the older and less adventurous start retiring to drawing rooms. Leliana tips her head, and they both slip out.

They encounter no guards on the way to the comtesse’s study, and they relax. It is perhaps foolish, because they are startled by a pair of servants, talking loudly as they make their way down the hall. Josephine freezes, and Leliana pulls her into an alcove.

“Kiss me,” she whispers. “Make it look real.” Josephine tugs her head down, putting her mouth against Leliana’s. Leliana pushes her back against the wall, hard enough that she can feel the coldness of the stone. She curls her hand into the fabric of Leliana’s skirt, pressing them closer together. Josephine’s pleased to hear a gasp, as if Leliana were actually surprised. The servants’ chatter fades, and Leliana breaks away, casting a furtive glance in both directions.

“It looks like we’re clear,” she says. “Let’s go.” Josephine follows, a little bereft with no lips or hands on her person.

The study is empty, and the lock is weak, enough so that even Josephine picks it easily. Leliana secretes the letters somewhere on her person, and they head back to the party. They giggle and lean against each other, playing up the back from a tryst angle. Nobody cares to look more closely. Josephine tries not to be disappointed when they part, bidding their host goodnight.

In their carriage home, Leliana takes off her mask, and puts her feet up on the seat, a tired smile on her face. The moon limns her hair, turning it bright.

“So what do you think of the bard’s life so far, Josie? Is it exciting?”

Josephine takes off her mask. “The subterfuge, it is tolerable. The kissing was still the best.” She tries to keep her tone light, in case she misjudged. If she did, she will get over it. Eventually.

“Is that so?” Leliana tilts her head, considering, before crossing the carriage to Josephine’s seat. “It’s a long ride back to Val Royeaux. Is there something I could do with you to occupy the time?”

“I’m sure we’ll find something,” She says, glad her voice is steady.

Leliana chuckles, low and throaty. “I can think of a lot of things. Let me show you.”

  • Daud: I know your footsteps, Corvo.
  • Daud: They sound a bit heavy, have you been overdoing the carbs
  • Daud: I left some tinned hagfish out in the yard for you, did you see it?
  • Daud: In case you didn't, I'll get Thomas to find some Serkonan sausage, he hoards it, I pretend I don't know, he's cute that way
  • Daud: I know a great deal, bodyguard
  • Daud: But tell me how you found those pistol upgrades, I've been checking out the Black Market for weeks and they are always out of stock
  • Daud: I still know your footsteps, Corvo.
  • Daud: Did you get that boot stealth upgrade yet?
  • Daud: In case you didn't, there's a copy on the coffee table, feel free to grab it on your way out
  • Daud: And now we have the duel no other two could have
  • Daud: Basically cos I forgot to upgrade Arcane Bond to level II so none of my assassins here can actually use Bend Time, how's that for game mechanics
  • Daud: I have one more surprise.
  • Daud: I have Strong Arms in my pouch, you can have it if you like
  • Daud: I mean, I dunno why I even have it, I can kill a man without so much as disturbing a hair on his head
  • Daud: I'm swimming in noble blood, what use is a Bone Charm best suited for fast non-lethal takedowns
  • Daud: I ask for my life.
  • Daud: And a pair of swimming trunks, 34 in the waist, red if you got 'em, I'm off to the beach

kuh-boose  asked:

What styles/weapons would you suggest for a fighter who is a bit shorter/stocky, and is modified (scifi style) and has to deal with multiple, large, or powerful opponents(aliens and such). She’d need to fight both ranged and up close and personal, and she would need to be able to completely dispatch opponents as well as remove them from a fight without (too) serious injury. (I know, far fetched) And does personality affect what style someone uses(in your opinion)? I'm sorry if this is too vauge.

We get these questions about body type a lot, especially in regards to fighting and what style an author should pick. Ultimately, it’s more of a perspective issue and it’s understandable since the vast majority of Hollywood and Anime have a love affair with the “Five Man Band”. Anime often puts forward unique and individual fighting styles which match a character’s body in order to make them more visually distinct i.e. the big guy usually wields the big honking ass sword and relies on physical strength and the rail thin glasses guy is a tactician who is dexterous and quick, often with flawless technique. The Five Man Band is a very successful technique, at least visually. It works under the same rules for writing which state that you shouldn’t give characters similar sounding/looking names because it because it becomes difficult to distinguish them.

It’s probably the worst decider when it comes to choosing a fighting style for a character. Training itself changes and molds the body. If your female character starts out lithe and lean, learns a combat art which heavily favors the upper body such as boxing or kick boxing, she won’t remain that way for long. She’ll develop musculature in her chest which widens it (her breasts will also, probably, shrink), her legs will become thicker and more stocky, she’ll become more weighted in her upper body, her neck will thicken from the development of her shoulder muscles. Depending on her dedication, she’ll gain some very nice definition in those arms. You can expect a little thickness in the jaw. Depending on the kind of training and how long she’s been doing it, she may possess a scar across one eyebrow and her nose probably won’t be entirely straight.

Training molds you to it. Stop and take a look at professional or Olympic athletes like gymnasts or runners. Look at the U.S. Armed Forces, especially by division, and you’ll see something similar. Even though there are slight differences, there’s also a fairly impressive uniformity of body type. That’s the training. If I had to state a real pet peeve, it’s that this gets routinely ignored for female characters because it often leads to them possessing an “unconventional” body. By unconventional, I mean that they aren’t often within the standards or weight range of what society considers to be feminine or beautiful.

There’s a part to training where the body is sculpted and can significantly change what a person looks like. Professional trainers in Hollywood who cater to actors employ different training regimens to achieve different looks, to create a specific type of body. It’s actually something to keep in mind when looking at any actor: you’re seeing months, if not years, of dieting and specific physical training to achieve a singular result.

The kind of training a character engages in won’t change their height or the length of their arms, but it will have a significant influence on what they look like. What that is depends on the training involved.

So, what are the deciding factors?

What are they doing? What are they fighting? What is their job? What is their background? Who is training them?

The problem with “short/stocky woman” faces “multiple larger/more powerful opponents” is that’s the life of every short woman ever and they will need to learn to deal with it regardless of the martial style they pick. Martial arts are designed around the idea that the opponent will be a human being, and everything from the approach to the psychology is geared toward that. You don’t go box a bear and expect it to work the same way, because a bear and a human come with different considerations, different dangers. Now, people did box with bears. Bear boxing was a real side show performance, but bear boxing and regular boxing are different. Why? One of them is a bear. Also, the bears were historically abused and mistreated by having their teeth and claws removed in order to make it possible. Or, the boxer would have died.

My point is that the enemy one faces is the deciding factor in how one fights. You don’t go hand to hand with a Xenomorph. You don’t go hand to hand with a tentacle monster. You can go hand to hand with a Klingon, but it will be unpleasant.

The problem is that there is no one size fits all solution, not in real life and not in a future where everything is much, much more complicated.

Combat is a form of problem solving. To figure out what you’re solving, you have to figure out what the problem is. Then, you justify the solution. Martial training is used to support a setting, but to have one you need an enemy and aliens come in all shapes and sizes. And, the more variety there is, the more new and inventive ways one must come up with to counter the threat.

Subduing an opponent is all well and good, provided the character has a means to support that approach. This could be through tools such as handcuffs or weapons like a taser or a futuristic form of stun gun. The question is looking at the right group for the solution you want. In this case, if you want a character who uses a form of professional combat that predominantly focuses on non-lethal takedowns and subdual, you’re looking at police, their martial techniques and their H2H. When you’re looking for professional groups with a combat focus that orient on using violence as a non-lethal means to solving problems that’s law enforcement. It’s their job, they develop down that route. Other combat professionals don’t have the luxury. A great example of a fictional militarized police force is the Peacekeepers from Farscape.

Martial arts that come off of bloodsport are the runner up with varying degrees of success. The reason is that unless we’re talking about a death match, bloodsport is primarily entertainment and the goal of the fight is to entertain so it shies away from quick kills or more pragmatic combat. It becomes a war of attrition. However, these are martial arts with a primary focus on dueling and fighting single opponents. If there’s one lesson to take from Gina Carano’s Haywire, it’s that putting the wrong kind of combat on a character is debilitating. Carano is a fantastic martial artist, but MMA is far too slow and discordant for a spy thriller.

Making combat work will require a decent amount of worldbuilding from you for each alien type, plus hammering out technology and how that affects combat. (Ray guns, stun guns, cybernetics, etc.) Martial combat is a form of both individual and cultural expression, showing their values and priorities, how they respond to threats. To know how a character fights, you need to understand the culture they belong to and how they navigate it. This goes far beyond a character’s moral makeup or their pragmatism, the values their culture ascribes to and the threats they faced are the deciding factors in how a combat style developed… which shapes a huge portion of their lives and who they are.

Start to think about creating a toolbox for this character, much in the same way you would if you were writing a paranormal story. Different strategies for different types of enemies. Depending on setting rules, you don’t use the same approach to dealing with zombies that you do with werewolves and the same is true of vampires.

Dealing with a genetically modified human will require a different approach, just like dealing with a psychic will require a different combat approach.

Dealing with different alien species will require navigating their culture as much as their combat. After all, their culture defines how and why they fight. Every alien is an individual with their own reactions and responses to the social mores they follow. And, depending on the advantages the character in question possesses, they might not even be able to go into hand to hand so they’ll need a tool to deal with that.

A character’s personality may lead them toward the job type, institution, or training they sign up for, but the training itself will have the greater affect on their personality. Whether they are an actual participant in the system or hold the job is up to you, but if you want a character fight like a professional combatant then they need a professional’s training. Which means a teacher who is a professional of some kind.

In the end, it’s really a question of what you want and the kind of story you want to tell.


References, Resources, and Recommendations:

Farscape - We recommended this one just recently, but really. Farscape.There’s a bevy of aliens here, with characters having to make use of minimal resources in order to survive.

Babylon 5 - We usually recommend this for politics, but I recommend it for it’s worldbuilding. Everything from accounting for different alien physiology to the handling of telepaths among different races, to various martial styles based on alien cultures, to hilarious misunderstandings based on translator errors, this series has a a lot to love for any writer looking to craft science fiction.

Stargate SG1 - This may seem like an oddball recommendation, but a lot of science fiction settings have all their cultures progressing at the same rate. Stargate is all over the map and it’s an interesting look at the different ways cultures develop when dealing with or faced by advanced technology. Campy as it is, you might find some neat ideas hidden in this one.

Psycho-Pass - We rarely recommend anime, but Psycho-Pass is a wonderfully well-developed dystopic future that’s a love letter to many older cyberpunk settings from Ghost in Shell to Blade Runner to the cult classic Johnny Mnemonic. It references 1984, Gulliver’s Travels, and a surprising amount of literature in its first season. It’s for mature viewers only and is fairly disturbing. But the reason why I’m recommending it to you is that it does an excellent job with the idea of a computer deciding who lives and who dies, of guns that won’t fire unless a person is above a certain number and that will kill only if they reach another threshold beyond that. It’s cops attempting to hunt down killers in a society where their very emotions and ability to do their job are their own enemy. (I’d actually watch this one after Law & Order and Southland.)

Law & Order - Law & Order isn’t just important for understanding cops, it’s actually very important to understanding people and why people commit violence.

Southland - I recommend Southland because it’s set in Los Angeles and, much like New York, there are a lot of different racial tensions that the cops need to navigate on multiple levels. It’s very informative for teaching you about how to look at and think about an environment, even one that we don’t initially perceive as hostile.

Trinity - This was a science fiction roleplaying game from White Wolf. The setting itself does a good job of bridging between real world politics, and a near future spacefaring civilization with exposure to alien civilizations.

We don’t usually add supplements for games to the list, but the Trinity Technology Manual is an exception. This goes into a lot more detail on the specific hardware in the setting, and if you’re wanting to think outside the box for dealing with enemies, this might give you some additional ideas. Just, be aware, you’ll need to have read the core book to fully understand a lot of the stuff being thrown around.

Shadowrun - As with Trinity this is another sci-fi roleplaying game. The setup is a little different, instead of traditional sci-fi, this is urban fantasy cyberpunk. You (probably) don’t need to worry about magic in your setting, but even ignoring that, this is still a setting where characters will routinely go toe to toe with things that are larger than themselves and inhumanly resilient. So it might be worth a look.

Deus Ex: Human Revolution - this game is really good for dealing with and getting you to think about the different ways of dealing with transhuman enemies. Also, the tensions brought in by transhumanism itself.

Crysis 2 - Really good if you want to write a character who has been heavily modified, doing the impossible, being put through inhuman amounts of physical abuse, and treated as interchangeable by the people around them.

Alien and Aliens - How to deal with an enemy you cannot face in single combat.

Predator and Predator 2 - Stupid, yes, but relevant. These movies are all about dealing with aliens that are predatory and as intelligent as the humans with goals of their own. Predators have some great limitations and weaknesses, but they’re not human ones and aren’t what we expect.


Hi all, I’ve been working on an approximate transcript of the Game Informer Show’s podcast, “Dishonored 2’s Harvey Smith Answers Your Questions”. It’s not perfect, but I figure it could be useful for fans who are hard of hearing, ESL, or have misophonia. It might also be useful for people who wanted to be able to quote the podcast a bit easier. As it’s a 42 minute video, I’ve put the transcript behind a cut to save your dashboards

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Setting/genre idea: Furrypunk

Sometime in the near future, a hypersaturated marketing sphere predominantly utilizes anthropomorphic cartoon characters and the suchlike to sell products. This combined with a resurgence in environmentalist dogma and reverence of nature results in a significant percentage of the population identifying with such and such -kins, i.e. there’s a lot of furries around, as an open, somewhat accepted bloc.

Biotech and mechatronic corporations are the word of the day, as they market and produce items like tails, ears, and other accoutrement. Those produced under mechatronics are vastly cheaper and safer, but require power, care, and are machine-based externalities at the end of the day. Biotech is less well developed, and is currently still limited to animal-human grafts, combined with a cocktail of anti-rejection drugs that are well advanced from our time but are not yet a harmless proposition.

However, rumors abound surrounding a rising star in the biotech sector, one with close ties to sister companies in the mechatronic. They have discovered, as the word on the street goes, a middle ground - biological augmentations without rejection, supplemented by mechatronic technology. The rumors continue that this advance was only found possible after an employee’s horrific accident, where he was given emergency augmentations to save his life…

“I didn’t nyask for this, X3”

just for you @asciiheart

one of the FEW complaints i have about this wonderfull series. is a technical one. Granted that i don’t know jackshit about progaming and coding and whatnot. but… it ALWAYS bothered me that whenever you switch to Unarmed combat it ALWAYS counts as a “knockout” a “non-lethal” takedown… even though.. you just Broke the neck of that person… or. stepped on it’s face with a passion… it always… took me out a bit of the experience.