only not at all in any conceivable way

THE TUDORS SENTENCE STARTERS.

’ You think you know a story, but you only know how it ends. ’
’ To get to the heart of the story, you have to go back to the beginning. ’
’ I cannot disguise my distress and unhappiness. ’
’ Well, you’re going to have to. ’
’ What about his legs? Are his calves strong like mine? ’
’ Some people might think so. He certainly thinks so himself. ’
’ Your Majesty… he’s French! ’
’ As a humanist I have an abhorrence of war. ’
’ It’s an activity fit only for beasts yet practiced by no kind of beasts so constantly as by man. ’
’ As a humanist I share your opinion. As a King, I’m forced to disagree. ’
’ You should know, you taught me. ’
’ Do you really think we should go to war? ’
’ I think we should try to do as the King wants us to do. ’
’ What if the King doesn’t know what’s in his best interests? ’
’ Because he endowed Universities? ’
’ That victory made him famous. It made him immortal! ’
’ There’s something deep and dangerous in you. ’
’ Those eyes of yours are like dark hooks for the soul. ’
’ You must be prepared to give him the thing you most care for. ’
’ The thing I care for most is my integrity. ’
’ Do you see that young woman over there? Dressed in purple and gold? ’
’ After all, I am merely Your Majesty’s humble servant! ’
’ That would make me very happy. ’
’ Well, do you like it? ’
’ Should I like something that accuses me of being cruel? ’
’ Am I? You have no claim on me. ’
’ I have the same claim as every other lover. ’
’ You are a poet as I am a woman. ’
’ Poets and women are always free with their hearts, are they not? ’
’ You give us no choice but to attack and breach your defenses! ’
’ No knight shall ever breach mine. ’
’ What we lack in men, we can more than make up for in ships. ’
’ We are in an island race, Cardinal. ’
’ We have the best and bravest sailors in the world. ’
’ Your highness must be looking forward with great anticipation to your wedding? ’
’ I hear the king was a great horseman… in his time. ’
’ Don’t tease me. I don’t like it. ’
’ Will you like it when an old man tries to make love to you? ’
’ Your grace goes too far. Already. ’
’ Now you are blasphemous! ’
’ Gospel says the truth will make you free. ’
’ Your Grace, we shall drop our truth into the scales… and the scales will fall. ’
’ I write poems, I don’t know how to be “a poet”. ’
’ My Lord, I don’t know what to say. ’
’ Of course I loved her, but from a distance. ’
’ I ask myself why that should be so. ’
’ Your Majesty, I’m certain he will rule in your favour. ’
’ How dare you look at me! I am your Lord and Master, not your brother! ’
’ You are both banished from court. ’
’ You will remove yourself from my sight. Do you understand? ’
’ I have yet to decide whether to make your bedmate a head shorter. ’
’ I don’t think the English people would ever forgive him! ’
’ I promise, I’ll take you as my only mistress. ’
’ I won’t have a thought or an affection for anyone else. ’
’ Look, I don’t mean he is banished forever. ’
’ I don’t mean he is banished forever. Just as long as he breathes. ’
’ You’re going away, why? ’
’ Must you go? ’
’ We little people must put our hands into the fire if invited to. ’
’ Forgive me, I spoke of things I should not. ’
’ For me, that is the true definition of love. ’
’ I have an audience with His Majesty? ’
’ Well, the King is plainly in love with you. ’
’ What would a silly girl like you have to say to a king? ’
’ How do you like your charge, sweetheart? ’
’ It is your duty to use his love to our advantage. ’
’ Diplomacy is nearly always settled by such proximity. ’
’ I do not sleep with her. Not whilst you and I are still married. ’
’ Ah! Your Excellence, allow me to introduce… ’
’ Someone told me taking infusions was the worst thing. ’
’ I didn’t see all of his game. Now I do. I despise him. ’
’ I do believe you love as well and deeply… as any man. ’
’ Your love is most generous where it is most hurtful. ’
’ Your Majesty, I beg that you yield to the King’s will. ’
’ You speak to me of chastity. ’
’ Have you not a mistress and two children, Your Eminence? ’
’ I could be seen to be acting against her conjugal rights. ’
’ You think it’s nothing, to go back to bed with your wife? ’
’ What do you think is going to happen? ’
’ Let me make certain things plain to you. ’
’ It would mean the total ruin of the kingdom. ’
’ I hear you’ve been unwell? Is it true? ’
’ Majesty, when was I ever unwell enough not to serve you? ’
’ Have you no kind things to say? ’
’ You treat me so unkindly and in public neglect me. ’
’ The weight of academic opinion is against us. ’
’ I don’t think anything, but I imagine everything. ’
’ Do you… do you have a message from the King? ’
’ You hate him like a scorpion. And why? ’
’ Madam, you should never presume… ’
’ You should not abuse the Queen’s honor with such language! ’
’ Your Majesty must forgive me… ’
’ I would rather see her hanged than acknowledge her as my mistress! ’
’ Aren’t you supposed to be running the country? ’
’ They’re all liars, hypocrites and middle-aged men. ’
’ Would you prefer them to be women? ’
’ Have I made you unhappy? ’
’ I would only be unhappy if you ever stopped loving me. ’
’ Madame, I pray you, don’t give way. ’
’ No excellency, I shall never give way. ’
’ I notice you allow yourself none of the trappings of your great office. ’
’ Now, my love, let me conceive… and we will have a son. ’
’ Can you not plead some indisposition? ’
’ And then, I should be genuinely indisposed! ’
’ It’s a pretty head in any case, and I don’t want to lose it either. ’
’ Perhaps, one day this little girl will preside over empires. ’
’ I’m not heartless, whatever some people think- quite the contrary. ’
’ I could still do it. I could find a way to poison her. ’
’ But, why should anyone ever know? ’
’ No I wouldn’t. I’d die amartyr's death. ’
’ You understand? You don’t act alone. ’
’ You’ve never even seen a man being tortured, have you? ’
’ I’m sure we both know the object that has brought us together. ’
’ Will you take the Oath? ’

I think the biggest worry I have about Finn is rooted in the fact that he was originally conceived of as white (Sam) and looks very Han Soloesque in his early concept art, not very Luke or Jedi-like.

It’s this that makes me worry that in the early concepts and scriptwriting for the sequel trilogy, there was a definite plan for a bait and switch plot twist regarding Sam and Kira (later Finn and Rey) because they knew that audiences would expect the white male lead to be, if not Luke’s actual son, the heir (from a meta perspective) to the Jedi and Skywalker saga and the lead. And that they thought it would be great storytelling to pull out a twist where it’s the girl who is the lead, not just the love interest or side character. And you know, they’d be right if we’re talking about Sam and Kira but I would honestly hope that once they cast John they would see how much that changes the way the audience reacts to the characters and the story and makes the bait and switch in poor taste.

As much as Finn being a Big Deal in the Resistance while Rey pursues a Jedi path is a fine division of storylines for two main characters… the focus on Finn wielding the lightsaber and being the titular awakening of the Force is not something that we imagined or became unreasonably attached to. They featured him with the lightsaber heavily and chose to hold off completely on showing Rey with it to preserve “the twist” when she pulls it out of the snow. They never featured her using the Force in trailers or anything because they wanted her use of the Force on Starkiller base to be an unexpected development. And that was alright on its own, who doesn’t love a bit of a surprise, but it came at Finn’s expense and I don’t trust Lucasfilm enough to realize that their casting choices actively affect how audiences understand the characters in universe, regardless of how race relations are actually meant to work in the GFFA.

I can (and do often) tell myself that they probably weren’t actually thinking that deep to begin with (subverting audience expectations for Sam vs Kira) and they likely had great things planned for Sam which they didn’t just chuck out the window whenever he became Finn and then again later when they cast John. At the same time I don’t think they thought to change anything about Sam when he was no longer white, because they didn’t consider it to affect the story or the character in a significant way.

So I do worry that they will completely drop all Force related things from his plot because they were only there to throw us off the scent of Jedi Rey (Skywalker). I do worry that they will never reveal any significant backstory for him beyond the fact that he was a Stormtrooper, not even in books or comics, even though exploring every conceivable facet of a character’s life (and their parents and aunts and uncles and cousins) is what keeps the publishing arm of Lucasfilm in business. (And I imagine the excuse for this would be something along the lines of wanting to preserve the tragic aspect of being stolen from a family he’ll never be able to reconnect with… but fuck that honestly Star Wars is all about improbable family reunions!)

I do worry that TFA, or at least the marketing and trailers for it, promised something that it won’t deliver on because it was all in service of “the twist.”

Someday Your Child May Cry

Previous: Question | Preparations | Irrational | Confession | Collateral | Thoughtless | Interrupted | Recovering | Irresponsible | Possibility | Devastation | Confrontation | Generous | Confirmation | Understanding | Sight | Insatiable | Agreement | Family | Threatened




21. Terrified 

Scully’s self-control is immediately pushed to its breaking point the moment she walks into the hospital and sees Diana Fowley standing there. All she can think about is the loss of her first pregnancy, the abnormalities in her and Mulder’s child, the evidence that someone had tampered with it, and the knowledge, above all, that this woman had passed information on both her and Mulder to the most evil cabal of men that Scully has ever known.

It’s only the presence of Walter Skinner that stops her from attacking Fowley head-on, or from giving any sign that she knows anything about her true allegiances or what she’s done. Skinner has no idea, as of now, that Scully is pregnant, or even that she and Mulder have been trying to conceive, and with the suspicious way he’s been acting since assigning them this case, she would very much like to keep it that way. Nor does she want Fowley and the people she reports to knowing that their latest attempt had been successful.

Scully storms away from both of them, aware of Fowley’s eyes burning holes into her back. She throws open the door to the monitoring station they’ve just left and finds Mulder’s doctor still there, watching Mulder on the screen, frowning thoughtfully.

“I need you to let me in to see him,” she says, and the doctor shakes his head.

“As I’ve already told you, he’s been extremely violent to anyone who’s approached him. He attacked the woman out in the hallway earlier. I’m afraid that I cannot permit you to risk-”

“And I’ve already told you,” interrupts Scully, fixing the doctor with an icy glare, “that he will not harm me.” On screen, Mulder screams her name yet again, and the desperation in his voice feels like a knife in her gut. “I fully understand the risks and I take full responsibility. I’ll even sign a waiver if you want me to, but one way or another, I am going into that room- alone- and speaking with my partner.”

The doctor heaves a sigh and lifts one hand to rub wearily at his temple. “Fine,” he says. “But there will be orderlies outside of the door, and if he shows even the slightest sign of becoming violent, I’m sending them in, and this time, he’ll need to be fully restrained.” Scully nods tightly.

“Thank you,” she says. The doctor opens the door and holds it for her.

“Please follow me,” he says, and Scully does.

—————————–

His head is a cacophony of voices, some familiar, some not, coming and going without warning. The mounting pain in his temples is going to kill him if it doesn’t let up, but as bad as it hurts, it’s secondary to the constant confusion of babbling that has taken over his mind.

After Diana had drugged him, he had regained consciousness in a hospital bed with her by his side, mumbling to herself in a confusing disjointed manner about sedatives, about the artifact, about Scully… about him. But when his vision had cleared enough for him to see her face, he’d realized that her lips were not moving. His strange ability, wherever it had come from, is still there. If anything, it’s getting stronger.

That had been the moment that he had vaulted from his hospital bed on unsteady legs and had seized a very surprised Diana by the shoulders, shaking her roughly, demanding answers from her as she had called for help. Orderlies had materialized from nowhere, restraining him, and since then, he’s been here, in this cell.

He can still sense Diana nearby, and while he’s finding it harder to make out her thoughts as clearly as before, he has, at least, gleaned one valuable piece of information: after drugging him in his bedroom, she had done no more than call an ambulance, and then sit calmly on the edge of his bed until it had arrived.

She had not, in the end, raped him.

He understands now that she had merely been trying to distract him, to keep him safely in his apartment until… but that’s where it becomes muddled and confused. All he knows is that she’d wanted him calm and docile. If he had slept with her, she would have drugged him during the act, but one way or another, the evening would have ended with her jabbing a syringe into his thigh.

There’s a pleasant wave of sensation at the edge of Mulder’s consciousness, like the feel of pressing a cold ice pack to a burn, the relief of a painfully cramped muscle releasing under massaging, caring fingers. It’s as though someone has just shone a warm, bright light into a dank and musty room, and he knows, immediately: it’s Scully.

For a moment, he’s overjoyed, until he remembers that Diana is out there as well. The thought of Diana following Scully out of the hospital, back to her apartment, taking her out as she walks, unsuspecting, to her front door, sends a blaze of terror through him. He has to warn her. He looks up at the camera mounted in the corner.

SCULLY!” His sense of her is stronger now, and he can hear the myriad questions tumbling through her mind at light speed, but he can’t keep up. If there had been any doubt left in his mind that she is smarter than he is, it’s now been thoroughly eradicated. 

Even though Mulder can’t make out her individual thoughts (and he’s not sure he wants to- Scully would be mortified, and then would likely kill him), he has not trouble sensing her fear, her worry, her frustration at being kept from his side. And when they finally open the door to his room and let her in, the wave of love that hits him is so strong that it quite literally drives him to his knees.

“Scully,” he croaks, and immediately she’s there, her arms around him. He’s surrounded not only with her sweet scent and her warmth, but with the feel of her devotion to him, her relief at being by his side.

“Mulder, I’m so sorry,” she says. “I got here as quickly as I could.” Mulder shakes his head.

“Not important,” he says, his voice hoarse. Speech is becoming progressively more difficult, and not just because his throat is raw from shouting. It feels as though it takes more and more effort to take a deep enough breath to get the words out. His mouth and tongue fight him as he struggles to warn her. “Scully… Diana. When you leave here… don’t let her follow you.” He’s slumping against her, barely able to keep himself upright. She pulls his head into her lap and strokes his hair. “She’ll hurt you.” A violent shudder runs through him at the thought. “To keep you out of the way.” He looks up at her imploringly. “Please, Scully. Don’t let her.”

“I won’t,” she says soothingly. “I’m going from here to the airport, Mulder. What’s happening to you… if the rubbing made from that artifact is really what caused it, then maybe seeing the rubbing’s source will help me figure out how to stop all of this.” Mulder nods his agreement with this idea. He has no illusions that there’s anyplace that Scully could go where she would truly be safe from Spender and his ilk, but somewhere as far away as the Ivory Coast is a start.

“I’ll….” He swallows,trying to will his mouth into action. “You go. I’ll be okay.”

“I’m holding you to that,” she tells him. “You’ve got to rest, Mulder. You need to keep calm. I promise, I’ll be back as soon as I can. I’ll take care of you and we’ll get you out of here.” He nods again as she begins to stroke his hair, and he nuzzles as close to her as he can get, the side of his face pressed into her stomach.

A strange sensation begins to take over his mind, and suddenly, his entire being is awash in a sense of peace, a sense of security, a sense of being closely protected. He closes his eyes and relaxes into it, regulating his breathing, trying to still the impulses of his limbs to move and twitch. The feeling is unlike anything he’s ever experienced. It’s as though he is weightless, suspended in warmth, completely enveloped in the knowledge that nothing can happen to him here.

It’s an absurd thought- there are countless terrible things that could happen to him here, and he’s fairly certain that at least some of them will happen, and soon. Still, Mulder clings to this feeling as tightly as he can, allowing it to fill him up, to slow his heartbeat, to calm him.

It’s only later, after the doctor has reappeared to state, emphatically, that visiting hours are over, that he realizes that that feeling may not have been coming from Scully at all.

anonymous asked:

How can you possibly look at that class photo of Eric taken on March 4, 1999, look into those eyes of his, that stare he is giving to the camera and say he is NOT a psychopath. He was clearly, by all accounts, a clinical textbook psychopath. Even his own parents have come to that conclusion. You are in utter denial. It's best NOT to over-analyze him or his motives. He doesn't deserve that. His victims are the ones who deserve attention not him.

Do you really mean to tell me that this one picture, frozen in time, is enough to convince some people that Eric was a big mean old psychopath? Wow. That just goes to show that if you put a little effort into looking the evil part, the rest of the world’s going to do your work for you and call you that for the rest of your days. Of course that picture is Eric at his most Reb-like, purposefully vicious and completely hellbent on making that picture a “fuck you, this is me being a neon warning sign you won’t see until it’s too late”-moment. Dylan, right next to him, is giving a pretty similar look into the camera. Funny how Dylan’s excluded from the psychopath narrative, despite them both looking like they could eat us alive. I guess that the whole “look into his eyes and tell me he’s not a psychopath”-thing only really counts when it comes to Eric, huh. Double standard much?

I also want to say that ‘clinical textbook psychopath’ is a more problematic descriptor than the standard account on Eric has any right to be. Psychopathy is still not an officially accepted clinical diagnosis, after all, and both the ICD-10 and the DSM-V do not recognise it as a standalone disorder. Psychopathy is recognised in the latter as a symptom of Antisocial Personality Disorder, but that inclusion took almost fifty years of research and debate about its validity. ASPD and DPD (dissocial personality disorder) are currently the clinically accepted measures that come closest to what we call 'psychopath’ in layman’s terms. I would strongly advise you to read up on the many criticisms on psychopathy, so that you will come to understand why this is still subject to debate and not yet recognised as an official disorder by the standard works in the psychiatric world today. Arguments countering psychopathy as a disorder include doubts about the neurological concepts of psychopathy, arguments that it could have a sociological stigmatisation effect, concern about its potential incompatibility with evolutionary models of empathy, and so on and so forth. It’s well worth your time to take a look at these critiques, because nothing about this potential diagnosis is currently 'textbook’ due to its still-evolving state.

While it is true that his parents gave off the impression of accepting the conclusion of psychopathy, it is also important to note that we only really know of two moments in which they spoke of Eric after the massacre. One of them is the talk with the Mauser family, in which they did seem to accept the standard view of their son, and another is an account in which Wayne Harris stated that he had two sons and that one of them died at Columbine. To me, that’s not enough to go on to definitively say that Eric’s parents have come to that conclusion you say they arrived at. It’s possible that they did accept it, of course, and it’s even more possible that they decided to not challenge the official narrative even if they personally have their doubts about it. When all the world tells you that your child was a certain way and leaves no room for doubt about that, it can really screw with your perceptions of who your child was and mess with the memories you have of time spent with your child. The Harris family has lived with people telling them their youngest son was a psychopath for close to eighteen years now. That’s as long as Eric was alive. That’s a long time in which to hold on to another view of him that may not fit the psychopath-narrative. It’s entirely possible that, in the privacy of their own home or even in the quiet space of their own mind, they might yet feel differently about their son than we currently think they do.

It’s not just about what Eric deserves. It’s not that simple. It never is. I would argue that we don’t analyse Eric’s personality or his motives for Eric’s benefit to begin with, as Eric is dead and gone and nothing we uncover right now has the power to help him. The reason why we want to get to know his motives is because there are other people out there with similar motives. The reason why we should take a very close look at his personality is because there are other people out there who recognise themselves in him and feel a kinship with him. We owe it to these people to uncover the truth about Eric and analyse what was going on with him, because that is the only way in which we will be able to provide these people with the help and support that they need. These people deserve our open minds and hearts. The last thing that they need is for us to conclude that Eric was a psychopath who couldn’t be saved by anybody. What kind of message do you think that sends? What do you think it tells those kids who feel the way Eric felt, who see themselves in him, who want to follow in Eric’s footsteps someday? What do you think happens to our hopes of helping these people when you say that Eric was less than human or not even human, as Dave Cullen did?

I personally chose to come to different conclusions about Eric over the past five years. And, let me tell you: that was not very hard to do. It’s not difficult to create a narrative for Eric that has a strong background in psychology and child development without straying into the psychopath-territory in the process. It’s possible to speak about Eric in the most basic, human terms you can conceive of and still have that make perfect logical sense without detracting in any way from the horrible things he did. The Eric I saw when I began my research was very angry, very hateful, and very aggressive. The Eric I see today is still all of those things. Were I to be in actual denial, I would not recognise the validity and presence of these things in him as much as I do. The only thing that has changed is how I choose to look at them. Are they all that Eric was, as the official narrative goes, or are they the symptoms of something far more complicated?

In my opinion, following the official narrative is what Eric would want us to do. He’d love it. He’d push for us to believe it every step of the way. Hell, I could even argue that he already played it up as much as he could while he was still alive. Do you really want to give Eric Harris the satisfaction of having his story be told exactly the way he wanted it to be? I personally feel he doesn’t deserve that courtesy. I think he deserves to have his narrative blown wide open, so we all get to see the insecurities, the self-loathing, the doubts, the loss, the fear, the anxiety, the rage, the isolation, the loneliness, the child behind those staring hateful eyes. He’d hate that. He never wanted us to see that and worked so very hard to avoid that we would be able to contemplate it as the truth about who he was.

It’s not overanalysing when it brings you closer to what’s true and helps other people feel heard in the process.

Per Manum Flashback #1

“Well, you need a father, of course. I can get you genetic counseling on finding an anonymous donor, if that’s what you want… unless you already have someone in mind.”
“Yeah… I, uh… I just have to figure out how to ask him.”

This is all happening so fast.

She’d only wanted to know if it would be possible. Someday. Not necessarily right now. She knew that the abduction and experimentation had left her unable to conceive, and for a long time she’d accepted her fate. But lately, since she and Mulder have become intimate, she can’t help thinking more and more about what-if. It’s led her to question the specifics of her infertility: would her body be capable of carrying a pregnancy to term if she used a donor egg, for example. Simple information gathering.

But then yesterday Mulder dropped the bombshell on her about the ova he stole from the Lombard Research Facility, almost three years ago. Actually, “bombshell” is far too sedate a word. He stole her ova, secretly had them tested, never told her when they were deemed inviable, and then kept them hidden in his freezer anyway.

But despite the odds, Dr. Parenti seems to think there’s a chance. And a time window that’s rapidly closing. Which means that “someday” just became “now.” And that means she has to figure out how to ask Mulder the question she thought she might have years to plan, if she ever had to ask it at all.

What if he’s not ready for that? God, she is barely ready, and she wants it so badly she can hardly breathe. What will she do if he says no?

What if this breaks them?

She can’t ask him in person, she realizes. If he turns her down, she won’t be able to hide her disappointment, and she doesn’t want him to feel guilted into saying yes if he truly doesn’t want this. No, he needs time, and privacy, to think it over and make his own decision. She will write him a letter and drop it off at the office.

And now she still has to figure out how in the hell to ask the biggest question of her life.

***

Keep reading

anonymous asked:

How come every time a bad guy actually gets decently menacing, people have to cut their legs out from under them by making them into a woobie? (sorry if this sounds angry)

I actually had to look up what “woobie” meant, so thanks for teaching me a new word haha. I don’t know, I always like to give my villains a reason behind whatever it is they’re doing. And people want to know, “Why is (insert villain name here) doing this?” Because it’s a decent question.

So, I give a reason that I think fits the character. For Dark (who’s the one I’m assuming you’re referring to here), I didn’t want to redeem him for this reason. I don’t want to cut the legs out from under a truly good evil character. But, at the same time, I’m insanely curious as to what the process of “redeeming” him would be.

The only way to find that out is to do it. Other people might do it because on this site we are obsessed with the cinnamon roll characters, and we will turn any character into a cinnamon roll even if it’s not even a conceivable characterization. But I’m trying throughout this process of “redemption” to remind us all that Dark is not entirely pitiable.

He’s still a jerk who makes an ailing Doc have a panic attack, who attacks Google, and who has shouting matches with a blind guy. He’s the worst, but he’s at least trying.

For now.

Y’all mind if I…..ramble about cartoon aliens for a bit

Okay, so like….I love fictional aliens. Especially when they’re used for genres like science fiction and horror. When creating an alien species, you have SO MUCH creative potential. You can make an alien look like a picasso painting, or you can make the whole species personified objects, like flowers or shapes. 

I always get so disappointed when I see an alien species that’s just rainbow colored humans. Like they look and function exactly like humans, and all they have is rainbow skin and some magic powers. That, in my personal opinion, is SO uncreative!!!! Like…you have so much potential to make a super weird and creepy monster alien and that’s all you came up with? Rainbow human? weak

Like…I don’t know if I ever mentioned this on here before, but I LOVE LOVE LOVE science fiction and horror. They are like…my favorite genres for any kind of media. I love horror novels, and I love sci-fi movies and TV shows!!!!! I especially like it when sci-fi and horror are MIXED together and you get like…an alien and robot horror stories…and other stuff like it. that’s so Good

so like…to what I wanted to talk about in this post??? The gems from SU. The Gems are like…the coolest alien species I’ve ever seen in any cartoon.

Like at first before the reveal you just think they’re angels or guardians or something like that but!!!! then it’s like THEY’RE ALIENS BITCH and!!!!!! Then everything gets cool as hell. Like you learn more about Homeworld and the Homeworld gems the more of them that are revealed they look like??? progressively more alien and like!!!!!! It’s the subtle features about them that make gems a really good alien species that could be used so well for horror stories. Like…they have absolutely no organs at all. Not even brains. Their gems are literally everything they are and their bodies are only solid projections born from light. Sure, the Crystal Gems can simulate lungs for breathing. But that’s just shapeshifting. they don’t come with them like we do. It’s the subtle things like a lack of internal organs, the lack of aging and facial features, and the strange hairstyles that confuse and unsettle you, and then it’s the huge things like fusion, shapeshifting and shattering that make you go “Woah, wait, what the actual fuck is this and how in any conceivable way does it make the slightest bit of sense?”

Like…the gems are so confusing…but I LIKE THAT. The gems are so weird and confusing, and I like that. In my mind, Aliens SHOULD be weird and confusing. Because then there’s much more creative potential for them and stories surrounding them. If you just go with the “Rainbow human” idea, then you’re kind of limiting yourself in terms of what you can do.

And the Gems are like…so creative for an alien species. At first they just look like rainbow humans and then you realize just how WEIRD they are and I LOVE IT SO MUCH!!!!!! The gems are SO COOL!!!!!!!!!!!

I’ve always like…wanted to write an SU horror fanfic because I think the gems would be so good for horror stories but I’ve never been able to come up with good ideas.

but yeah anyways i love aliens and i love the gems the gems are doing a great job at being cool and i love it

The distortion of Bicorno

I think many would agree that of all Fiore’s poste Posta Bicorno is the least agreed upon when it comes to interpretation.
Which way do the thumbs point, what is the location of the sword to the body, the relationship of the hands relative to the arms, these are all versions of the same question.
Oh by the way I won’t be giving you any definitive answers one way or the other. Let’s be honest you’ve got to be receptive enough to read this article, and maybe enough to try different things out, but to use appropriate imagery the sword is in your hand.
We have three images that are clear, to my eye, as to the positions of all those delicate bits that make the poste work and we have one image that appears as though some details have faded to obscurity, some have endured and some have been modified which calls in to question it’s accuracy.
So the two that seem most alike to me are the Novati and Paris versions. Though of course you can immediately see that the rear hands are pointed in opposite directions. 

The Novati Version

The Paris Version

But the remainder of the pictures is pretty consistent. The hands are at about the same height and distance away from the face. The blade has a similar angle to the forearms. The elbows are close together. Pretty close. We’ll look at the Morgan next and see that while we can’t evaluate hand positions we can look at those other characteristics and see the similarities. 

The Morgan Version

But you can’t tell what’s going on with the hands in my opinion.

That makes the Getty our outlier.

The Getty Version

Very different.  The sword is pointed much higher, the rear hand is at about shoulder height and it seems as though the sword is almost in alignment with the right forearm, which makes it pretty hard to get the elbows close together. I tried it and I feel pretty foolish right now.  

So now it’s time to show you my attempts at these poste with my handy dandy indoor cheapo sword simulator. 8 )

So this looks pretty similar to the Getty right? I mean besides the gingeriness…gingeryness…? anyway they’re pretty close biomechanically.  Except for that back hand.  There is either a perspective problem, which is possible that the artist didn’t correctly account for relative body positioning or chose to alter the perspective of one location to communicate different information.  But basically you don’t see lines in the back of my hand.

Like you do in these two.  For the first of the two modified grips I’m just barely holding onto the end of that mallet and don’t have a firm grip.  In the second one I’ve kept my grip but rotated my hand around, so that those lines appear, but to do so my wrist is severely bent and is really uncomfortable.  Oh and I did those grip modifications from the Paris positioning because doing them from the Getty was practically agony.  So the Getty is pretty much nixed in my opinion because you can’t get the left hand to have any fingers without doing something stupid to your grip.

Which means the Paris version is also out of the running because of that same difficulty of producing finger lines.

But turn the hand so that both thumbs can point in the same direction and you’ve got something that well could resemble all of the manuscripts.  Though I suppose I should be holding my hands a bit higher.  Oh well no poste is ever perfect.

I apologize, I definitely presented the information in a way that shows my preference for Posta Bicorno to be performed.  But I feel as though my imagery makes sense.

But there is also the dynamic portion of the guard.  Comparing the thumb forward or backward grips of the back hand what are the effects on transitioning into and out of the guards, what ranges forward, backward, across the body and up and down do you have in each, what strikes can they perform?

Whell… The transitions to me feel that they take about the same amount of time, but the difference between them is that when reversing the hand you end up having only the thumb of your back hand in contact with the hilt for a moment.  Not a long one.  But it’s one I’m not comfortable with.  The range of motion for the two versions is pretty similar except that the reversed hand can go all the way up to a left finestra/ochs position without changing grips which is pretty cool.  Strikes are pretty different right off the bat though.  Both thrust straight forward without problem.  The reversed grip can do that upper left thrust way better.  And any cut that you feel like you can conceivably make feels about the same.  But that’s while I’m cutting air… Don’t ask me what my cut would look like through a slightly resistive medium as my left hand reverses.  It would not look pretty.  

All in all its up to you.  Look at the pictures.  Play with your Poste and have fun.

Cheers

PS I’m pretty certain the Edel Krieg is Posta Bicorno too.

Procreation

Prompt by the Tumblr user @a-kabby-k;

“AU Post 1x09, After the Exodus’ disaster, about 150 people survived and found a way to repair the Ark. They don’t know if the 100 are still alive, so the council decided to do what it takes to ensure that the human race will survive and edicts a new law: Each person between eighteen and fifty years are obliged to have a new child.”

Much thanks to Lydia @charmingly-evil for all her help.
Unbeta-d. So beware.

FF.net    AO3


“Hello Jaha. Yes, our consummation date is scheduled for today.”

“I know, I was just checking in to make sure you have everything you need. How are you feeling?”

“How do you think?” Abby rolled her eyes and balanced the phone between her ear and shoulder before grabbing up her plates and taking them to her makeshift kitchen. Her room was devoid of any sound. Her husband was floated first then her daughter was sent down for a suicide mission.

“I know that we’re asking a lot from you,” Jaha spoke from the other end of the line. “But I would like to thank you for doing this. I know how difficult it must be for you, especially with Kane….”

“I’m not doing this for you Jaha, I’m doing this for our people, for the Ark.” she mumbled as she turned on the faucet and watched the cold water rain down on her dirty plates in the sink. “I can’t believe it’s come to this. It’s funny, isn’t it? Our ancestors had fears that we would over populate the ark. Never would they have imagined that we’d have the opposite issue.”

“You’re right, that’s why we’re all doing it.” Jaha, the voice of the reason, kept talking. “I should be seeing Callie tomorrow.”

“I just find it idiotic how I’m stuck with Kane.” Abby sighed and leaned back against the counter. “When there are plenty of other men on the Ark…”

“Abby, we’ve been over this. You two are-“

“Genetically compatible, yes I know.” She looked down on the ground. Did she even have a choice?

She swallowed before making her way to the bathroom, switching the phone from her left ear to the right. On the other end of the line, Jaha continued. “It is necessary for the survival of the human race.”

Abby had heard these words before. Yes, she had been hearing the Chancellor repeat them over and over again for the past couple of the days, ever since the Exodus Accident. Too many people were lost, thanks to Diana. If they weren’t careful, the humanity was going to become extinct. Abby understood the consequences. This was Jaha being careful.

“We need to repopulate the Arc.” Jaha spoke.

Keep reading

Planet Dancetime: Social Skills and Functioning Labels

If you’re allistic, it might be difficult to imagine what life is like for an autistic person. That can make it difficult to write from an autistic perspective. In order to help facilitate understanding, I, Mod Aira, have come up with an extended metaphor that I hope will be helpful. This is the first in a planned series, and it will cover some of the basics of social interaction as well as the harm that functioning labels do.

Please note that this series is written from my perspective and according to my personal opinions and experience. It will not necessarily reflect the reality of all autistic people, but it is one authentic perspective.

Imagine that tomorrow, you wake up on another world. It’s called Planet Dancetime. The people there look just like humans, except their social rules are insane. They do a complicated dance while they talk to each other, and all communication is carried out in this dance-talk. At first, you can’t make any sense of it, but slowly you start to puzzle some of it out. When you speak to a woman, you have to stand on your right foot the whole time. When you speak to a man, you have to stand on your left. If someone is non-binary, you have to stand on your toes. You also have to touch the shoulder of the person you’re talking to every ten seconds exactly. If you don’t follow this rule of *precisely* every ten seconds, you’re being very rude. When you’re telling a happy story, you have to wiggle your shoulders, starting with the right side and working your way left. Sad stories are the opposite. For *angry* stories, the wiggle is in the eyebrows. You also have to indicate your emotional state and age at the time the story happened by a complicated motion in your fingers set to a specific beat, and your *current* emotional state by the particular angle at which you hold your elbows and wrists.

There are still countless other rules here, more than you can figure out. The Dancetime people are constantly making strange gestures and movements. The crazy thing is, it seems to be effortless for them. How can they possibly keep track of all these rules? You decide to ask someone.

The response is not positive. You get the most disdainful look you’ve ever seen, and the explanation, “It’s obvious. Just use common sense.”

Well that isn’t helpful. How could they possibly conceive of this system as being obvious? And if it’s so simple, then why can’t they explain it?

At long last, you come to an epiphany. Of course this system isn’t simple. In fact, it’s so complicated that the only way for them to manage it is for their brains to handle it subconsciously. A massive amount of their brainpower is devoted to decoding, remembering, and carrying out all these convoluted rules. And their bodies are naturally conditioned for it, too. They can stand on one leg for hours without any effort – it’s just the way they evolved. But you can’t. Your brain is busy doing other important things that these people hilariously can’t do (more on this another time), and it’s not about to take over all those extra responsibilities now. You have no easy options, and you’re stuck here now, so you have to make a choice.

Option one is to say – hell with it. Maybe you just don’t have it in you to do this – you just can’t get your head around it, and it’s impossible for you. Maybe you have a physical issue that prevents you from dance-talking, or you just don’t have the type of memory required to learn dance moves, or the multitasking ability necessary to count and talk at the same time. Or maybe you just decide: I’m not going to bother with their stupid rules. I’m going to stand on two feet when I talk, and I’m not going to count to ten silently in my head while I’m talking so I can time the shoulder-touches properly – I mean, who could even do that? I’m just going to be me, and they’re just going to have to deal with it.

This does not go well for you. When you fail to follow their dance-talk rules, these people freak out. Some of them are angry – how dare you insult me with your non-dance body language? Even worse, it turns out that some movements that you make entirely naturally which have nothing to do with conversation, or some aspects of your normal, natural body language, are actually grave insults in dance-talk. You can’t figure out which things you’re doing which are so wrong, and no one will explain it to you. Many people think you’re extremely rude. But some of them are scared or worried and are determined to figure out what’s wrong with you. You are quickly surrounded by “experts” who want to help you. After all, you couldn’t possibly survive without the ability to dance-talk. You obviously suffer from some kind of hideous disorder. You try endlessly to explain that you can talk just fine without the dancing, that there’s nothing wrong with you, but they won’t have it. If you talk without the dance moves, they ignore everything you say like it’s some kind of incomprehensible babble. If you can’t dance-talk, then you obviously have a disability, and you need to be cared for. You’re obviously not intelligent enough to communicate, so you’re automatically not intelligent enough to care for yourself. You wind up in an institution with the others who have been diagnosed with “low-functioning human disorder”, also known as “severe humanism”. The nurses look at you with pity in their eyes and don’t bother talking directly to you. You hear them talking (as though you’re not there) about the tragedy of your extreme human-ness, how terrible it must be to live that way, and what a burden you are to those around you. You try to scream: it wouldn’t be terrible if you’d just leave me alone! But your screams, lacking their accompanying dance moves, fall on deaf ears.

So let’s consider the other alternative. You can try to puzzle out the dance-language and see if you can fit in well enough to get by. Not everyone has this option – I mean, the dance-language is obscenely complicated, after all. But maybe you’re one of the lucky ones. Maybe you have a good memory for movements and are good at figuring out or guessing when to use each one. So you give it a shot. And after a lot of trial and error, you start to find some success. Your dance moves are still a bit off, and you get funny looks pretty frequently. Eventually, you get “diagnosed” with “high functioning human disorder” and told you should be fine as long as you put in enough effort. You ask that maybe someone teach you some of the dance moves, and you are rudely dismissed as being lazy or pretending to be disabled so that you can get more attention.

This is the same reaction you get every time you make a mistake. And of course, you will always make mistakes. There will always be days when your legs are simply too tired, and you have no choice but to stand on two feet for a while. Sometimes, when you’re trying to talk about something, you just can’t spare the brain power to count to ten over and over again, and you miss a few shoulder-touches. Sometimes you’ll get the wrist and elbow angle just slightly wrong and give entirely the wrong tone to a conversation. And sometimes you encounter a social situation you’ve never learned the moves for, and there’s no possible way for you to do it right.

Every single mistake is met with indignation. How dare you insult us that way? You apologize and try to explain that even though you’re pretty good at it, this dance-talk still doesn’t come easy for you. It doesn’t help. Your explanations are written off as lazy excuses. Everyone knows you are perfectly capable of using dance-talk. You do it all the time. The fact that you’re not doing it now obviously means that you are doing it on purpose. You are intentionally insulting those around you, and they don’t appreciate it.

The looks, the stares, the muttered insults, they eat away at you. You are doing your best, damn it. You are doing infinitely better than should ever have been expected of you. You put so much energy into the most basic conversations, you don’t even have enough left over to care for yourself. You haven’t been eating well, with no energy to cook. You suffer from constant anxiety – fear of the next mistake – when (not if) will it happen? How will they react? But no one appreciates that. No one helps. No one explains the mistakes you’ve made – and usually, you have no idea what you’ve done wrong. You’re expected to just figure it out on your own, and are punished for each misstep, because damn it, you might be technically human, but they’re not about to let you use your humanness as an excuse for rude or lazy behavior.

You feel the constant underlying threat all the time: if you can’t dance-talk like the rest of us, if you stop trying or make too many mistakes, then we’ll change our minds about you. We’ll change your diagnosis to low-functioning human disorder, and stick you in the institution with the others. We’ll never speak to you again. We’ll never look at you as a person again. You’ll just be a lump of flesh that we have to feed and bathe. So you’d better try harder.

The best case scenario you can hope for is that people will find out you’re human and say, “Oh, wow! You barely look human at all! You should be so proud of yourself.” Human is an insult. Not human is a compliment. That’s the world you find yourself in now. And sometimes you start to wonder – are they right? Is being human really a disability? Is there something wrong with me? Now you can add a fight against depression to the list of things you have to deal with. There are days when you wonder if the effort will ever be worth it. You feel hopeless and lost.

All because dance-talk doesn’t come naturally to you.

Now, disclaimer, here: this is a simplified analogy of how functioning labels can feel, and the ridiculous basis on which they are assigned. The reality is a little more complicated and there are more factors, some of which we’ll explore later. And as always, we repeat: everyone’s experience is different, and not all experiences are reflected here. This story is designed to help those who are not autistic start to understand what life is like for those who are. This really is how it feels for a lot of people, myself included. These are the choices I feel I have. I can relax and give up and just be “me” without apology, and then I am liable to lose everything – my job, my friends, my life. Or I can try to fit in and act like the others, at an enormous energy cost, and often not have the strength left over to take care of myself. They call me “high functioning”, but they’re ready to take that shiny little badge away at any moment – and they would have taken it away long ago if they saw how I am at home at the end of a stressful day.

A far, far better situation would be to do away with the functioning levels entirely. Judge each person based on their individual attributes, and try to understand that under other circumstances, they might be very different. Sometimes I can talk, and sometimes I can’t. Acting “normal” takes a lot of energy, and sometimes I don’t have enough left to do it. But I’m still able to live independently, and still have many strengths and abilities – many that “allistic” people typically do not have.

So please, when you’re thinking about writing an autistic character (and good for you! hooraaaayyyy!!!!), don’t think of them in terms of high- or low-functioning, in terms of “severe” or “mild” autism. Instead, think of a list of traits, what they’re good and bad at, what comes easy and what doesn’t. Your character is as individual as you are.

Happy writing!

-Mod Aira

anonymous asked:

i think that CS is the second biggest problem in OUaT, the first would be all those random characters that appear only for 10 episodes and then leave. The show spends so much time on them and then they just disappear. I mean OUaT has some main characters and then guest stars,there is almost nothing in between .Therefore the leads have no friends or basically no one outside of the family. All these hit me when Regina and Snow took Emma out for drinks .Emma's only friend is Regina, Snow's only 1/2

2/2 friend is Regina, Charming’s only friend is well again Regina .So all i wanted to say is that they could use some of the guests in that way. For example Tink could have been Regina’s friend outside of the family, Ruby could still have scenes with Snow , some prince could have been Charming’s buddy. Why the hell are they bringing people that don’t stay? I swear i have never seen this before

True. Captain Swan is just a side-dish, a result of severely lacking writing, simply put. Because some writers are plot-first novelists, others are character-first novelists. And Brothers Dim (and their little team of wannabes) are neither. I mean, they were apparently good at ‘hero essence capturing’ (which is in every writing manual that talks about archetypal characters, and they’ve only been developing S1 for like… a decade?) in a way of showing basic understanding of the inner workings of a solid hero, you know–how to show what is at their main character’s core. And it worked really well in S1 where there was basically a lot of exposition and more of a setup for character development that was supposed to ensue, you know–from S2 onward?

Only it didn’t. So if we’re talking about main characters, they had some start/stops (and first more serious inconsistencies) with Regina, Emma was just more solidified in her basic conflict, while with Rumple they clearly had no idea what to do with (which direction to take him in, but then when he ‘had’ his son back…they completely screwed it up by not going there, at all) and there was literally no development with Snow and David (between each other, only a little bit with their daughter) apart from a shitload of flashbacks which were now not background–but just basic, instant exposition for these new random pointless characters. And that was just season two. After which, it only got worse. Because if that’s how they write main characters (at this point there’s absolutely no consistency, as everything’s plot driven–and all plots are shallow and vapid and deus ex macguffin resolved?) what can we expect for the side-characters? The guests that you mention, that honestly no one gives a rats ass about because we all know that they’re there just for that episode’s plot purpose–and never anything beyond? When they for instance already had so many great characters (Ruby, Archie, Kathryn, Ashley–basically ANY conceived and left completely unused after the very first episode that gave their exposition) that they did absolutely nothing with, really?

So at this point a lot of us are still hung up on foundation of the story, and the… squandered potential, really. Like say, Swan-Mills family (as the three of them always had that link, and developments that are the only ones that still make sense), the way they were despite horrible character digressions and regressions (the focus on the family, rather then Emma’s and Regina’s atrocious ‘romantic’ choices) and… why we either lament the loss (“where’s Emma Swan, she disappeared seasons ago?”) or fanwank and fix it (”fancifiction does it better”). While in reality, we have just too much convoluted stuff (plot wise, I’m not talking about characters being degraded and rendered beyond recognition in OOC-ness like Emma has been, for purposes of romantization of her boyfriend), a lot of running on spot, way too many insipid dialogues and scenes that only serve to engage the audience through action. With very little essence, and development. Now, a screenwriter can write these stereotypes but then it’s up to the director, the casting director and the actors to give depth to otherwise flat characters. So the screen-writer might write a generic fop character and get away with it if the rest of the process adds up, and you get a better result? It is a two-fold process that can help them turn the literary characterization of their leads into explosive material, but…

OUaT has been horribly flat in that department for way too long now, so is it any wonder if we wonder at what point have they given up trying–and why?

“If there were a body, just one single ball, with no surrounding space, there would be no way of conceiving or feeling it as a ball or any other shape. If there were nothing outside it, it would have no outside. It might be God, but certainly not a body! So too, if there were just space alone with nothing in it, it wouldn’t be space at all. For there is no space except space between things, inside things, or outside things. This is why space is the relationship between bodies.

Can we imagine one lonely body, the only ball in the universe, in the midst of empty space? Perhaps. But this ball would have no energy, no motion. In relation to what could it be said to be moving? Things are said to move only when compared with others that are relatively still, for motion is motion/stillness.

So let’s have two balls, and notice that they come closer to each other, or get further apart. Sure, there is motion now, but which one is moving? Ball one, ball two, or both? There is no way of deciding. All answers are equally right and wrong.

Now bring in a third ball. Balls one and two stay the same distance apart, but ball three approaches or retreats from them. Or does it? Balls one and two may be moving together, towards or away from three, or balls one and two may be approaching three as three approaches them, so that all are in motion. How are we to decide? One answer is that because balls one and two stay together, they are a group and also constitute a majority. Their vote will therefore decide who is moving and who is not. But if three joins them it can lick ‘em, for if all three stay the same distance apart, the group as a whole cannot move. It will even be impossible for any one to say to the other two, or any two to the other one, “Why do you keep following me (us) around?” For the group as a whole will have no point of reference to know whether it is moving or not.

Note that whereas two balls alone can move only in a straight line, three balls can move within a surface, but not in three dimensions. The moment we add a fourth ball we get the third dimension of depth, and now it would seem that our fourth ball can stand apart from the other three, take an objective view of their behavior, and act as the referee. Yet, when we have added the fourth, which one is it? Any one of them can be in the third dimension with respect to the other three. This might be called a “first lesson in relativity,” for the principle remains the same no matter how many balls are added and therefore applies to all celestial bodies in this universe and to all observers of their motion, wheresoever located. Any galaxy, any star, any planet, or any observer can be taken as the central point of reference, so that everything is central in relation to everything else!

Now in all this discussion, one possibility has been overlooked. Suppose that the balls don’t move at all, but that the space between them moves. After all, we speak of a distance (i.e., space) increasing or decreasing as if it were a thing that could do something. This is the problem of the expanding universe. Are the other galaxies moving away from ours, or ours from them, or all from each other? Astronomers are trying to settle the problem by saying that space itself is expanding. But, again, who is to decide? What moves, the galaxies or the space? The fact that no decision can be reached is itself the clue to the answer: not just that both the galaxies and space are expanding (as if they were two different agents), but that something which we must clumsily call galaxies/space, or solid/space, is expanding.

The problem comes up because we ask the question in the wrong way. We supposed that solids were one thing and space quite another, or just nothing whatever. Then it appeared that space was no mere nothing, because solids couldn’t do without it. But the mistake in the beginning was to think of solids and space as two different things, instead of as two aspects of the same thing. The point is that they are different but inseparable, like the front end and the rear end of a cat. Cut them apart, and the cat dies. Take away the crest of the wave, and there is no trough.

-Alan Watts, THE BOOK On the Taboo Against Knowing Who You Are

Take a lump of sugar. It has a spatial configuration. But if we approach it from that angle, all we ever grasp are differences in degree between that sugar and any other thing. But it also has a duration, a rhythm of duration, a way of being in time that is at least partially revealed in the process of its dissolving, and that shows how this sugar differs in kind not only from other things, but first and foremost from itself. This alteration, which is one with the essence or the substance of a thing, is what we grasp when we conceive of it in terms of Duration.
—  Henri Bergson

anonymous asked:

Why do you headcanon Rhaenys as Arthur's child? I'm not saying it's a bad headcanon btw just curious.

Oh, there’s no real factual basis.

But you can blame it on @lyannas​ and @cosmonauthill​ because it probably wouldn’t have ever even crossed my mind (or Arthur/Elia as a pairing period) if I hadn’t read these fics. So yeah, it’s their fault.

Here’s my basic thought process though:

  • I am all about angst and this is chock full of it.
  • I hate the prospect that Rhaegar was Elia’s only love interest. Like, she was Dornish and a princess and gorgeous; no way did she not get some premarital action.
  • (Besides which, Rhaegar was almost certainly a virgin on his wedding night, and we have no indications that he was a particularly passionate person, so for Elia’s sake I sure hope she got some nice Dornish D in before that massive downgrade.)
  • Rhaenys is said to look like a Martell and according to Aerys she “smells Dornish”–maybe the reason she looks completely Dornish is because she was completely Dornish. (Yes I know Baelor Breakspear was half-Targ yet looked Martell but SHHH.)
  • I think Elia and Arthur were very much a thing when they were younger and normally it might actually work out long-term since the Daynes are historic, Nymeria herself chose a Dayne as her third husband, and Elia wasn’t the heir. But we know the Princess of Dorne was ambitious and clearly wasn’t keen on a Dornish match (Starfall was the only place in Dorne they visited, and that could have easily been about a match between Oberyn and Ashara or something), and Arthur was only the second son of a vassal house, so she wasn’t about to let that happen. Arthur knew it and so joined the Kingsguard to be out of Elia’s way and give himself purpose or whatever other stupid noble reasons.
  • We know Elia and her escort were set upon by the Kingswood Brotherhood, which to me works best if it was when she was on her way up from Sunspear to KL about a month before her wedding.
  • So, former lovers + Dornish tempers + not seeing each other in years + unresolved issues = a (lbr, very very excellent) night of fun, or several
  • Even if Rhaenys were Rhaegar’s daughter she’d have most likely been conceived on, or at least shortly after, the wedding night since she was born the same year Rhaegar and Elia married, she was “two or three” when she was killed and obviously was old/strong enough to repeatedly kick Amory Lorch so voraciously that he stabbed her 50 times.
  • So. Sex a couple weeks before the wedding, which in a world without ultrasounds or pregnancy tests would have been close enough to not be all that suspicious (after all, babies aren’t even termed premature unless they’re before 37 weeks) and presto, lil’ baby Rhaenys.
  • Arthur’s stint as a Kingsguard was probably not all that great of a time for him considering all the racism and abuse and Aerys/Tywin in general, and I like the idea of him actually having something unimpeachably good in his life. Similarly, I like the idea of Elia having a child conceived out of love, not just duty.
  • When asked about Arthur being perfect, GRRM said “keep reading,” so while that’s probably only referring to the fact that we don’t hear of Arthur raising any objections to Aerys’s atrocities, I’m using that in any way I can get it.
  • As a girl, Rhaenys wasn’t set to inherit the Iron Throne, so it’s not like her not being a Targ messes up anything dynastically.
  • Last, but not least, fuck Rhaegar that’s why.

The best part is that GRRM cares so little about Elia and Rhaenys that it’s all but guaranteed he won’t ever reveal any information about them that would unequivocally disprove this.

anonymous asked:

no offense to anyone but aside from shipping jon with someone else (i like jonsa but i'm not a hardcore shipper) i cannot see jon and danielle together at all. i really don't understand what jon would see in her, they're total opposites and not in the good, "opposites attract" kind of way. kit and em*l*a would have to have a shit ton of chemistry to make up for that, which i doubt. sorry for venting but i'm so frustrated with this whole danielle x jon bs we'll have to witness

It’s absolutely okay, Anonny. Vent away! That’s what I’m here for <3 

And I agree. I find the idea of Jon3rys just to be too disastrous as a narrative plotline. Like you said, Jon and Dani are complete opposites. I use to think they were similar in that they were both very emotionally driven and not pragmatic enough, which I still agree to some extent, but the more I’ve thought about it the more it’s become obvious to me how different they are. They both have vastly different goals and vastly different moral compasses. 

While Dani is happy to sentence someone to their death via a third party (and in rather gruesome torturous ways), Jon believes firmly in the honour of being the one to swing the sword and he takes no pleasure in any of it. While Dani demands loyalty through fear and intimidation, Jon asks for it and inspires it. While Dani wants to rule and be worshiped through any means necessary (blood and fire), Jon never wanted to rule and only took up the mantle of king to keep his people safe. 

I’m of the opinion that opposites do attract and can work so long as their moral compass and future goals align. They can be as different as night and day but if they both want the same things then all the obstacles in their path can be overcome. Jon and Dani aren’t just opposites in personality, but they’re opposites in every other conceivable way. 

And narratively speaking, Jon3rys doesn’t make sense as an endgame couple. If the leaks are true, Jon bending the knee to Dani and having a sexual tryst with her will undoubtedly lose him the North. Not just his title, but the trust of his people, friends and family. Like he said, the North is apart of him. If he loses that, he loses apart of himself. Whereas, Dani gains everything she wants. The power imbalance already in this relationship just spells disaster in the long run. You can’t start out a relationship where someone has it all and the other has to sacrifice everything they hold dear to be with them. Nothing good comes out of that. Trust me. 

I don’t know. I can see the appeal of Jon3rys in an AU sort of way. The concept is definitely romantic, but by the way the story has progressed and the way these characters have grown, who they are right now and where they want to go from here on out, it just doesn’t make sense. 

At least imo it doesn’t.

Haunted and Hunted Chapter Three

Chapters: 1, 2, 3, 4, 5               AO3 Link

AO3 is highly advised due to Tumblr having formatting issues.


Magi Hurtzog,

Please excuse the primitive nature of this notice. Conventional means of communication are to be assumed compromised.

We are contacting you with an offer we believe to be of special interest to you. A creature, one you’ve expressed significant interest in facing in the past, is in a position of extreme weakness. This window of opportunity will be very short lived, and it is paramount that the situation be contained and controlled before it closes.

We are willing to pay tenfold your normal rate for taking care of an S-class entity.

If you wish to pursue this opportunity, please get to the coordinates on the back of this sheet as soon as you are able.

Thank you for your consideration.

 

“I think I’m picking up on something,” Renee said, the dowsing rod she made tugging on her arms gently.

“Oh, is it the river?”

“Vin, this points to food, not water.”

“Could it point to the river anyway? I still really want to see a river.”

“Sure, we’ll just eat the river.” She flicked her wrist. “It would sustain us for at least the time it would take us to get caught for hanging out somewhere that exposed.”

“Oh, hold the phone, Renee.” Vin stopped walking and put a hand to his forehead. “I’m getting some future vision going down. We gotta go to the river, or uh, we’ll like die or some shit. So I’m cool either way but I figured maybe you might want to head riverward?”

“How could I ever manage without you?”


Keep reading

(Image credit: U.S. Navy)

Look at that picture and consider the question.

Why are there mountains at that part of the ocean but not in most of the others?

Hot spot? Oceanic ridge?

The answer is because that’s the only spot where a ship’s been.

72% of the Earth’s surface is below the ocean. Most of the Southern Hemisphere hasn’t been explored however and according to geophysicist Robert Ballard, “There are only ever four or five people on the ocean floor at any one time.”

People played golf on the Moon before anyone entered the single largest feature on our own planet, the Mid-Ocean Ridge which covers almost a quarter of the planet.

It’s remarkable that there are people conceiving of ways to colonize other moons and planets and yet where are all the ocean colonies?

Most of the planet doesn’t get touched by Sunlight. At the deepest parts of the oceans, sunlight cannot penetrate and yet life thrives there, living off of chemosynthesis and the heat from the Earth’s core. These same conditions could enable life on Europa and Enceladus.

The National Oceanic and Atmospheric Administration (NOAA) is America’s other exploration program (NASA’s sibling). One year of NASA’s funding (which is not a lot) could fund our entire oceanic exploration program… for 1,600 years.

Earth is a planet in space. It would do us well to remember this. There’s still so much to learn from our mother planet, why spurn these valuable lessons?

anonymous asked:

Can you explain cup fire?

Of course, it’s very simple .w.

In 1855, Rollin White patented revolver cylinders with chambers running completely through it, much like any modern revolver is conceived today. This patent would only expire some twenty-or-so years later, with Smith&Wesson owning exclusive rights, meaning no one but them could manufacture metallic cartridge revolvers for all that time, unless someone found a way around it.
The cupfire cartridge design was one such way. A cupfire cartridge was in conception almost identical to a rimfire cartridge, except that the rim containing the priming mercury fulminate formed the edge of a depression in the brass’s base, as pictured below.

A .28, three .30 and one .42 cupfire cartridges. These measurements referred in fact to the base’s diameter, the calibers being respectively .26, .28 and .39. This choice of denomination will be justified below.

This peculiarity was itself due to the cylinder’s design. Rather than completely bored through, each chamber would have a slight step near the rear of the cylinder, reducing its diameter by a few millimeters. This small step will then stop the cartridge when loaded through the front, and keep it seated just short of the rear end of the cylinder. In a completely bored-through design a cupfire cartridge would simply slip through.

Loading a Merwin and Bray 1st Model revolver - here with blanks.

The hammer, curved sort of like a hook, would then reach inside the cylinder to strike the inside of the cup’s rim where the mercury fulminate is located.

The same gun, showing the cylinder rear-up and the unique shape of the hammer, designed to hit beyond the stopping rim of the cylinder.

Cupfire cartridges weren’t necessarily that hard to manufacture but with revolvers being held pointing down most of the time this design was not ideal as nothing much was stopping the rounds from sliding out, and it faded out in favor of rimfire and centerfire firearms as soon as Rollin White’s patent expired.

I hope this helped .w.

But as for the Valar themselves, and the Maiar also in their degree: they could live at any speed of thought or motion which they chose or desired.*

* They could move backward or forward in thought, and return again so swiftly that to those who were in their presence they did not appear to have moved. All that was past they could fully perceive; but being now in Time the future they could only perceive or explore in so far as its design was made clear to them in the Music, or as each one of them was specially concerned with this or that part of Eru’s design, being His agent or Subcreator. In this way of perception they could foresee none of the acts of the Children, Elves and Men, in whose conceiving and introduction into Ea none of the Valar had played any part at all; concerning the Children they could only deduce likelihood, in the same way as can the Children themselves, though from a far greater knowledge of facts and the contributory events of the past, and with far greater intelligence and wisdom. Yet there always remained an uncertainty with regard to the words and deeds of Elves and Men in Time not yet unfolded.
—  Tolkien, J. R. R. The History of Middle-Earth X: Morgoth’s Ring. Ed. Christopher Tolkien. (London: HarperCollins, 2002.) 425. (Myths Transformed, Text XI, “Aman"

When you actually start to study sociology and the deeper implications of political ideologies on society, it only becomes all the more preposterous to argue that the political right-wing has ever represented anything akin to “freedom for the individual” or “liberation from tyranny”. The right-wing overwhelmingly subscribes to a structural-functionalist view of society, even when they aren’t explicitly sociologists. They argue that the various institutions and classes in society each fulfill a particular function for the maintenance of the larger whole – this includes the dispossessed doing “the dirty work” and the powerful “providing stability”, a sort of class-collaborationist idea that people should shut up and internalize their place. Men and women each fulfill particular roles, poverty serves a purpose of keeping many other institutions in business, and pyramids create order as long as everyone fulfills their destined role in society.

And it’s not just traditionalists who argue from this perspective – of course right-wing “libertarians” jump on this train too, despite all their claims of supporting the underdog. Inequality of power is absolutely fine as long as there’s an implicit social contract of order and an external facade of “individual liberty”. Consider right-libertarian Milton Friedman’s interview where he spoke about all the ways in which production “came together” across the world to generate a tiny pencil he was holding – no mention of the imbalances of power across that line, no mention of social conflicts or historical context that laid the material foundations therein; just pure, unadulterated structural-functionalism, a “harmonious collaboration” of many different cultures and classes that resulted in a useful tool he could write bourgeois propaganda with.

And that last bit is important, for at that point we jump into conflict theory, the branch most oppositional to structural-functionalism. Very much shaped by Karl Marx, this branch focuses on those various classes and institutions, and it takes on the radical position that they are at conflict with each other (as the name suggests) due to an inherent power imbalance; the dominant classes utilize every means at their disposal to structure society in their interests and to dispossess the subordinated classes. The dominant classes control the means of economic and social reproduction, while the subordinated classes “do the dirty work” of laboring within those utilities. THIS is the sociological school that represents genuine “freedom for the individual” and “liberation from tyranny” – after all, it actually acknowledges that tyranny exists and oppresses the underdogs, whereas SF theory attempts to smooth out those tensions and advocates an insidiously crypto-fascist class-collaborationism. Once you start arguing that poverty exists for a reason and that it OUGHT TO EXIST for that reason, or start arguing that order only prevails because ruling classes exercise command at the top (whether that be a head of state or a capitalist at the top), you drift into dangerous territory.

“Traditionalists”, right-wing libertarians, and fascists all base their political ideas on that structural-functionalist view of society – everyone needs to know their place, inequality of power is good, and “order” takes precedent over justice. If you refuse to acknowledge power imbalance in the inequality of resource access, then you are not “for the underdog” in any conceivable way; you stand up for an unjust system that wears different masks depending on the consciousness of the oppressed – under normal circumstances you’d like the neoliberal status quo, but if the dispossessed get “uppity”, you’re more than happy to utilize state repression to push them back into their functionalist “role”. This is why you see overlap between “small government” right-libertarian “minarchists” and full-blown fascists in a lot of circles – it’s at this intersection that they recognize the systemic role of capitalism, the state, and class society as a whole. Class conscious conflict theory is the best counter to all of this.

This is why we study sociology.