probably because this order is wrong

Hating kids

ok so I don’t get this trend of “hating kids”. It’s all over social media, everyone talks about how disgusting and annoying kids are and that kids are their “pet peeves” and so on. Let me talk about this once and for all.

  • It’s ok:

- not to want kids of your own
- not wanting a career that involves kids
- not wanting to spend lots of time with kids of family/ friends
-feeling uncomfortable when being surrounded by kids

  • It’s NOT OK:

-to be rude or showing that you’re annoyed to kids or parents. It’s hurtful and makes people (big or small) feel bad about themselves and their families
- talk to kids like they’re stupid. Kids quickly pick up on things and it messes with their self-esteem
-to be a dick and talk shit about kids. Other people might not share your opinion and get hurt
-expose kids to inappropriate language/ tv/ etc just because you don’t care

  • please remember:

-that you were a kid once too
-that kids have done nothing wrong and the hate is growing within yourself
-if you work with kids or in a school, being annoyed and rude to them will make them hate school and possibly screw with their future
-working with kids in general if you don’t like them
-that everyone has to be a kid in order to grow and become an educated adult
-that there are old people that are probably annoyed by you and your actions and noises as well
-that all kids are different and deserve to be treated as beautiful individuals
-that all kids deserve a smile back, a friendly ear and help if they ask you to.

Don’t be a dick to kids, it’s not cool

let me help you fall in love with tanaka’s character (i’m gonna cut some parts from the first volume of the manga).

this is tanaka ryunosuke. he appears for the first time in the manga on vol 1 . he’s a second year and as you can see, he’s got that delinquent boy look going on. oh, and you’re gonna see that facial expression a lot, it’s his signature. it’s meant to intimidate people, but, no, just no, it’s hilarious af. 

guys, guys, guys, tanaka is a dork. we love dork characters, right?

he’s so simple minded. he’s just like bokuto. i’m dying.

whether you’ve watched the anime or you’re reading the manga, you probably know that the weird duo knocks off the vice principal wig, leading to daichi kicking them out of the gym. this scene is right before any of that happens. daichi is trying to talk to hinata and kageyama, but they’re just too absorbed in arguing that they do not hear him. tanaka is scolding them because daichi san is talking. he respects the third years a lot and wants the first years to respect them as well. we love respectful characters, right?

and here is the part where i start talking about how good of a senpai (and a person) tanaka is. this guy wakes up at 4 to let those two practice in the gym without daichi knowing (heh). this is obviously not the only time tanaka looks out for his kouhais. there are so many scenes in which you can see tanaka taking care of the kids. my favorite one? it’s probably the one from the OVA. if you still haven’t watched it, go watch it, because if you still think that tanaka’s nothing more than a funny gag, you’ll understand that you’re wrong. so wrong.

he is such a caring person. karasuno, his teammates mean so much to him. when hinata and kageyama don’t pass their exams, they need to re-do it, but in order to practice with the others in tokyo they need a ride. in the OVA you see tanaka asking his sister if she can do this favor for him, at first she tells him no because it’s an at least four hours drive, but then she sees her brother counting his savings. guys, guys, guys, here me out, tanaka’s willing to use his own money for hinata and kageyama. unfortunately he doesn’t have enough, but do you know what he does to provide a ride for them? he kneels in front of his sister and begs her. and he did not tell anyone how hard it was for him to provide a ride for hinata and kageyama. y’know, he deserves being called tanaka senpai by everyone everyday of his life, tanaka is the man

but this, this is probably what i like the most about him. this is just an example, okay? here we have tsukishima, telling them about kageyama’s nickname. tanaka has never liked people talking shit about others. look at his expression, he’s mad. he’s gonna scold tsukishima, but daichi stops him. this happens not a lot, but a shit amount of lots. tanaka is always ready to shut up people who belittle others. he steps up for kageyama, he is always there for hinata, he’s always ready to say “no, don’t say that you’re great” whenever someone is self depricating or he’s ready to fight whenever they talk shit of his friends. he’s such a good character, guys. 

(oh, and have i already told you how strong this person is? when oikawa’s targeting him he puts himself together. all by himself. most players wouldn’t be able to do that, they’d be so down because they’d made a lot of mistakes, but tanaka? not tanaka, bitch. tanaka is stronger than that. tanaka is better than that. tanaka slaps himself and receives that powerful serve.)

tanaka is in my top 5 favorite haikyuu characters and now you kinda know why. i think there’s so much more i need to say, but this post is getting too long. but please, give a little love to tanaka ryunosuke. call him tanaka senpai. he deserves it.

Alright, so, I’ll start this off by saying I am honestly not an expert on Kakyoin, contrary to popular belief (I’d actually consider myself more of an expert on Jotaro’s character, if anything), but I’m going to do my best to give my views on Kakyoin’s character, as well as some canon evidence to support it, and hopefully it will help a bit.

If you want a great reference of how to write Kakyoin in fic, go read Sand, sand and more sand on AO3, because it’s honestly one of the best depictions of Kak I’ve ever read, and he’s quite close to canon.


Kakyoin is pretty snarky. He’s subtle about it, but he’s also kind of a shithead. He’s polite most of the time, but it seems to be more of a setting he defaults to when he doesn’t feel entirely comfortable around the people he’s with. We have quite a few quips from him as examples of this, such as him laughing at andd mocking Anne during the dark blue moon arc, and saying she couldn’t possibly be the stand user on board, and in the Geb and N'Doul fight where he orders Polnareff to attack the canteen because he “doesn’t want to”. He also at one point responds to Polnareff saying “this looks bad!” with, “well it most certainly isn’t good.”

He’s blunt, but this also means that he’s honest. He dislikes liars, and prefers that everything is set out before him clearly and plainly as opposed to someone that is clearly dancing around the subject.

He also seems like quite the know-it-all, and likes being right; and he’s probably the type to argue with someone even if he knows he’s wrong. He seems to genuinely enjoy teaching the crusaders about the culture of all the places they visit on their journey, and he has the ability to retain all of that information to recant to them, as well. It seems to be somewhat of an interest of his.

And then there’s this, of course…

The cherry thing is something that kind of bothers me in fandom and fic. Yes; Kakyoin says that cherries are his favourite fruit. Child Kakyoin has cherries on his shirt (keep in mind that the scene with child kakyoin is added in my DavidPro and is not technically canon). BUT, it doesn’t mean that he has to have everything cherry-related. It’s a seriously overused trait in fandom to the point that it just becomes annoying. Kak can have a coffee without it having to be cherry flavoured. Just remember that he canonically enjoys lots of different foods, and that he doesn’t need to exclusively eat cherries and cherry flavoured things. He probably likes to eat foods from all different cultures.

Video games: There is evidence to suggest that Kakyoin spends a LOT of time playing F-Mega, however, this doesn’t mean that his extreme knowledge of the tracks and mechanics applies to every video game in existence. He’s a teenager, with no friends in the 80’s, of course he’s going to spend time playing video games. But back in the 80s, people often only had one or two games, so it’s likely that he has simply replayed F-Mega a LOT, to the point of knowing it by heart. I know the levels of Mario 3 extremely well, simply because I played them over and over again as a kid. If you are fixated on a single game for extended periods of time (especially if it’s the only game you own), you are of course going to know the game well. Knowing a lot about a single game does not mean that he’s obsessed with video games, and does not necessarily mean that he’s a shut-in, and never goes outside.

Also keep in mind that he says that he’s “pretty good at video games”. He doesn’t claim to be great at them, and since we’ve already established that Kakyoin is quite blunt, it would be out of character to assume that he’s being humble here. He literally means that he’s just “pretty good” at them. No more, no less.

His real-world experience is vast, and it’s also mentioned that his parents take him many places on vacation. He’s been to a lot of places, and retains cultural knowledge. It’s not as if he’s read it in books: he’s actually been to these places before, and he mentions it frequently. This suggests that he gets out quite a bit, and also kind of suggests that maybe he isn’t quite the model student type in school.

Kakyoin doesn’t appear to be the honours student & straight A’s type. He doesn’t think twice about skipping out on his new school to travel to Egypt, and as I said before, his knowledge appears to come more from first-hand experience rather than school studies (and I bet he missed more than a few of his classes due to the trips that he and his parents took). He’s a know-it-all, but it doesn’t mean that he does well in school.

On the other hand, Jotaro IS a model student, despite his delinquent status. It’s more likely that Jotaro would be the one helping Kakyoin with his homework.
(He might disrespect his teachers, but he still gets good grades, and let’s not forget that he becomes a marine biologist later in life.)

Kakyoin’s profile also mentions that he “appears very effeminite”. This is another thing that is often misinterpreted. His appearence may be somewhat feminine, and he takes pride in how he looks, but his personality and mannerisms are not inherently feminine.

He hates being forced into submission, and this is the reason why he despises Dio so much. Dio took advantage of his vulnerability and the fact that Kak didn’t have any friends to use him as his pawn. He drew Kak in, made him feel wanted, needed, and then took control of his mind and body.

“He appears to be very effeminate. In reality, he despises submitting to people or sucking up to them.” - Taken directly from his canon personality description.

Another thing that people seem to miss is the fact that he’s extremely sadistic. He says himself that Heirophant “loves nothing more than to rip things to shreds” and that it might “drive him mad with joy”. He likes being in control of the situation, remember. He probably hates losing fights, as well (especially since he could be considered a weakling for losing).

Kakyoin also seems to like Baseball, judging by his profile naming a favourite team, and sumo, as we all know from his exchange with Jotaro.

One of the things that fandom does definitely get right, is Kakyoin being the mother hen of the group. He’s taken on the role of the responsible one, because Joseph is… far from being an adult. He’s strategic and thinks everything out logically, and so is the mature one of the group, especially after Avdol’s “death”. He appears to be content to follow Joseph, but when it’s needed, he steps up and becomes the leader in his place. This is seen when Jotaro, Joseph and Polnareff start physically fighting random men that they suspect are the one in the Wheel of Fortune car, to which he says that, “this is not a good idea,” and that it’s, “getting out of hand”. It’s also seen in the tower of grey fight where he mentions that it’s better that he fights on the plane, because he’s the least destructive of the bunch (even though he’s capable of blasting holes into clock towers, apparently his emerald splash isn’t destructive; okay Kak…).

He’s also fiercely protective of his friends, and extremely loyal as well. Kakyoin isn’t the type to abandon his friends in any circumstance.

He’s a CASANOVA. While Jotaro draws more unwanted attention from girls due to his bad boy façade, Kakyoin is slick and smooth with them, so much so that they notice him more over Jotaro. He’s quick to diffuse the situation when Jotaro pushes the girls aside (again, in the tower of grey arc), and it’s just… yes.

Just look at this. You can bet your ass he’s not the type to blush and stutter as he’s confessing. Straight up grabbing the girl and apologizing for Jotaro. Smooth as butter.

Here are some other scenes that might be able to explain his character a bit better as well:

Mouthing off to Joseph- Jotaro approves.

This line is wonderful. (Again, to Joseph? It’s almost like they have this kind of rivalry going on, haha)

Some really good insight to his character and motivations (And one of my favourite Jotakak moments).

The anime kind of makes this out to be a sort of “Kakyoin mocking Polnareff” scene, but in the manga he seems like he’s just stating what he heard. Pretty matter-of-fact about the whole situation.


I believe that this is the first moment that Kakyoin really realizes that he and any of his companions can die at any moment. Avdol has been shot, and he’s in complete shock. This is a normal teenager that’s now painfully aware of the danger he’s putting himself in to help out Jotaro and Joseph. Sure, he realized that he would be involved in fights, and a little blood would be shed for the greater good, but I don’t think he had realized up to this point that he might actually die.

And here’s Kakyoin’s character bio.

It’s also notable that he didn’t tell his parents where he was going prior to leaving. This doesn’t necessarily mean that he’s in bad standing with his parents (especially since his dying thoughts were of them), and could possibly be because he didn’t want to worry them, or something of the sort, but the fact remains that he didn’t tell them beforehand. Take from this what you will.

So yeah, this is what I get from Kakyoin. He’s kind, loyal to a fault, and deeply in love with Jotaro– and he’s a pretty complex character to write. Don’t feel like you need to take all of this into account, because it’s hard to keep his entire character intact with fanfiction. A lot of his personality comes across in facial expressions, so it’s sometimes difficult to translate that into non-visual media. Just refer back to canon if you aren’t sure of something, and you should be fine. Good luck!

anonymous asked:

How do you write a fight scene without becoming repetitive? I feel like it just sounds like "she did this then this then this." Thanks so much!

I watch her as she fights. Her left leg flies through the air – a roundhouse – rolling into a spin. She misses, but I guess she’s supposed to. Her foot lands and launches her into a jump. Up she goes again, just as fast. The other leg pumps, high knee gaining altitude. The jumping leg tucks. Her body rolls midair, momentum carrying her sideways. She kicks. A tornado kick, they call it. The top of her foot slams into Rodrigo’s head, burying in his temple. Didn’t move back far enough, I guess.

His head, it snaps sideways like a ball knocked off a tee. Skull off the spine. His eyes roll back, and he slumps. Whole body limp. Legs just give out beneath him. He clatters to the sidewalk; wrist rolling off the curb.

She lands, making the full turn and spins back around. Her eyes are on his body. One foot on his chest. I don’t know if he’s alive. I don’t know if she cares. Nah, she’s looking over her shoulder. Looking at me.

The truth twists my gut. I should’ve started running a long time ago.

The first key to writing a good fight scene is to tell a story. The second key is having a grasp of combat rules and technique. The third is to describe what happens when someone gets hit. The fourth is to remember physics. Then, roll it all together. And remember: be entertaining.

If you find yourself in the “and then” trap, it’s because you don’t have a firm grasp of what exactly it is your writing. “He punched” then “She blocked” then “a kick” only gets you so far.

You’ve got to get a sense for shape and feeling, and a sense of motion. Take a page from the comic artist’s playbook and make a static image feel like it’s moving. Try to remember that violence is active. Unless your character is working with a very specific sort of soft style, they’re attacks are going to come with force. So, you’ve got to make your sentences feel like your hitting something or someone.

“Ahhh!” Mary yelled, and slammed her fist into the pine’s trunk. A sickening crack followed, then a whimper not long after.

Angie winced. “Feel better?”

Shaking out her hand, Mary bit her lip. Blood dripped from her knuckles, uninjured fingers gripping her wrist. She sniffed, loudly. “I…” she paused, “…no.”

“You break your hand?”

“I think so. Yeah.”

“Good,” Angie said. “Think twice next time before challenging a tree.”

Let your characters own their mistakes. If they hit something stupid in anger, like a wall or a tree then let them have consequences. Injury is part of combat. In the same way, “I should be running now” is. When the small consequences of physical activity invade the page, they bring reality with them.

People don’t just slug back and forth unless they don’t know how to fight, or their only exposure to combat is mostly movies or bloodsport like boxing. Either way, when one character hits another there are consequences. It doesn’t matter if they blocked it or even deflected it, some part of the force is going to be transitioned into them and some rebounds back at the person who attacked.

Your character is going to get hurt, and it’ll be painful. Whether that’s just a couple of bruises, a broken bone, or their life depends on how the fight goes.

However, this is fantasy. It is all happening inside our heads. Our characters are never in danger unless we say they are. They’ll never be hurt unless we allow it. A thousand ghost punches can be thrown and mean absolutely, utterly nothing at all to the state of the character. This is why it is all important to internalize the risks involved.

The writer is in charge of bringing a dose of reality into their fictional world. It is much easier to sell an idea which on some level mimics human behavior and human reactions. The ghost feels physical because we’ve seen it happen on television or relate to it happening to us when we get injured.

You’ve got five senses, use them. You know what it feels like to get injured. To be bruised. To fall down. To be out of breath. Use that.

Here’s something to take with you: when we fight, every technique brings us closer together. Unless it specifically knocks someone back. You need specific distances to be able to use certain techniques. There’s the kicking zone, the punching zone, and the grappling zone. It’s the order of operation, the inevitable fight progression. Eventually, two combatants will transition through all three zones and end up on the ground.

So, keep the zones in mind. If you go, “she punched, and then threw a roundhouse kick” that’s wrong unless you explain more. Why? Because if the character is close enough to throw a punch, then they’re too close to throw most kicks. The roundhouse will just slap a knee or a thigh against the other character’s ribs, and probably get caught. If you go, “she punched, rammed an uppercut into his stomach, and seized him by the back of the head”, then that’s right. You feel the fighters getting progressively closer together, which is how its supposed to work.

Use action verbs, and change them up. Rolled, rotated, spun, punched, kicked, slammed, rammed, jammed, whipped, cracked, etc.

You’ve got to sell it. You need to remember a human’s bodily limits, and place artificial ones. You need to keep track of injuries, every injury comes with a cost. Make sure they aren’t just trading blows forever.

I’ve seen advice that says fights all by themselves aren’t interesting. I challenge that assertion. If you’re good at writing action, then the sequence itself is compelling. You know when you are because it feels real. Your reader will tune out if it isn’t connecting, and the fight scene is a make or break for selling your fantasy. It is difficult to write or create engaging, well choreographed violence that a reader can easily follow and imagine happening.


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How to let go of your ex once and for all (even if it feels impossible)

It took me nearly 3 years to get over my ex boyfriend. If you have ever been through a breakup, you know it is one of the hardest most heart-wrenching things to go through.

After weeks of fighting, the day came where there was no other option than to break up. When he left my house that day I felt like he had ripped off a piece of my soul. I had loved this man with all my heart, it was a raw all consuming intense kind of love. I couldn’t grasp the reality of what had happened. My best friend came over and I was just lying there with lykke li’s song possibility on repeat. I had cried for hours and there was no life left in my eyes. 

For the first few months after the breakup I was in denial and I went into party mode, but not dealing with the pain slowly started to take its toll. And eventually (also because of some other factors) I fell into a deep black depression that would last for about a year. After the depression it still took me a long time to completely let him go.

It was the hardest and most valuable experience of my life.

So what helped me to let him go?

Keep reading

One of the things I loved the most about Steve in Civil War was his line about the U.N. “And they’re just people with agendas, and agendas change.” This is something that drives me insane in American politics, and just politics in general: the idea that government is inherently better at making morally-right decisions than the average person is. To put it as my Irish ancestors likely would, that’s a bunch of malarkey. Governments are made up of people who at the very least are as flawed as the rest of us, if not more. 

This is a recurring theme in the movie, and showcases a difference in Tony and Steve’s personalities and experience. Tony tries to appeal to Steve with those pens that FDR used in an attempt to cash in on nostalgia; because Tony is looking back at World War II through the common modern-day lense of “look at ‘Merica beating back those Nazis and saving the world, it’s a darned good thing the government took action back then, huh?” and assumes that Steve feels the same way. But Steve lived through World War II, and he saw what governments–including the U.S. government–did. You think he was A-okay with A cards, rations, and internment camps? You think he was completely cool with the draft? He probably disagreed with a lot of crap the government did back then. Heck, the government had him selling war bonds and propaganda in a felt outfit. He disobeyed orders constantly back then, because his orders were wrong. That’s who Steve is, and it’s not at all surprising he would behave this way. But again, looking back and not actually being there, Tony (and Coulson, and Fury, and just about everyone) thinks of Steve as Mr. American Values. Which he is, but not necessarily Mr. U.S. Government Values. 

This is the main reason I think Steve was in the right the entire conflict. Most of Tony’s actions in the film seem to be based purely on his emotions. He pushes for the Accords because he is guilty over the people who have gotten killed because of his actions. He tries to keep the team together even though sometimes it’s better to be separate on principle than together in tolerance of wrong (let alone unconstitutional) lawmaking. He attacks Bucky because he’s angry about his parent’s death and Steve keeping it from him–which, yeah, he has a right to be upset, but attacking them both and basically trying to kill Bucky without giving him a chance to explain himself, let alone stand a fair trial?? His actions can be explained, but not justified. 

Substituting with “anything” (a quartz and rosemary-inspired rant)

Apparently this is the month of me sticking my foot in places I’ll likely regret. But I feel like this really damages the learning process for a lot of witches and needs addressing. So today I’d like to talk about this thing being told to new witches way too often: that they can use “anything” as a substitution if they don’t have X ingredient for, say, a spell jar or whatever.

Can I just say, as someone whose practice focuses heavily on herbal work, how crazy that makes me?

I am not saying spells are set in stone and substitutions can’t be made. They totally can be.

I am not saying that this here fancy spell with all these fancy, expensive ingredients can’t have a more accessible re-working done with more common ingredients. It probably can.

I am all about making spells work for less money, less time, and less privileged people. You tell me what you’ve got in your kitchen and yard, and I will help you find a way to make that into any-damn-thing you please.

I am not all about the elite-extra-special “old way” or some dead guy’s mandates on how to witch.

But when I see, “just use quartz/rosemary instead” as the generic advice for EVERYTHING, no matter what the missing component in question is, it makes me crazy.

What’s the purpose of using ingredient-based spells? No, not just for the aesthetic™. It’s to reduce the energy load on you by replacing it with stuff that ALREADY HAS a given energy, or focus.

So if you remove it and just stick a generic energy booster in there, what’s going to happen?

One of two things:

1. The spell doesn’t work as intended, because you took off a wheel and put a rocket where it used to be.

2. The spell does work as intended, but I’m willing to bet you feel the exact same drain you would have felt if you’d just done energy work… because that’s probably what you did (and a lot of people don’t realize that isn’t supposed to happen).

So while I’m not saying that you’re wrong and your spell didn’t work regardless of whatever generic substitutions you made, I am going to say that if that’s true, I wonder if you’re wasting a lot of materials in your practice.

The purpose of spell ingredients is to use the properties of the ingredient in order to add a specific energy to the spell, which reduces the burden on you to supply that specific energy, and to have highly consistent focus while doing so. If your spell calls for valerian, then there is something about valerian itself that is aiding the spell. You can’t simply swap it with cayenne and expect to get the same results. There are definitely things you COULD swap it with because they have similar properties, but not absolutely anything.

If you can swap the valerian with literally anything and get the same results, that likely means you are not actually using the valerian to help you cast the spell. You’re simply using your own energy and the herbs are set dressing.

And there’s most certainly nothing wrong with being adept at pure energy work. That’s a great skill to have as a witch. But it sure is a waste of herbs if you’re not actually using them, eh? I mean, a lot of these herbs we use aren’t cheap or readily available.

Why not just get rid of the set dressing and save yourself time and money and just do energy work? Or if you like your set dressing, use tools meant to amplify energy work, like a wand or a staff or something?

Also, I think there’s a certain level of damage being done when we tell witches who are trying to learn herbal work that anything is just the same as anything else and none of it matters.

The magical uses of herbs are often tied to their mundane uses. Let’s remember: cunning craft was the mother of medicine. To this very day, the magical uses of many herbs are tied to their physical affects. Even when they aren’t, they’re often a sort of hypersigil, and they’ve gained those associations through dozens or even hundreds of years of thousands or millions of people all imbuing them with the same purpose and energy. Most correspondences have a biological reasoning behind them, or have been basically sigilized by being used the same way thousands of times.

Exceptions and personal correspondences are a thing; I have a few myself. But these tend to be herbs that have been highly significant in my own life over a long period of time, and have consequently become a sort of personal sigil, as opposed to the cultural sigil of most broader correspondences. My personal correspondences tend to be things I have history with (even if it’s mundane), not just literally anything. Basically, I’ve overridden the cultural sigilization, by writing over it with my own over time. But that’s an exception.

It makes it impossible to learn herbal work – which is a totally different skill from energy work – if you’re proposing that none of it actually matters and it all works the same anyway. And furthermore, it’s pretty discouraging if a witch tries that, and then their spell fails, which I see with some regularity.

Witches read that they can replace “anything” with quartz or rosemary, and then they come back and say their spell is doing all kinds of weird stuff it shouldn’t be doing.

Well, I’m not surprised. The original ingredient was there to give the spell a specific property, and then someone told them to replace it with a neutral energy booster and not do anything to replace the loss of that specific property, or control all the unprogrammed energy.

So, the result is going to be a high-powered bouncy ball of a spell that just pings around doing random shit and putting holes in the wall. Because they didn’t give it anything except energy with no focus. Because you can’t just replace “anything” with quartz or rosemary.

That tripped me up for a while, as someone who relies a lot on tools. I’m an empath, and like a lot of drain-prone people, I find using ingredients helps reduce how drained I get by casting spells. Becoming adept at herbal work was really important for me to be able to cast at all with any consistency. I can DO energy work, but I don’t always wanna wind up spending the next day in bed, and that’s where tools help me.

It’s not very helpful to just say “replace it with anything.” That’s not how herb magic works.

Substitution can be done in most cases. But if you’re gonna remove a wheel, you need to add a different one that’s compatible with the car, not just strap a rocket to the axle.

So, long story short: I really wish people would stop saying you can substitute with “anything.” While I get that the intention is to try to make the craft more accessible, it just impedes people from learning how to do it with stuff that’s ACTUALLY accessible. I mean, what’s inaccessible about the stuff most people have in their kitchen? You can substitute for a lot with that!

While it is completely true that you don’t need ingredients to do a spell, it is also true that if you’re going to use ingredients, they matter. If they didn’t matter there’d be no point to using them.

If you find that you can substitute with “anything” and get the same results no matter what, then I think I can save you some time and money: just get an energy working tool instead!

The Dark Brotherhood in Skyrim is supposed to be a contrast against The Dark Brotherhood in Oblivion.  We’re supposed to cringe when we get to the sanctuary and Astrid basically says “No Night Mother, no black hand, no tenets, no rules”, we’re supposed to cringe when she either breaks or orders us to break the tenets.  Lucien Lachance (who probably didn’t take the purification of his sanctuary lightly, considering he raised the two shadowscales) even says that sanctuary needs “a good purification”.  

It doesn’t feel like the brotherhood, because it isn’t, it’s wrong, and it’s written like that on purpose.

Five Tenets, and how Astrid broke them/makes the Dovakiin break them

Tenet 1: “Never dishonor the Night Mother.”  That’s mostly what Astrid does early storyline.  The Dovakiin can even call her out on this.

Tenet 2: “Never betray the Dark Brotherhood or its secrets.” She sabotaged the emperor’s assassination by giving information to Maro (which led to the sanctuary being ransacked)

Tenet 3: “Never disobey or refuse to carry out an order from a Dark Brotherhood superior.” She directly refused to hear out a contract from the Night Mother.

Tenet 4: “Never steal the possessions of a Dark Brother or Dark Sister.” She orders you to rifle through Cicero’s journals.

Tenet 5: “Never kill a Dark Brother or Dark Sister.” She orders you to kill Cicero, who also happens to be the sacred Keeper of the Night Mother.

Doing any one of these things is said to invoke the wrath of Sithis, and Astrid committed them all, the ransacking of the circle the wrath of Sithis, her death being her redemption.

The Skyrim Dark Brotherhood questline is about returning the Brotherhood to it’s roots, saving it from the sorry state you find it in.  It is a different kind of story than the questline in Oblivion, but I don’t think that makes it a bad story.

anonymous asked:

Jason and Tim arguing over who had it worse when it came to living up to their predecessor's legacy

‘All I’m saying is… I was living in the shadow of a dead boy.’

Jason looked up from his book with a scowl, turning the page a bit more roughly than he had meant to. He and Tim had been holding their own pity party of “who had it worse” as Robin when it came to living up to their predecessor’s legacy. Jason had made some comment about “back in my days as Robin”, and Tim had had enough self-respect to become offended. And as a consequence, Jason had only gotten through five pages and was tempted to just give up reading altogether. 

Truth be told, he knew that Tim probably had it much worse than him, when it came to this specific issue. And he was only arguing with him because he knew how much arguing for the sake of arguing annoyed his brother. 

But then again, the only thing Tim really had to do in order to surpass his predecessor, was not die… so Jason stuck to his guns. He set his book down and leaned forward, giving Tim his best “I don’t even have time to tell you how wrong you are” look. 

‘Tim. Firstly, I’m a bit offended at being called a, quote unquote, “dead boy”…’

Tim frowned. ‘You call yourself a dead boy all the-’

‘-And secondly,’ Jason interrupted him cooly, ‘My standards were far, faaaar lower than Dick’s. To live up to my predecessor’s legacy meant being a perfect, obedient, chirpy, quipping, circus act, which was not happening in a million years unless global warming wasn’t a thing and hell froze over, giving us another ice age. You, on the other hand, just had to not do any of the things I did.’

Tim pursed his lips, sitting there in silence as he regarded Jason with a look of complete and utter exasperation. 

‘So…’ he said slowly, enunciating every word, ‘not die.’

Jason nodded, rolling his eyes. ‘Yeah. Like I said. Lower standards.’

Tim sighed, massaging his forehead as he turned back to his laptop, tapping the keys distractedly. ‘Okay. But consider this: in order to not die, I actually had to achieve a standard of near-perfection as Robin that not even you or Dick were expected or pressured to reach.’

‘Okay,’ Jason countered. ‘But consider this: in Bruce’s eyes, none of us are ever good enough.’

‘So your point is, we’ve all had it bad and it’s pointless to try and decide who had it worst because we all had a common denominator and standard to live up to: Bruce.’

Jason shrugged and lay on his back on the sofa, opening the book again. 

‘Even Bruce doesn’t live up to Bruce’s standards, so yes. It’s fucked up and we were all screwed from the start.’

‘Oh boy. That went south real quick.’

‘So wait, when I go off on Bruce, it’s too far. But when we’re talking about when I was a “dead boy” it’s all fine and dandy?’

‘All the time, Jason,’ Tim repeated without looking up from his laptop, his voice bland. ‘All. The. Time.’

Unable to think of a reasonable response or blatant lie, Jason scoffed and stood to find somewhere he could read in peace and not get his ear talked off or, god forbid, counselled by his younger brother.

‘Well, you try dying and see if you can stop talking about it. It’s a life-altering event, a real milestone.’

‘It’s also only meant to happen once,’ Tim said pointedly.

Jason paused to consider this. ‘Hold up. So, technically, Damian has already lived up to the standard I set as Robin because he also died and came back. Grayson had to fake it, so he’s disqualified… and we’re not counting Steph because she was never even given a chance, and would beat all our asses in the ‘who had it worst’ game.’

‘Which means I do have it worse than you, because the standard I now have to live up to is resurrection.’

‘WWJD, Timbo,’ he grinned, finger-gunning his brother as he walked backwards out the door. ‘”What Would Jason Do?”’

‘Die and come back a salty gun enthusiast,’ Tim muttered under his breath, mulling over their conversation and taking it more seriously than he should. ‘Also, Easter was last month.’

(A table of contents is available. This series will remain open for additional posts and the table of contents up-to-date as new posts are added.)

Part Twenty: Conversations with Antagonists

Sooner or later, your characters are going to meet up with your antagonist for a conflict. Maybe it’s only during the climax, maybe there are meetings peppered throughout; whatever your structural choice for your narrative might be, we’re all facing one inevitable fact: Our antagonists will speak. Those lines of dialogue, those conversations your protagonist has with them may be the most difficult to nail and nail well. There are so many factors at play–style, character, goals, narrative needs, not to mention the pressure you’ve been building up about this person throughout the entire story!–that writing the dialogue well when it comes time is one of the most daunting tasks.

Avoid constant vague and/or ominous lines, including one-liners:

Let me make myself clear from the start: It’s not that you can’t have any vague, ominous, and/or one-liners, but that you should use them sparingly and judiciously. Constantly being vague, ominous, or quippy leads to a fundamental problem with the antagonist: melodrama. In fact, melodrama is exactly what your antagonist opening their mouth, ever, must vigilantly steer away from. They are the one character who has the uncanny ability to come pre-packaged in melodrama.

Last summer, we spent some time talking about handling characters’ emotions, and part of that is wrapped up in melodrama. I suggest checking out the post to find out more about spotting the beginnings of melodrama in your writing.

The allure of vague, ominous, and witty one-liners is clear: We want our antagonists to seem threatening, to feel as though they have knowledge the protagonist doesn’t have or doesn’t want them to have, to appear smart, smarter or at least more wily and cunning and 100% capable of either having or gaining the upper hand against the protagonist. After all, isn’t that the point of an antagonist?

If an antagonist only speaks in quippy one-liners, they are only ever responding to your protagonist, never initiating the action themselves. If an antagonist is only vague, they are only ever talk, never action. If an antagonist is only ominous, that sense of doom and dread becomes normal, the protagonist acclimates, and it becomes ineffective.

For your dialogue between your antagonist and protagonist to feel genuine, to feel as though they are real people rather than cardboard cut-outs, it sometimes helps to stop thinking about the interactions as having such high stakes. I know that when I’m trying to write these moments, I often find that I get too wrapped up in what the scene/conversation has to do for the story, what things I have to reveal, how much or how little should be unveiled now vs. later, further cement the antagonist as an unlikable person and the protagonist as right and virtuous. I lose sight of the characters in the midst of plot and devices.

Try to bring your thinking out of the mire of plot and back into these characters, who they are, how they speak, what their agenda within the conversation is. They’re just people, trying to do something within the scene. If this were another person who happened to be in their way (a construction worker whose ladder is in the way, or who can’t let them into a room while they’re putting in the carpet, whatever), how would your characters react? Without the knowledge that this is their Big Bad, their #1 Enemy, their Most Hated Rival, how would they navigate the scene? Distancing the characters a little bit from their archetypal story purposes may help you focus better on writing good dialogue and maintaining your characters rather than shoe-horning in the information just for the sake of it.

Avoid extreme emotional reactions:

If you’re one of those writers who can more or less see your story animated like a movie in your mind, you may have experienced the moment where a character says, does, or reveals something, and that ominous beat of music plays–ba-doom!–and the scene cuts to black. Something big, something revolutionary, something the audience needs time to process just happened and a commercial break just played in the metaphorical episode of your tale. Moments like that are great in TV and movies, but the only version of that available in story-telling is to start a new chapter. If all of your major moments and reveals require a new chapter, you’re going to wind up with a very choppy book. Many of us recognize that and turn to other options to cue the audience in to the intensity and importance of what’s been said or done. One of those tactics is, of course, using our protagonist’s and other characters’ reactions.

The classic responses include:

  • “No!”
  • “I won’t let you!”
  • “That’s murder!”
  • “You can’t do that!”
  • general crying,
  • screaming/yelling,
  • a general outpouring of emotion

Among the problems with all of these go-to reaction tendencies is melodrama, certainly. It throws characterization out the window in favor of emphasizing the plot/actions that have occurred, all while under the guise of maintaining and furthering characterization. That’s what makes these reactions so popular: They seem as though they are reinforcing the protagonist’s goal and mission against the antagonist, reinforcing their character. Instead what they do is insult the intelligence of your audience.

If you’ve written your protagonist well, these lines and emotions toward the actions of the antagonist become redundant and don’t necessarily further or develop new facets about your characters. Your audience knows they don’t want the antagonist to do The Thing™, that’s the whole point! That’s what you’ve been building to this entire time! So of course they’re not going to let the antagonist do That; of course they’re upset about it.

It may also be an out-of-character reaction, worse of all. If your protagonist hasn’t been prone to emotional outbursts throughout the story but instead handles things going wrong with snark, outward calm, and a sense of just-get-things-done-cry-about-it-later, then an emotional breakdown at this moment doesn’t follow in line with what you’ve established about the character. “But it’s showing the stress they’re under and the heightened sense of impending danger! Their goals are in jeopardy!” you say. True, but it’s also probably not what your character would do.

We feel strapped in to these reactions because they’re what happens in movies, TV, and a thousand other books. These are the reactions that must happen in order for things to be “right” and fulfilling. In truth, they’re archetypes of emotion that come hand-in-hand with the antagonist/protagonist relationship. It’s time to break away and write real reactions from our characters, ones they would really make.

Next up: Close relationships!

anonymous asked:

Do you have any idea what "lie" Ciel is asking Sebastian about? Given 2CT is probably about to be confirmed, could it be about real!Ciel being dead or something? Aaah everything is happening so quickly now I'm;; Σ(゚Д゚ )

I immediately had an idea what they might be talking about in that scene but wasn’t sure if it made sense, but judging from the reviews I’ve seen on twitter as well as on the Kuroshitsuji fan thread, it seems many people in the Japanese fandom had the same idea, so I’m kinda relieved.^^;

Anyway, I think Ciel is referring to this scene where Ciel and Sebastian made the contract three years ago:

Ciel found the message on the wall and immediately understood what it was about. Assuming the 2CT is true, he probably thought of his twin brother (maybe the word “candy” was a secret code for the twins) but then dispelled that thought because he thought it was “impossible” for real!Ciel to be alive.

But later he found the pieces of the family photo that fell from Soma’s hand (which most probably showed the twin) and now he can’t exclude that “impossible” possibility, namely the retrun of his twin brother, anymore.

So he asks Sebastian “You didn’t ever lie to me, did you?” in the sense of “You DID eat real!Ciel’s soul that day, didn’t you?” and Sebastian replies “No, I don’t tell any lies.” meaning “Yes, I DID eat your twin’s soul.”. With that confirmation, there’s only one possiblity left, namely that his twin has come back as a **bizarre doll (anything else is impossible because the twin’s soul most probably doesn’t exist anymore). Hence, Ciel’s huge shock at the end of the chapter:

That’s how I and many others in the JP fandom interpreted the last scene. It might be completely wrong, but whatever, we’ll get to know the correct answer someday, anyway (hopefully, next month!) (=゚ω゚)ノ

((**Note: Many people tend to forget this, but in order to create a bizarre doll you need 1) a somewhat clean body including the cinematic records + 2) fake records + 3) future episodes, i.e. it does not require a soul. A BD does not have a soul, that’s why they are after living humans in the first place.))

i got your text, baby

jimin comes home hungry and exhausted, but he has no energy left to cook or to order so he texts his boyfriend, jeongguk, to bring him food. jeongguk arrives half an hour later.

note: check out my kookmin drabble collection on ao3

jimin really hates fridays. one would probably disagree because fridays are the best. fridays meant parties. fridays meant sleeping the night away and waking up late because there’s no classes on the next day.

but for jimin, fridays meant extra hours of dance practice. don’t get him wrong, he loves dancing, but going straight to a four hour long of dance practice after work isn’t really the best, you know. his boyfriend scolded him about it before, threatening that he’ll talk to jimin’s instructor and give him a good punch or two for making his baby mochi practice for four hours on a friday. jimin just giggled at him after that.

it’s not like jimin have a choice, though. he only attends dance practices thrice a week because he’s busy with uni and work.

usually, when jimin gets home on fridays, he would immediately throw his body on the couch, not bothering to go to his room because he’s that exhausted.

but right now, his stomach is grumbling — demanding to get it filled with, well, food. but jimin’s too exhausted to even cook or order himself some food. so, he opts for the easiest way — ask his boyfriend to bring him some.

with a little (read: a lot) effort, he reaches one hand out to the side of the couch to grab his phone. it took him half a minute, but once his phone is in his hand, he wastes no time texting jeongguk, telling him how hungry he is, but he’s too tired to move.

jimin drops his phone to his side once he sends the message. he could already feel his eyes slowly fluttering close, but he’s trying his very damn best to fight it. only for a minute, only for a minute, he tells himself before he completely lets sleep take over his body.

not even half an hour later, jimin awakens to the sound of his door being unlocked. he could hear silent huffs and rustle of plastic bags. that’s probably jeongguk, he thinks.

he opens his eyes and attempts to get up, but fails miserably, a groan slipping past his lips when he only managed to flip his body so that he could see jeongguk. he smiles at his boyfriend, eyes moving down to the plastic bags and…ohmygod is that a box of pizza? fuck, my boyfriend’s a literal angel, i’m blessed.

jimin’s heart speeds up, still having the same feeling just like the first time his boyfriend brought him food at an ungodly hour. god, he’s in so deep.

“i got your text, baby.” jeongguk smiles, raising both of his hands to show the plastic bags of food and the box of pizza.

“i love you so fucking much,” jimin mumbles sleepily as he lifts his arms forward and wiggles his fingers cutely, motioning his boyfriend to come close. jeongguk just chuckles, sauntering towards his boyfriend just to tease him, earning himself a low grumble from jimin.

once jeongguk reaches jimin, he drops everything down and pulls his hyung up, wrapping his arms around the smaller man’s waist and tugging him closer until their bodies are flushed together. jimin blinks up at him, eyes overflowing with affection.

“i missed you so much, gguk-ah.”

“we just saw each other this morning, baby.”

“shut up, i still missed you.”

jeongguk giggles, pinching jimin’s nose and pulls himself out of his boyfriend’s arms. jimin whines, hands reaching for jeongguk, but the taller man dodges him.

“i know you’re really hungry, baby. let’s eat first, then cuddle later, hmm?” jimin pouts, almost (read: completely) forgetting the reason why he asked jeongguk to come. it’s not his fault that just the mere presence of his boyfriend makes his brain forget about everything and just think of jeongguk jeongguk and jeongguk.



the couple are currenlty seated on the floor, with jimin settled between jeongguk’s legs, a bowl of jjajjangmyeon on his lap and a piece of pizza and chicken in each of his hands. yeah, he’s that hungry. jeongguk isn’t eating that much, just a slice of pizza and watching his cute boyfriend eat are enough to make him feel full. cheesy? always. for jimin.

they’d also feed each other from time to time, but mostly it’s just jimin shoving food into jeongguk’s mouth because kookie, you should eat more!!! i can’t have my baby holding back his hunger just because i’m really hungry.

jeongguk chuckles. “no, really, hyung, i’m not hungry. you can eat everything if you want, i bought all of these for you anyway.”

jimin could only pout then he continues eating.

watching jimin eat or more like staring at jimin’s lips while he’s eating isn’t probably the smartest thing to do because now, jeongguk could only think of kissing jimin breathless.

their bodies are pressed together, with jeongguk’s arms circled around jimin’s waist, completely forgetting about the discarded slice of pizza that he put on the box, and his chin resting on jimin’s shoulder. his eyes are trained on jimin’s lips, gulping at how glossy and kissable it looks at the moment.

jimin turns his head. “what are you star–” jeongguk didn’t let him finish, leaning in to catch jimin’s lips with his. a soft whimper escapes jimin’s lips and jeongguk smiles.

when jeongguk pulls away, he scrunches up his nose cutely. “you taste like jjajjangmyeon.”

“i never asked you to kiss me.”

“yeah, but i wanted to.”

jeongguk dives back in, devouring jimin’s lips like he’s been deprived of it.


how was it? :) i’m accepting requests!! ^^

kerfundlesnatchle  asked:


There are a couple things to address with this.

First is that you may not be doing anything wrong. Developing these connections takes time, and some people are more adept at it than others. Placing blame on yourself probably isn’t going to help you, and I’ve found that the more your beat yourself up over it, or stress out over it, the less progress you’ll make. So the first order of business would probably be to calm down a bit. idk if your caps are for dramatic effect or because you’re really stressed over it, but I can assure you that not being stressed will help you more in the long run.

Second is that “how” usually comes from a lot of work and time and patience and trial and error. It took me years to be able to communicate clearly with the Unseen. And even though my “god phone” is pretty clear and works pretty well, I still have large periods where it doesn’t work at all, things are hazy and stuff straight up doesn’t connect.

Third- communication with the Unseen is not straightforward. Whatever you assume its like, its probably not like because the Unseen usually shits on everyone’s expectations. So I’d recommend throwing those out the window because it’ll save you hell in the long run. I find that half the reason a lot of people can’t communicate is because they assume it’s going to be a certain way and it’s really not. If you think it will be clear, concise, or plainly written out where you can see it- I can tell you that you will be disappointed, even after you do manage to communicate or connect.

Communication is usually garbled. It’s subtle. It’s coincidence and happenstance and “is that song aimed at me or am I making connections that aren’t there”. It’s “does that entity actually want this, or am I projecting my desires onto them?” It’s “wow I’ve seen that animal 349385 times today, is it a sign or am I just paying closer attention than normal?”

And even if you get clear communication, you’ll still likely question it. We all do. It’s part of the package.

I would recommend flipping through the big list of communication posts, and see what you can glean from them for ideas that you can try out on your own. Make sure you give it lotsssssssssssssssss of time, though. Anything less than a year of consistent effort, and you’ve not waited long enough (imo). I’d also advise you to try and find multiple ways to connect with your deity, and to focus on building the relationship, even if the communication isn’t very clear. The more you learn about your god, and the more time you try and spend around them, the easier it will be to pick up on whatever methods they use to reach out to you.

Best of luck!

Fuck customers, and Love Managers. So I work at a movie theatre and it’s pretty good but I occasionally have a rude customer. Also I’m gay and you can tell I am when I talk and with my mannerisms bc I don’t hide myself to appear straight. We have a long queue for guests to wait in and when you’re at the front of the queue and we’re done serving our guest, when we’re ready, we ask for the next guest in line. Lots of guests take the liberty of running right over to our lines even if we aren’t ready (having to take care of side work, cleaning, etc.) for the most part, it isn’t that big of a deal, and we can take them. My coworker, who we will call T, got done with a customer, but they had a kitchen order, so she had to run to the kitchen and tell them the order bc not all food goes to the kitchen’s order screen. Family A walked to T’s register and so I called for the next guest and Family B walks to my register.

I was taking family B and the man of family A starts W H I S T L I N G for me. This pissed me off because idk I’m not a fucking dog????? So I excuse my self for a second from family B’s order and go over and put on my customer service smile and ask what’s wrong. He asked where T went and I said “oh she probably went to the kitchen” and he said “well she called us over and left” (T didn’t call them over), so I go “okay, are you sure because I didnt hear her call you?” And he goes “what’s that face for? I’ll smack the shit out of your fucking faggot ass” I literally BUSTED OUT LAUGHING in his face and said “okay!” And then I went back to assisting family B. Family A is shouting and calling me a faggot and queer and saying he’s gonna beat my ass etc. and I just keep helping my customer. He said he was gonna wait for me outside after the movie and beat me up so I’m laughing still and then texted my mom to be here just in case. When I get my family b’s popcorn I tell my manager about the situation and asked if she saw it and she said she did and I said it was ridiculous and so family A’s WIFE fucking starts calling me a shit starting faggot and I snapped and said “bitch your fucking stupid husband wanted to fix his lips to-“ and my manager was like “K, relax and stop or else we won’t have leverage” so I shut up and go to the back and I tear up because I wanted to slap the shit outta her and her man!!!! Anyways I tell them I won’t stay until closing (2AM), and I’m leaving and they said it’s okay and that I had to fill out a report. Another manager steps into the office while I fill out the report and he goes “do you want to press charges or do you wanna just kick them out because I’m on the phone with he damn cops right now” and so I chose to press charges. Basically the cops couldn’t do shit because he didn’t “make motions” to hit me. My manager called our general manager who quickly said to trespass them so they can never come back to the theatre again. Overall it was like hey what the fuck to the customer but also showed me that even though I’m just an expendable floor staff member, my manager’s and bosses actually semi give a shit about me and my well being and safety.

TL;DR: customer gets mad that he went to line without being called up as the next guest, starts to call me a faggot and queer and then gets banned from my movie theatre because he couldn’t wait 2 minutes to get his small popcorn and small drink.

anonymous asked:

i'm dyyyyyyyyying to know your opinion about mic drop choreo. it's so agressive n intense. also, tae really improved a lot of his dancing this comeback, im so impressed!

sorry @bst/tomorrow move aside MIC DROP is now my fave bts piece :))

listen ok that piece ended every single dance career out there like forsythe who? ricky dillon? travis wall? succ that good old bts dick bc they came IN for ur careers and decimated every single person out there holy shit

  1. overall, the choreography is incredibly intense like u mentioned. it hits hard w no breaks for the audience and the dancers themselves. visually, a masterpiece. choreographically, a bigger masterpiece. (and, to be noted, there are some parts where i don’t like the steps, but that’s personal preference lol) 

  2. i would like to give the chorus three thousand platinum diamond gold stars bc it’s choreo is perfect  , like. it looks good on the dancers, but it isn’t overly complicated . the movements fit the music and the way things are executed ..bts did well to accommodate to the style of hiphop they’re dancing. it’s something most people miss, but i caught and really appreciate it

    i wanted to pick out some timestamps for people to watch, but the whole fucking thing is good like i’ve never been this invested in one of their dances ever? i’m not even joking if i was taking this as a class i’d be screaming the whole way thru the chorus

    it’s hit after hit after hit after hit and there’s no break for my Ass god all the choreo is fucking perfect there’s nothing else mr. son could’ve put in there to match the song that well

  3. the only way to describe MIC DROP is “hot”. it’s sexy but in a careless, locking attitude, and bts plays into a new style really well. they fit seamlessly into the genre, and i think this is the concept they were looking for during debut, but couldn’t find it. it’s nice to see a more mature group tackle a darker concept

  4. the opening to that dance is the best bts choreo i’ve ever seen, sorry :// it’s hot and smart it has a Feel to it that i can’t quite describe but fits the vibe that bts was going for (0:00-0:13) idk what it is about it that makes me put it on loop for 23min but ??? it’s so satisfying to watch

  5. the transitions were impeccable. the way they played w levels and differing moves for every member within the group formation = nut after nut after nut after nut

  6. i would also like to point eyes to the costuming bc that shit was flawless during this performance: i hope they keep it up. their clothes were actual dancewear, so i could see the movement thru the body. it projected choreo in a flattering manner, and the “mix and match” style of old hiphop was super super super super super super super tasteful.

    gold fucking star to min yoongi’s outfit especially. i’m dying to get my hands on those pants bc h o l y s h i t did they look good when he was moving. they’re baggy in a good way….it enhanced the choreography Well

  7. 0:55 - hoseok walking off but still dancing is smth to notice. it’s probably a personal correction he gave himself to account for camerawork, so instead of slouching off in the background, he continues the movement in order to uphold a performance aura. otherwise, he will look sloppy and not ready for the stage

  8. seokjin and namjoon improved the most imo. U can see them finally filling out the counts and adding extra interp into their dancing + way less stiff. i thought they wouldn’t do well w this dance because it’s slow, but they just proved me wrong
World Building Failures

If you’re a writer and you actively participate in world building, I’m sure you know how exciting it can be. You probably wouldn’t be doing it so often if you didn’t enjoy it. For me, it’s one of my favorite parts of writing and it’s why I enjoy writing Fantasy.

It might seem like there’s no real way to “fail” when world building, because everything is up to your imagination. If you can create whatever you want, how could you possibly fail? However, there are ways that you can do it “wrong”…

…And by that I mean there are ways you can make it uninteresting and boring for your readers. There are ways you can focus too much on the wrong things. In order to combat this problem, I’ve come up with a few ways you can fail at world building, so hopefully you can avoid them in the future.

Too much world building, not enough focus on characters.

It’s easy to get caught up in building your world that you forget to focus on characters. Character building and how they interact with the world you created is just as important as world building. Don’t focus all your time on creating an insanely original interesting world if you’re not going to create characters to go along with it. The world should support your characters and how they go about their daily lives. Don’t make those two separate things or there will be a serious disconnect. You need to show the greatness of your world by having your characters interact with it. Otherwise, what’s the point?

You never had a real understanding of how your world operates.

If you don’t understand how your world works, no one else will. If you say your world is run by magic, take the time to explain HOW it works. I’m not saying that everything needs to be scientifically explained, especially in a world where science might not matter, I just think you need to explain how it all works together to support your world. Make sure you ask yourself questions to flesh out your world. Where do people work? How do they go about their daily lives? Where do they live? How do they speak? It all needs to feel cohesive.

You based it TOO much on Earth’s history.

A lot of people avoid making their worlds diverse because they claim “it wasn’t like that back then”. The whole point of writing Fantasy and world building is that you can change things. Don’t refuse to include something because it didn’t happen that way in our history. You’re not writing historical fiction, you’re world building. You’re most likely writing Fantasy. A big failure that I see is some writers feel the need to follow a timeline that doesn’t need to exist in their stories. Get creative!

-Kris Noel

Okay, so I might get a little push-back on this and that’s okay because I’ve been thinking about it for 3 straight days and I still feel like it needs to be said. It upset me a lot when there were a lot of fans threatening to boycott Wynonna Earp and getting really angry over the possibility of Nicole’s death in 2x10. It upset me for two reasons: one, it hadn’t even happened and two, I felt like this show has earned more trust than that. So, to see that happening to a show that I love and trust was upsetting to me. Regardless, I put it out of my mind because people are going to do what they want, and they should have the freedom to do so.

Still, when I saw 2x10 I couldn’t help but do a victory dance because NOT ONLY did Nicole not die, but we saw EVERY character put their lives on the line or endure great sacrifice to save Nicole’s life.

Waverly: Was willing to sacrifice not only the entire world, basically, but (in my opinion more importantly) she was willing to sacrifice her relationship with her sister. Also, ten points to Gryffindor for beating the shit out of Mercedes-Widow with those sticks.

Wynonna: Risked her life, her baby’s life, and essentially the world because if they both died everything would have gone to hell (probably literally) in order to find and capture Mercedes-Widow.

Dolls: Willingly tortured himself to try and find the antidote. (Also was willing to let happen AND TAKE THE BLAME for Waverly’s shitty back-up plan.)

Rosita: Willingly tortured herself to try and find the antidote instead of taking the opportunity to hide from the Heir who had just threatened her with Peacemaker.

Jeremy: Worked on an antidote for Nicole and endured the pain of watching his friends in agony even though he thought it was wrong. He’s Wynonna Earp’s Neville, in my opinion.

Doc: Risked his life trying to find and capture Mercedes-Widow. Points to Doc for also putting any and all shit he was dealing with aside as soon as he heard Nicole was dying.

Nedley: Was willing to take care of a man-hating cat for his deputy. And if you don’t think that’s a sacrifice, clearly you’ve never dealt with a pissed off cat who misses its human. I know that Nedley also got tortured this episode, but that was because of the third seal, not something he was doing to help Nicole. However, 10 points to Hufflepuff for his top-shelf sass.

BONUS: Rosita is a bisexual character who literally cannot die unless she is shot by Peacemaker.

In other words, WE used the drama of Nicole’s near death to move the plot in a drastic way and to show just how much all of the other characters love her, rather than as shock value or the advancement of another characters arc.

If all of that isn’t the exact opposite of the bury your gays trope, I don’t know what is.

If you’ve read this far, thank you for reading my rant, which I will conclude by saying this show deserves its viewers trust, up to and including the lgbt community, so please, let’s all be a little calmer the next time we think one of the lgbt characters is in trouble.

Empathy and sympathy in Fe/Fi

Can you explain the difference between Fe vs Fi in terms of showing they care or even caring about others? Maybe you answered this in which case I’ll do my research through the archives… but maybe not as specific as I am going to get into in a moment… So we established that I am most like a higher order Fi user which I get now, so let me think of an example from myself…

Ok, here’s one when someone I care about  or even someone I do not care about so much shows they are feeling bad about something— say, they think they are stupid! I will go into a barrage of “you are not stupid…” and they’ll be like “ok, ok, I get it but I don’t agree…” then I’ll formulate a thousand things they did that makes them appear really smart and that made me think they were really smart. I don’t want to shut up until they feel better about it, and hey sometimes they don’t feel better about it. But they’ll tell me to shut up and eventually I do— maybe I’ll even take it TOO far- but how would a Fe maybe do this differently? Maybe this is a behavior vs. intention thing and I get that “cognition” is huge over behavior. Bet a ENTJ can unite two opposing forces to get a future project together. But I don’t always feel like I can put these people into my shoes at all nor is this a “person I want to be”. It just is. So I assume Fi can’t always need to sympathize to support people?

I imagine both Fe and Fi sympathize and empathize with others. Those are words that are universal in the English language— everyone is taught those words in like, 3rd grade. But Fe sounds so much like “empathy” and Fi so much like “sympathy.” It sounds like asking people, are you empathic or a sympathetic?? I mean Fe and Fi both have to be able to put themselves in the world of another person, right? So how does Fe and Fi sympathize and empathize differently internally (back at that intention over behavior?)

Like, you have a class of kids in school and they all failed your test. You want to curve it because hey, that sucks to be them. There must be something wrong with your test and you tell the kids “don’t worry about it. It’ll be fine. It won’t mess up your grade.” I mean— isn’t that a universal feeling of empathy? Fi doesn’t have to sympathize with it in order to understand it and help it? And Fi doesn’t have to want to be this “nice person” identity in order to do so right? I hope my question is clear but it’s probably not.

I have people in my life I need to type and I think Fi vs Fe has been the hardest one to get my head around.

I really don’t think there’s much difference, apart from Fi automatically self-inserting into the situation (have I been through something similar? how would I feel in their situation?) vs. Fe’s “you’re sad, I feel it, I’m sad too” approach.

Here’s a weird comparison that may or may not be useful; awhile back, my dad and I went to a fundraiser for a local large cat sanctuary, where they provide homes for tigers, lions, cougars, etc, who have been abused, abandoned, neglected, or who have lost their homes due to zoos and circuses shutting down. I’d signed up a couple of years earlier to sponsor a tiger, but when it came to choosing one, when the woman asked me which, I had zero ability to pick one. Call it NeFi, or poor Fi, but I felt bad choosing one I had no real connection to, so I told her “Just pick the current neediest one* and let me know.” So she did, and that’s “my” tiger.

Well, we were seated at this table with several other people, one of whom’s sponsored lion had just passed away a few months ago. She had come hoping to “find the right cat” to sponsor now; and as a Fi-dom (ISFP?) she said, “I’ll know the right one when I see it, it will speak to me.” I could not relate, but hope she found one that day.

My Fe-using father found it odd too, because in his words, as we drove home, “I don’t need a connection to give… I just need a good cause.” He chose the lions as a category, but let them choose a lion for him, much as I did, not because he felt overwhelmed at choosing one / picking one over all the rest (my motive), but because “I just want to give, which lion receives it doesn’t really matter to me. The cause is important.”

So, there you have it – three different types who gave, all touched by the same need, but who personalized or kept it impersonal in the process. Was it empathy? Sympathy? Dunno, does it matter so long as we did something? The Fi-dom wanted a specific connection. The Fi-aux just wanted to help. The Fe-dom saw it as a “good cause.” (I should add here that my STJ mother decided to sponsor two kids in China. She looked at how old they were / how long they had been without a sponsor, and chose that way. I doubt her feelings factored into the choosing much beyond, “This is the right thing to do, and I have to pick someone… so how about these two, who need it most?”)

When typing others in your life, look at how they express their feelings, rather than guessing at their motives. Fe/Ti axis are comfortable and affluent with words; Fi/Te axis are more inclined to show feelings through actions.

All types will comfort and affirm those they care about (your example of arguing against self-loathing) but all the introverted judging functions speak through their extroverted counterpart, so a Ti/Fe will use Fe (sharing of feelings) and a Fi/Te will use Te (stronger language / firmness).

- ENFP Mod

* This is so typical of my life. I go to animal shelters and pick the one closest to death row / who has not been adopted the longest, because they ‘need me’ the most, rather than forming a ‘bond’ with them beforehand.


Someone who realized the chapter came out early probably already pointed this out because it’s really obvious but…

Saiko seems to be mirroring the Hindu goddess Durga. From what I know and correct me if I’m wrong but she’s the Divine Mother and preserves moral order and righteousness in all of creation. She protects humanity from evil injustice, prejudice, the forces of evil…

Kind of follows what Amon told Saiko about “Doing what felt right?” Saiko’s a person who’s judgement will help protect human and ghoul kind in future??

Classic Who: Starter Pack/List of Recommended Stories

So, you love Doctor Who and want to see what the Classic series is all about. But, you know, it ran for 26 years and it’s fucking huge and just way too daunting, and something about missing episodes?? Help?? Never fear. 

The great thing about Doctor Who, especially Classic Who, is that watching it in order really isn’t that important. 

So, as far as I’m concerned, the best way to get into Classic Who is to sample a bit of each Doctor, and see what takes. And so here is my list of recommendations for each Doctor for those of you wanting to give this beautiful low budget sci-fi meme-factory masterpiece a try. 

  • Note 1: Classic Who is formatted differently to New Who. It’s made up of ‘serials’, which are storylines of anything from 2-10 episodes, 25 minutes each. Most are 4, but 2 and 6 parters are also common in some eras. So I’m recommending the serials, as opposed to episodes, obviously. 
  • Note 2: I want to express that this is my personal rec list, and what I think people will enjoy/enjoyed myself. I’m not claiming that these are definitely the best storylines or the ones people will enjoy most because Doctor Who is an incredibly subjective show, and deciding on ‘best’ storylines is so difficult. So, this list is fallible, probably, but I hope you like it anyway. 

These are listed, in chronological order, with serial title, then companions, and then any additional notes I have about the story. 

(Italicised serial title is my top rec for that era if you’re just looking for one of each, with the exception of The Unearthly Child because it’s the first one so just watch it, okay?)

First Doctor

  • An Unearthly Child (not the unaired pilot version, the proper first episode!! If Susan is drawing weird shit on paper you’re watching the wrong one) - Ian, Barbara and Susan - just episode 1 and first half of ep 2, once they leave the TARDIS you’re good to stop unless you want to keep going which is totally fair but it’s just a lot of cavemen grunting about fire really, though there is an interesting moment where the Doctor wants to kill a dude with a rock
  • The Aztecs - Ian, Barbara, and Susan - okay basically if you want the serious historical storyline go with this one, otherwise see The Romans
  • The Dalek Invasion of Earth - Ian, Barbara and Susan 
  • The Romans - Ian, Barbara, and Vicki (newly joined) - if you want the funny, very silly historical storyline, go with this one, otherwise, go Aztecs

Second Doctor

  • The Mind Robber - Zoe and Jamie
  • The War Games  - Zoe and Jamie (as a warning, it’s fucking 10 episodes long but really good if a little stretched out) - first naming of and appearance of Time Lords as a people, Two’s regeneration episode 

Third Doctor

Three’s era has way too many great serials so I’m just gonna let you pick from what you think sounds good. All of these feature the Brigadier to some capacity, too. 

  • Spearhead in Space - Liz (first appearance) - important for getting an idea of what the UNIT situation is, first Auton appearance, first episode following the regeneration
  • Inferno - Liz - it’s basically an “all the Doctors friends are evil!AU verse” story
  • Terror of the Autons - Jo (first appearance), first appearance of the Master
  • The Sea Devils - iconic Best Enemies serial (the sword fight!), has the Silurian’s “cousins” the Sea Devils, plus the actual Navy and lots of boats
  • The Three Doctors - Jo - MULTI DOCTOR, First and Second Doctor, first appearance of Omega
  • The Time Warrior - Sarah Jane (first appearance) - first Sontaran appearance, first naming of Gallifrey! 

Fourth Doctor

  • Genesis of the Daleks - Sarah Jane and Harry - first Davros appearance/Dalek origin stuff! TMA/TWF in Series 9 of New Who is basically a sequel to this story
  • Invasion of Time - Leela - set on Gallifrey with Time Lords and Sontarans
  • City of Death - Romana II (Time Lady companion!!) - centred around the Mona Lisa kinda 

Fifth Doctor

  • The Five Doctors - Tegan and Turlough - plus old companions, MULTI DOCTOR, first five doctors except Four
  • Caves of Androzani - Peri (newly joined) - very acclaimed story, Five’s regeneration episode, think Phantom of the Opera meets alien mining shit  

Sixth Doctor

I’ve not seen enough of his first season so this is my main rec, along with the whole Trial of a Time Lord season if you’re looking for more Six. 

  • Mark of the Rani - Peri - first appearance of the Rani (another renegade Time Lord, amoral scientist who was at school with the Doc and the Master, hates them both lmao), plus the Master, it’s a big messy school reunion set during the Industrial Revolution

Seventh Doctor

  • Remembrance of the Daleks - Ace - set at Coal Hill, Ace beats a Dalek up with a baseball bat, literally creating the “defining moment of awesome” trope because she’s that iconic
  • The Happiness Patrol - Ace - dystopia where unhappiness is illegal, the TARDIS gets painted pink

Eighth Doctor 

  • The 1996 movie - Grace - take the ‘half human’ thing with a grain of salt because Eight is a little shit and the Master was dealing with shifty information

And there we are!

If anyone gets through this list and wants to ask for additional recs, feel free to come into my inbox, I’m always up for helping others get into the joy that is Classic Who. 

Otherwise, sit back, strap in, and prepare to laugh at some questionable guest acting, stuffy Time Lords in stupid clothes, and of course the old/cheap special effects. And of course, enjoy, because the storylines are still solid as HELL and so are the main characters.