separately as characters

COMISSIONS!!

UPDATE!

As of 29.05.2017 the comission prices are updated as follows; (´。• ᵕ •。`) ♡ 



Clean Sketch Prices:

Bust ~~~~> 20$

Full Body ~~~~> 30$


Additionally:

Color ~~~~> 20$

Additional Character* ~~~~> 20$

Shading ~~~~> 20$

Textures ~~~~> 10$


*Please be aware that different versions of the same character count as separate characters.



The Comission process:

[0. Check if my Comissions are open :P]

1. Decide what you want me to sketch.

2. PM me about the comission. Send refs. I’ll calculate the price.

3. I will begin working as soon as I’ll receive the money on my Paypal. I will PM you the adress so no worries.

4. It should take me 3 - 4 weeks tops to complete your comission, and may be faster or longer depending on the complexity of the picture and the references I have. I’ll probably send you at least one WIP during the process.

5. After I finish, I will send you the finished piece privately. That’s the part where you can ask for small fixes, 

6. Then, with the picture 100% done, I will PM it again and post it on my blog! 

(*´▽`*)

Note: Feel free to ask me about your comission anytime you want, just please don’t spam me. Also, remember that drawn refs are always better than descriptions! 

Oh, also,

I DRAW anime characters, furries, androids, Pokemon, etc…

I DON’T DRAW nsfw, backgrounds, gore, and very kinky stuff…

~Prar

THE COMISSIONS ARE; OPEN



anonymous asked:

Oh no I meant like how many people can we request to have drawn! Sorry for the confusion jsksksklsjsk

Oh! If you win? I mean it’s one full body 1 headshot and 1 chibi, unless it comes as a couple for one of these then it can be more than one but I’m not making separate images for two characters that’ll be, for example 2 headshots instead of one.

THE FOUNDING FATHERS WERE RACIST SHITBAGS WHO DID OBJECTIVELY GOOD THINGS FOR THE UNITED STATES. DO NOT ROMANTICIZE THEM BECAUSE OF THIS MUSICAL. DAVEED DIGGS IS HOT AND WOKE BUT THE REAL THOMAS JEFFERSON WAS NOT. SEPARATE THE CHARACTER FROM THE REAL PERSON. DO NOT DEFEND THE REAL FOUNDING FATHERS’S ACTIONS BECAUSE YOU LIKE THIS MUSICAL. SLAVEOWNERS ARE NOT CINNAMON ROLLS.

Thirteen Reasons Why - Explained

Thirteen Reasons Why

I’ve seen a lot of posts about Hannah being a ‘drama queen’ or overreacting to small things everyone did so I thought I’d explain a bit about what I understood.

1. Justin - Justin exaggerated what he and Hannah did. While this seems mild, it set Hannah up for a terrible high school career because she earned the reputation of 'slut’. This happens so often in schools and in the adult world and can RUIN someone’s life in a certain, if not all areas.

2. Alex - Alex put Hannah as having the best ass against Jessica as the worst. It is clear that the internet is doing its thing again and not taking time to understand things properly; this was NOT A COMPLIMENT AND HANNAH HAD EVERY RIGHT TO BE ANGRY. It was a clear violation of friendship and an obvious example of men pitting women against each other for their own benefit.

3. Jessica - I’m going more by the book here, but Jessica was on the tapes because she didn’t believe Hannah and abandoned her when she needed her. A clear example of how people can easily be lead by others and girls turning on each other because of guys. Jessica deserved to be on the tapes because she didn’t hear Hannah’s side of the story and instead took her anger out on her first friend at the school.

4. Tyler - I don’t think I need to explain much about this, but he abused his position as a photographer in school to violate boundaries for his own pleasure similar to how a lot of people in a power exploit those below them. He made Hannah feel vulnerable and took the lack of comfort she felt at school to her own bedroom.

5. Courtney - I suppose this is kind of harder to understand. Courtney was a closeted lesbian and therefore it is understandable that she was upset at the thought of her being outed before she was ready, but Hannah confided in her to help her expose someone else and instead she protected herself by further ruining Hannah. This shows the selfishness of those who feel the need to protect themselves by harming others.

6. Marcus - I haven’t seen much on Marcus honestly, but I dislike him immensely. He took advantage of Hannah because of the impression of her he had put together from rumours created by other reasons (Justin, Courtney) which is an expression of how men feel owed something from women, especially those who are seen as 'slutty’.

7. Zach - At first glance, Zach doesn’t seem too bad. At half a second glimpse, this changes. Hannah rejected him because he said something silly, a mistake, and if he had made an obvious effort to explain and apologise, he could have helped Hannah. Instead, he chooses to punish her by preventing her from receiving happiness from others. This is one of the clearest examples of how men can’t handle a woman’s right to say 'no’ and reject him…

8. Ryan - This tape is similar to that of Tyler in that he made her feel unsafe. What Tyler did was worse than Ryan, however the effect of Ryan’s actions had (in my opinion) worse consequences that Tyler’s. Ryan published her poem because he thought it was something that needed to be shared, a selfish and naive action (when considering the maturity of high school students), which meant that Hannah’s personal thoughts were no longer her own. She was not comfortable at school, home or in her own mind.

9. Clay - Though I agree when Hannah states that he shouldn’t have been on the tapes, Clay does represent 'everyone else’ who stands by and watched people like Hannah slowly fade and retreat into themselves because of the actions of others. The 'bystanders’ if you will, whose lack of part in our stories can be just as important as those who intrude on us.

10. Justin - It is evident in the series that Justin was extremely haunted by the rape at Jessica’s party and this is probably why he is gaining so much sympathy… this is also why I recommend you all READ THE BOOK. Justin stood by and watched his friend rape his girlfriend, why is he receiving more sympathy than I’ve seen for Jessica? Of course it was hard for Justin to witness that, but staying friends with Bryce and staying with Jessica without telling her is reason enough for him to be on the tapes again.

11. Jenny - Jenny was kind to Hannah, offering her a lift home, but she didn’t take responsibility for knocking down the stop sign which lead to someone’s DEATH. The guilt that Hannah was left with from this (because she was in the car) was understandably overwhelming, especially as the victim was a classmate who was blamed for drunk driving. Jenny is an example of how our reckless actions and lack of responsibility for them can destroy other lives; is that not the entire plot?

12. Bryce - Lord help you if you need an explaination.

13. Mr Porter - A perfect example of how there is not enough support out there for students (and people in general, honestly). The counsellor advising Hannah to 'move on’ after she confides in him that she was raped is one of the most haunting moments in the entire series, solidifying her reason for suicide- she had no comfort amongst her classmates, in her own home, in her mind and now, the specialist designated for dealing with situations like this bore no real interest in her problems and told her to 'move on’.

It’s extremely important for us when watching shows with topics like this to remember many things.

First, the show is not just this situation. Everything represents something more in society; each tape side is a problem in the world that leads to suicide, not only a small action by one character leading to Hannah Baker’s suicide. If you need help in understanding this, or want something else similar to this story, I recommend watching or reading 'An Inspector Calls’ by J.B. Priestly- a masterful piece tackling classism/sexism and how each person’s seemingly small actions lead to a girl’s suicide.

Second, memes are sometimes funny. The 'Clay every time he sees Tony’ memes are really funny, the 'fuck off, Courtney’ memes are funny, but the 'welcome to your tape over a slight inconvenience’ memes, they’re not. The show is raising awareness for the seriousness of suicide, not to create a fanbase of jokes about it. Promoting these after you watch the show, is a clear statement that you haven’t understood why it was made and is completely unacceptable.

Third, separate the character from the actor. Justin Prentice is NOT Bryce Walker, do not spam his comments with disgusting name calling or threatening- this is CLEARLY wrong and unnecessary. This also works the other way: Brandon Flynn is NOT Justin Foley. Just because Brandon is attractive and nice, doesn’t mean his character becomes as such.

Please don’t turn 13 reasons why into another generic element of pop culture. I love pop culture, don’t get me wrong, but we have a tendency to begin digging for meaning and giving up halfway; overusing the profound starting points of progress we find by loosely throwing them around, emptying them of all meaning.

The Chamber of Secrets

based on this post

George: *pushing Harry through the crowd of students*

George: Seriously evil wizard coming through!

Percy: *trying to block their way*

Percy: Huh. With his boyfriend?

Draco: Weasley!!

2

Super old BnHa fanart I drew last summer. I decided to clean some up because I caught up with the manga today. It’s one of my favorite series!

The 5 Elements of a LIKABLE Main Character

“I don’t like your main character. He’s kind of obnoxious.” my beta reader laughingly told me, after reading the first chapter of my novel.

On the surface, I looked like this: 

Inside, I looked like this: 

Aloud, I said “Oh, well, he’s kind of hard to understand. He changes by the end.”

Inside, I screamed “How could you not like him?! Do you have a heart?! Is there a void where your soul should be?! Are you actually a Dementor that’s really good at makeup? Well, I guess this is what the Dementors are doing after getting kicked out of Azkaban!”

Outside: “But I really enjoyed it!” *Hugs between broken writer and Dementor in disguise* “Thank you for reading!" 

But you know what? That person that might be a soul-sucking cloaked demon creature? They were right. The character was unlikable, or more accurately, there was no reason to cheer him on. There was nothing to make the reader connect with him, relate to him, transfer themselves into his story, feel affection towards him. 

And if the reader doesn’t connect with the character through empathy? Nothing else in the story can work. Everything relies on this one fictional person. The basic definition of story is "A flawed hero with a goal overcoming obstacles to reach that goal, and how that journey changes them.” So without character, you don’t have story. Without empathy from the reader, you don’t even have character. 

So what is empathy when it comes to characters? 

It’s the process of a reader transferring their own lives onto the character. When this happens, the character’s goal and inner desires, values and weaknesses, everything about them, become proxies for our own. We learn of a shared piece of human nature between us, something we have in common on a significant inner level, and suddenly we want to see this character succeed. Because now, they are us – and we want to see ourselves succeed in real life. We feel what they feel, we experience what they experience.  

The best way to sum up character empathy in my opinion, is this quote from C.S.Lewis: “Friendship is born at the moment when one person says to another ‘Really? You too? I thought I was the only one!’”

That’s empathy. 

Which doesn’t mean the character has to be an angelic little cherub …

There are characters that operate in a moral gray area, there are characters that are downright awful, there are characters that shouldn’t be lovable …but we love them. So this is NOT saying that a main character has to be a perfect angel that rescues baby squirrels when they’re not busy volunteering at the local soup kitchen, it just means there’s something WORTHWHILE in the character that persuades the reader to stick around. We need a reason to relate with that at-first-glance unlikable character. Just as we have flawed people in our own lives who we can forgive and love.

A good quote for this one would be this, by G.K.Chesterton: “That’s the great lesson of Beauty and the Beast; that a thing must be loved before it is lovable.”

So how does a writer accomplish a good empathetic connection?

Luckily for us, establishing this only takes a little planning in the beginning of the story. Certain elements foster empathy, elements which you can give to your character and display in the story. Making sure to incorporate a few of these will ensure that first connection between reader and character. A connection which you, the author, will then be able to grow. It’s this tiny first note of shared humanity which deepens into those important links we hold with characters. We’re living people, they’re imagined and comprised of words on a page; yet these people can be friends to us, family, mentors, role models, and become some of the most influential people in our lives. 

And how does that begin? Evoking empathy. 

And how do you evoke empathy? Well here are the characteristics that human beings instinctively identify with and admire … 

– Courage (This is the one EVERY main character should possess. Gumption to pursue what they want separates main from background characters.)

– Humor (Wit charms us without fail.)

– Goal-Obsessed 

– Hard-working  

– Noble motivations

– Loving

– Loved by others

– Kind 

– Treated unfairly

– In imminent danger, physically

– In imminent danger, emotionally

– In a sorrowful situation

– Smart/Expert at something

– Suffering from psychological weakness  

– Haunted by something in their past

– Dissatisfied with current state of their life

– Lacking something like love, friendship, belonging, family, safety, freedom, etc

It’s a good plan to give your main character at least FIVE of these empathetic little “virtues.”

If this sounds like a resume, that’s kind of what it is. “Dear Potential Reader, I’m applying for the job of Main Character of this book series. I aspire to consume your every waking thought and drastically change your life, for better and worse.” It’s a diagram of the worthwhile traits of the hero, the characteristics that win us over, which promise the reader “If you follow my story, knowing me – and experiencing the story through me – will be well worth your time.”

These traits will be displayed in the set-up of the story, the first ten pages or so. But the story CANNOT stop to let the character exhibit these winning behaviors; the story must KEEP PROGRESSING, every empathetic element must be shown with a story reason for existing within a scene. Like exposition, empathy needs to be added in subtly, as the story motors onward, slipping into the reader’s knowledge without them noticing. If it’s a scene created for the express purpose of convincing the reader “This character is lovable! Love them! I said love them!” then it will be glaringly obvious and the reader will feel the exact opposite. (They’ll also feel that way about the author, incidentally.)

Now! How does this work? 

Harry Potter: 

Harry is the poster child for being treated unfairly. Yet in the face of the abusive treatment of his childhood, Harry is courageous. He does not succumb to the Dursley’s relentless campaign to stamp the magic out of him, and become a proper Dursley; though this would’ve won their approval, put him in their good graces, and made his life exponentially easier – but he didn’t do it. He knew they were wrong, knew what was right, and refused to become like them. So heck yes Sorting Hat, there is “plenty of courage, I see”. He was loved by his parents, by the three that dropped him off at his Aunt and Uncle’s, and by the majority of the Wizarding World. He’s also snarky, loving, and in constant danger. 

Judy Hopps: 

Every reason why we care about Judy is established in the first few scenes. She’s courageous. She’s funny. She’s loved by her parents. She’s motivated by noble values. Definitely goal oriented, hard working, and smart. She’s also in imminent danger, and being treated unfairly.

If we took out the pieces of the story meant to evoke our empathy, what would happen? 

Nobody would care. Judy Hopps would have been an annoying, smug, and consumed by ruthless ambition. Harry Potter would have ceased to exist because everything about him is empathetic. 

Establishing these early allows us to begin the process of temporarily transferring our lives into a story. Or in the case of some life-changing stories, not temporarily transferring, but letting them become part of our souls forever. 

Yup, having your story connect with a reader forever starts with just a little empathy. Pretty useful.

Oh, and speaking of souls, give me mine back, Dementor reader. I learned how to make people like my characters. Now you’re out of the Azkaban job and the beta reading job. 

In which somehow they got their hands on a functioning old world TV and vhs or dvds and Furiosa is totally not buying this horror movie at all, NOPE she’s just being considerate to Max who clearly is the distressed one. Max is not going to argue.

Number 12 for Prompts.

Reality: Harley Quinn is her own separate character/person/entity and it is possible and encouraged for artists not to have every drawing feature the Joker in some way like a tattoo, stuffed animal, graffiti, his actual dumbass self, et cetera et cetera

Reasons why bughead is the otp i never knew i needed:

- It’s a relationship solely built on friendship, trust and affection between two people. There’s no “belligerent sexual tension”, “hating each other but secretly wanting to have sex”, or petty insults that are somehow romanticized into “hot witty banter”. There’s just love, unspoken understanding and empathy.

- Jughead and Betty are both damaged people going through rough patches in life, but it’s not portrayed in a “omg we’re so fucked up and it’s glorified to be something morbidly beautiful as we spiral into mutual destruction” way, it’s more like “our lives are messed up and it’s not okay, but we’ll help each other through this, we’ll overcome it together”.

- Even though it’s clear that they mean a lot to each other, they are able to exist as two separate characters with respective compelling stories, instead of being reduced to “one half of a ship”. They both have priorities that they (rightfully) put before their relationship. So many ships end up overshadowing the characters involved that they’re pretty much empty shells without their relationship with each other keeping them relevant to the plot.

- The casual way with which they show affection. The casual touching, hand holding, sitting-side-by-side-with-zero-personal-space, the slinging-a-leg-over-the-other’s-lap thing. Some of them are even blink-and-you’ll-miss it shots. It’s never a big deal. It’s like physical affection comes to them naturally. It’s perfect.

- The huge smiles they always wear on their faces when they’re together. It’s so clear they make each other happy by just being there. There’s no tears, no arguing, no physical violence, no drama, all of which staples of “interesting relationships” on television, and yet theirs is one of the most compelling love stories I have ever known.

I don’t think people understand how rare it is for a tv pairing to be this healthy and good, and how much it means to me. I’m crossing all my fingers that this is the way they’ll always be. It’s time for us to put all those dramatic and destructive romance tropes to bed and stop pretending it’s romantic.

first-year overwatch recap

happy anniversary, overwatch!!! god i can’t believe how attached i’ve gotten.
i’ve been playing this damn game since the day of its release, and it started out pretty damn different from what we have now. if you’re newer to the party, here’s what went on, roughly chronologically:

  • tracer’s butt controversy 
  • shield-shatter pharah
  • turret bastion with a fucking reinhardt shield
  • swift-strike bleed effect
  • weekly brawls
  • 150hp zenyatta
  • gremlin d.va
  • that fucking impossible zenyatta achievement
  • d.va dying in her own ult
  • the bug with spawning as a random hero in lucioball and murdering the defenseless opposing lucios
  • tracer recalling inside the payload
  • roadhog hook with extremely questionable mechanics
  • getting competitive mode
  • d.va just being an incredibly shitty hero overall
  • ANA
  • everyone trying to prove shrike ana is sombra
  • the fall of genji
  • ana changing practically the entire metagame
  • getting laugh and sit emotes for everyone
  • EICHENWALDE
  • canon gremlin d.va emote
  • generous ana/the candy fairies
  • photobombing the bosses in junkenstein’s revenge
  • everyone predicting/drawing ethereal decaying cloaked glitch-ghost sugar skull mask sombra 
  • sombra’s shitty arg
  • actual sombra design leaking. two separate times.
  • SOMBRA [proper character/short release]
  • that first like week on PTR sombra could glitch out of map boundaries
  • d.va still being a shitty hero even after multple buffs
  • roadhog’s hook still going through walls
  • getting arcade mode
  • no longer being able to choose duplicate heroes in QP 
  • gee symmetra how come blizz lets you have TWO ults
  • tremendous amounts of salt over symmetra’s rework
  • “why is mei-rry a legendary”
  • https://www.youtube.com/watch?v=E83CtWFkQW0
  • roadhog’s fucking hook
  • n u t y a t t a
  • the glitch in 3v3 where d.va ejected into the void
  • mei escaping watchpoint antartica with her walls
  • OASIS
  • blizzard getting upset that people liked getting hit by the cars on oasis more than its jump pad
  • roadhog hook FINALLY getting fixed so it stops going through walls, only to make roadhog 10x more lethal because tagets of hook 2.0 had zero hope of escaping
  • d.va getting a nerf right after she finally became Good
  • gency discourse
  • YotR mei’s glitched ass
  • getting custom servers (and capture the flag!)
  • doomfist doomfist doomfist
  • the bastion changes that were live for two days before getting altered because it allowed him to survive practically every ult in the game
  • ORISA, coming out of nowhere
  • using custom servers as nsfw rp rooms
  • the rise of SPEED BOOSTIO; we all dspstanky now
  • shimada nipple 2 blackwatch boogaloo
  • ”REYES HERE”
  • ingame reyes shrug victory pose

there are A L O T of little balance changes i didn’t list; honorable mention to the 3x consecutive fan-the-hammer nerf, the invulnerable mercy rez patch, and the [almost] fall of ana, and the phrase “fixed a bug allowing reaper to shadow step to unintended locations in x map” appearing in pretty much every single patch since the beginning.
and some onging fanstuff honorable mentions to “hanzo is a fucking furry [and into vore]”, “can we go one fucking event without tracer getting a legendary skin”, “torblefeet” [and just. torbjorn in general.], and the whole dad76/family dynamic among the characters that quickly took hold among fans [and even blizz to an extent!]

the meta is a far cry from where it was in the beginning and there’s so many more ways to play overwatch now than when it’d first started, but it’s always been that same fun game with fun characters; here’s to another year of its evolution, and enjoy the event y’all!

not to sound over dramatic but honestly hiroko katsuki is the cutest freaking character ever made in the history of forever and i would die and kill for her

I really love their designs and think they fit really well with their characters and in the show. And for those complaining about the neon colour palette it’s always been like that for most of the gems just eyedrop any gem in a day scene and you’ll find they like to use very saturated colours and it works really well for separating the characters and the backgrounds.

Man I also just found out the “SU critical” tag exists and it’s pretty much 99% people complaining about any little thing they can reach for and 1% actual valid criticism. I guess i see where the toxic part of the fandom on here has move to now - _ -

anonymous asked:

Hello! I have a plan to get my main character injured by the antagonist. But, since the mc lives, is it better to describe the danger or get the mc injured so he (and the audience) would have no questions about the seriousness of the antagonist?

When to Injure Your MC

If you ask many writers why they beat their characters up so much, the immediate playful answer might be “Because it’s fun!” but there is (or should be) some strategy involved in when and how you injure your main character. So before I answer the question directly, I’m going to discuss these strategies a little.

Reasons to Injure a Character:

1. To create additional challenges in a high-stakes situation

If a character’s journey has been fairly easy to far, an injury is one way to complicate things. But the only way it works is if the injury lasts long enough to really hinder them. 

For instance, if you have a character that has the magical ability to heal others, then a character being injured and then healed two minutes later doesn’t create much of a challenge, nor does it heighten suspense since the character’s life was never truly in danger. So an injury that’s introduced to complicate things should take some time to recover from, and it’s usually more realistic anyway, especially when you consider the tortuous stuff we do to our MCs sometimes.

However, if you do have a healer character, and they’re currently separated from the character you injure, then a challenge is immediately presented. The injured character has to continue their journey through the injury, to either reach their destination or be reunited with the healer that can help them. 

2. To foreshadow a future situation

The situation I described above, where a character is injured and then healed two minutes later, could work, if it’s being used to foreshadow the second situation I described, where the two characters are separated. Showing the healer in action early in the story can foreshadow a later complication when the healer is unable to assist their companion, whether it’s due to a separation or a sudden loss of powers. 

It can also work as exposition to show the way the healer’s power works. 

3. To show the antagonist’s maliciousness 

The anon above suggested they injure their character to show the antagonist means business, and that definitely qualifies as a good reason to injure a character. 

See, when an antagonist hurts a character - and not just an MC, but anyone - they show that they don’t care who gets in their way. They want what they want, and in their opinion, the ends justifies the means. Even when a character isn’t necessarily in their way, and they do it for pleasure, it tells a reader a great deal about the antagonist’s psyche, and how far they’ll go to further their own agenda. 

My only caution here is to be wary of how often you’re using this reason. Often times it becomes easy to justify an antagonist’s plan by saying “They’re evil and they enjoy torturing people.” But villains who are evil just for the pure enjoyment of it grow uninteresting and predictable quickly. So despite the pleasure they get out of hurting people, they must have some greater scheme in front of them. Some ultimate gain that they’re hoping to achieve. A combination of these two things can breed a fascinating antagonist. 

4. To deepen a character bond or relationship

Injuries or illness are great opportunities to write a dynamic where one character is taking care of another, showing how close the two characters are, and how attentively they’ll care for the other. But this dynamic is most compelling when it’s a reversal, such as a little brother taking care of an older one, or when someone who the protagonist has built up to be invincible is suddenly sidelined and needs the protagonist’s help. 

Like the previous reason, i would just be careful how frequently this occurs. Situations like these are more effective when they’re big, and they last long term, rather than several smaller instances where a character keeps getting hurt and cared for. 

There may be other reasons out there to justify injuring a character that I haven’t thought of here, but I can surely tell you one reason not to:

Avoid injuring a character purely for the fun of it. 

Now listen, what you do in your own private writing universe is your own business, and if you want to put your characters through hell because it’s fun, I commend you for finding so much joy in the process of writing and I encourage you to keep at it. But when it comes to finding an audience, and telling a cohesive, well-paced, well-plotted story, you gotta start considering each move you make as a writer, and ask yourself if each plot point needs to be there. 

Back to the anon…

Now that I’ve gone into all this detail, let me get back to the specific question that the anon asked. Since the character ultimately lives, is it better to just show the possible danger, or to actually have the antagonist injure them to show they’re serious?

My answer to you would be that you could injure the character, since your reasoning falls within the reasons I listed here (reason #3), and it would be even better if it qualified for two reasons, such as delaying their progress to achieve their goal (reason #1) or repairing a strained relationship when a companion must take care of them (reason #4). 

Your argument that the character lives (so why bother?) ignores the need for conflict in a story. Readers appreciate conflict, as long as there are logical reasons for it, and if you consider these reasons I discussed, you should be in great shape. 

However, I think that you could show your antagonist’s malicious intentions without injuring the character, if you felt the injury would be too much for an already conflict-heavy plot. The antagonist might show anger/violence towards the people working for them (out of frustration), or even to innocent bystanders, or other minor characters whose fates we’re not as tied up in. So I think there are still options for you if you wanted to avoid an injury. 

-Rebekah