she is trying to kill us

DEMON AU

TFC-NET’S 2017 Spooky Creation Event: .
↳ So this is rlly way too long for a bullet fic and I’m sorry but I barely remember writing this and I’m too tired to split it up appropriately so here u go (tw violence, torture, and abuse mentions) 

  • Neil’s primary concern, something drilled into him by his mother, was always to stay alive
  • He was never scared of Riko, Riko couldn’t kill him. Riko didn’t know how.
  • He was scared of what Riko knew, how to contact the people who could
  • Riko pins him against the wall after the interview and sees Neil’s real eyes flash from beneath the contacts
  • Riko’s eyes widen before narrowing and pressing harder on his throat. No matter what he does, it won’t kill Neil.
  • He stops breathing for too long before Riko releases him, bright blue eyes still baring themselves to the human who dared try to hurt him
  • Kevin figured it out on the bus back from the winter banquet
  • “You’re one of them.” A fact, followed by a nod from Neil and a string of curses from Kevin 

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Who Killed Markiplier Spoilers/Discussion

Okay, I know everyones into Soft!Dark, and I’d love to be onboard as well but I cant shake this feeling.

It started with the line “And i know I trust Celine, And if you trust us, just let me in.” At first, it only rubbed me the wrong way in the sense of “just let me in” and some supernatural entities needing permission before taking control or going into places. But then when I relistened to the line, there was an extra echo that was added on top that stood out more. only echoing parts of the sentence. 

”Trust Celine”
”Trust us”
”Let me in”

It sounds like Damien is trying to add a layer of subliminal suggestion. 

Celene chimes in too when she says “I know he’s a good man, but he’s dangerous now.” but the echo just says “dangerous” (ruling out the idea this is just an extra echo for the last part of their statements, its very clearly implanting the suggestion.)

I might just be reading into it but  @markiplier said more than anything, Dark is manipulative, right? What if he somehow caused the colonel to kill. Either triggered some PTSD or make him snap. So he could get the Colonel to kill for him and just fake emotion through the investigation because he knew that would gain sympathy and get him off the trail. And frame the trigger happy Colonel who would look very guilty if he’s the kind of person who buries his pain and feelings.

So the Colonel takes the fall, and he manipulates you into giving him what he wants.

4

Sameer and The Chief quickly volunteer as their time with Diana have inspired them to fight for a cause. Charlie, however, hesitates. You see Charlie can’t shoot anymore. His PTSD is too overwhelming and he’s afraid he’s become useless. “Maybe you’ll be better without me,” he says, pained by the idea that he’s too “broken” to help.“But who will sing to us, Charlie?” Diana asks. It’s a simple question that brings a smile to Charlie’s face, a song in his heart, and the group continues on their way.

On the surface, it’s a tender moment. One that shows just how close this group has become since dropping onto the front lines of World War One. But with one simple line, Wonder Woman has redefined what it is to be a man.

Patty Jenkins’s Diana, doesn’t ask Charlie to continue to fight for her. She doesn’t need him to kill for her. She doesn’t try to encourage him or make him feel guilty for not being able to kill anymore, or turn him away because he can’t. She simply asks him to do what he can. She simply asks him to sing, and tells us that we don’t need to fight to be strong enough to stand beside Wonder Woman. - “But who will sing to us, Charlie?” The Defining Power of Wonder Woman

VOLTRON SEASON 4 SPOILERS AHEAD

  • episode 2 WAS a rollercoaster of emotions
  • keith fuckING LEFT TEAM VOLTRON
  • that moment when pidge thought matt was actually dead? yeah that fucking tore my soul out of my body
  • the reUNION
  • THE FLASHBACKS TO THE HOLTS LIFE BEFORE KERBEROS
  • the group hug before Keith left? im in tears
  • bROGANE HUG
  • ‘who will i make fun of?’ lance @ keith when hes about to leave
  • SHIRO CAN PILOT THE BLACK LION
  • mATT IS CRUSHING ON ALLURA LET MALLURA/ ALLURATT SAIL
  • coran does drugs
  • haggar is in fact using her altean camo abilities to make herself purple
  • string cheese people beep bop
  • allura has to play keith in the voltron coalition plays

  • LOTOR KILLED NARTI
  • AND THE OTHER GENERALS WANTED TO AVENGE NARTI TO THEY TRIED TO TURN HIM IN
  • its confirmed that haggar was spying on lotor through kova
  • THE PALADINS ALMOST STRAIGHT UP DIED IN PLANET NAXELA
  • i thought allura was gonna die when she touched that orb i sobbed
  • lance talking to allura stright on?? supporting her?? and encouraging her to try to use her magic?? and calling her the heart of voltron?? ALLURANCE IS ALIVE AND WELL
  • 'thank you lance’ 'that was all you allura’ mmmm yes my cotton candy bbs
  • KEITH WAS ABOUT TO SACRIFICE HIMSELF I ALMOST PEELED THE SKIN ON MY LEFT FOOT OFF
  • you know how that one guy that saved shiro back before going back to earth sacrifed himself? it was EXACTLY like that
  • lotor wants to talk with team voltron(maybe team up?)
  • no one died thankfully (kinda wanted someone to get injured tho,,,)
  • keith litteraly left after the first episode im going to riot
  • lotor basically saved keith when he blasted through the galra commander before keith could sacrifice himself to destroy its shield
  • MATT HOLT IS A FLIRT

ALWAYS LISTEN TO LANCE MCCLAIN WHEN HE TELLS YOU THAT YOU SHOULD GET OUT OF THERE BECAUSE IF YOU DONT YOULL END UP IN AN NEAR DEATH SITUATION

  • feel free to add more stuff hell yeah

anonymous asked:

Hey, you're awesome, thanks for existing, basically ^_^ Anyway, I wanted to know if you have any tips on how to write different personalities? My characters (all of them) always end up with the same default personality that I fall back on. Thanks!

Thanks for your question, darling!  I think most of us have struggled with this – after all, we’re conditioned to one way of thinking, feeling, and acting for as long as we live.  That doesn’t necessarily mean we write characters like ourselves, though.  In fact, many of us have a “default character” that’s sassier than we are, sweeter than we are, or in some way different enough from us that we still feel like we’re writing a character.

The problem, then, isn’t that we can’t visualize a different personality than ours.  On the whole, we can.  What we’re missing are the small details that make it feel whole – otherwise, it’s like painting the same room six different colors and trying to pass it off as six different rooms.  Different dominant traits can’t hide the fact that you’re working with one template!

So the question we’re left with: what are the traits we’re missing?  And how can we change them to create a unique and whole personality?


Three Types of Character Traits

There are, as the title suggests, three major categories of personality traits as I see it: fundamental traits, acquired traits, and detrimental traits.  A well-rounded character needs some of each to be three-dimensional and realistic.

Fundamental Traits

The fundamental traits of a person’s character are not as simple as interests and preferences; they are the very base of all decisions and desires.  They are either learned in early life or developed over a long period of time, rooting deeply into the personality.  A few examples of fundamental personality traits include:

  • Upbringing – The word choice here is conscious, as upbringing encompasses many different aspects of a person’s development.  Consider who raised them, and with what morals and practices they were raised to adulthood.  Consider their influences, both familial, social, and in media; consider the relationships that were normalized during their development, as well as the living conditions (financially, emotionally, environmentally, etc.).  The people, places, emotions, and conflicts made common during a person’s developmental period are essential to their personality in adulthood.  This is why psychologists often draw present-day problems back to a person’s childhood memories – because those formative years can subconsciously dictate so much of a person’s future!
  • Values – These may not coincide with the values a person is raised to hold, but upbringing certainly has an influence on this. A person’s values will direct the course of their life through every decision, large and small.  You don’t need to outline everything your character believes is important – every moral and every law they agree/disagree with. But those values which stand above others will give your character purpose.  A few of my favorite examples are: Jane from Jane the Virgin (whose initial storyline is heavily based on her religion and desire for a beautiful love story, as well as her childhood influences who inspired these values) and Han Solo from Star Wars (whose character development rested upon his values shifting from money and gratification to more honorable things).
  • Beliefs – Different from values, beliefs are a more general set of guidelines for how a person believes things are supposed to be.  Beliefs can also be a source of great conflict, as a character tries to stay aligned with their beliefs despite other values or desires.  These beliefs can be established systems, like religion or politics; they can also include more personal belief systems, like nihilism or veganism.  A characters beliefs, like their values, can change over the course of the story – but even if a character is questioning one system of belief, like religion or pacifism, they should have other belief systems in place to govern some of their activity.
  • Reputation – A lot of human activity, whether consciously or not, is dictated by how others perceive them (or how they believe others perceive them).  There are two types of reputation: personal and passing.  For instance, a woman named Sally who gains a personal reputation of sleeping around will behave in reaction to this reputation – either sleeping around because everyone already expects it of her, or specifically not hooking up because she wants to shake this reputation, or developing a thicker skin to deal with the rumors until it passes.  A man named Billy who, because of his tattoos, bears a passing reputation as an intimidating man will either try to soften his demeanor with strangers, own up to the image, or at least learn to expect judgment from strangers as a consequence.
  • Self-Image – Also relevant to a person’s behavior is the way they perceive themselves, which can often have little to do with their reputation.  A lot of self-image is based on definitive moments or phases in the past.  For instance: for several years after I started wearing contacts and cutting my hair, I still saw myself, in dreams at night, with long hair and glasses.  One of my friends, similarly, could not seem to notice when boys would flirt with her during sophomore year – because she still saw herself as an awkward middle schooler with braces, and not as the charming cheerleader with the great smile.
    Inversely, self-image can be inflated, causing character to behave as though they are funnier, smarter, or more prepared than they truly are (see: the rest of my sophomore acquaintances).  This can be an overlooked character flaw opportunity – or flawportunity…

Originally posted by alliefallie


Acquired Traits

Now we move on to the acquired traits of personality, which are the ones you’re more likely to find on a character sheet or a list of “10 Questions for Character Development”, alongside a million other things like their zodiac sign and their spirit animal.  But the traits I’m about to outline are a little more relevant to a character’s behavior, and more importantly, how to make this behavior unique from other characters’ behavior.  The following traits will be learned by your characters throughout their life (and their story), and are more likely to shift and grow with time:

  • Interests – I know, I had to reach deep down into my soul to think of this one.  But it’s true!  Interests, both in childhood/adolescence and in adulthood, are an important part of a character’s personality and lifestyle.  Childhood interests both reveal something about the character (for instance: my nephew loves trains, Legos, and building, suggesting a future interest in construction or engineering) and create values that can last for a lifetime.  Current interests affect career choice, social circles, and daily activity for everyone.  Forgotten or rejected interests can be the source of pet peeves, fears, or bad memories. There’s a reason I’ll never play with Polly Pockets again, and it 100% has to do with bloody fingertips and a purse that wouldn’t open.
  • Sense of Humor – This can be a little hard to define, understandably.  If you were to ask me what my sense of humor is, I’d probably start with a few stupid memes, pass by Drake & Josh on the way, and somehow wind up telling you bad puns or quoting Chelsea Peretti’s standup comedy. A person’s sense of humor can be complex and contradictory!  Sometimes we just laugh at stuff because someone said it in a funny way.  But anyway, to help you boil this down to something useful: take a look at a few kinds of comedy and relate it to your character’s maturity level.  Do they laugh when someone lets out a toot?  Are they the kind of person to mutter, “That’s what she said,” or simply try not to laugh when something sounds dirty?  Can puns make them crack a smile?  Do they like political humor?  Do cat videos kill them?  Is their humor particularly dark?  Can the mere sound of someone else laughing make them laugh?  Figure out where your character’s sense of humor is, and you’ll feel closer to them already.
  • Pet Peeves – For every interest a person may have, and everything that makes them laugh, there’s something else that can piss them off, large- or small-scale.  Are they finnicky about their living space and neatness? Do they require a lot of privacy? Do certain sounds or behaviors drive them crazy?  What qualities are intolerable in a romantic interest for them? What kind of comments or beliefs make them roll their eyes?  If you need help, just try imagining their worst enemy – someone whose every word or action elicits the best eye-rolls and sarcastic remarks and even a middle finger or two – and ask yourself, what about this person makes them that mortal enemy?  What behaviors or standards make them despicable to your character?  That’s all it takes.
  • Skills – Everybody has them, and they’re not just something we’re born with.  Skills can be natural talent, sure, but they’re also cultivated from time, values, and interests.  What is your character okay at?  What are they good at?  What are they fantastic at?  Maybe they can cook.  Maybe they have a beautiful eye for colors.  Maybe they have an inherent sense of right and wrong that others admire. Maybe they’re super-athletic or incredibly patient or sharp as a tack or sweet as a cupcake.  Maybe they know how to juggle, or maybe they’re secretly the most likely of all their friends to survive a zombie apocalypse.  Where do they shine?  What would make someone look at them and think, “Wow, I wish I were them right now”?
  • Desires – A good way to “separate” one character from the next is to define what it is they want, and then use every other detail to dictate how they pursue that goal.  Every real person has a desire, whether they’ve defined it or not – whether it’s something huge, like fame or a family of five with triplet girls and a beach house on an island, or something small, like good grades for the semester.  These desires can cause a person to revise their values or forsake their morals; and these desires can conflict with other people’s desires, influencing how people interact with each other.  Remember that every character is living their own story, even if it’s not the story you’re telling.
  • Communication Style – A majorly overlooked character trait in pop fiction is unique communication styles.  Having every character feel comfortable arguing, or bursting out with the words, “I love you,” is unrealistic.  Having every character feel paralyzed at the idea of confronting a bully or being honest to their spouse is also unrealistic.  There should be a healthy mix of communicators in a group of characters. Some people are too softspoken to mouth off at their racist lab partner.  Some people wouldn’t see their girlfriend kissing another guy and just walk away without saying something.  Some people just don’t react to conflict by raising their voice; some people enjoy sharing their opinions or giving the correct answer in class.  Boldness, social skills, and emotional health all have a part to play in how people communicate their thoughts – so keep this in mind to create a more realistic, consistent character.
  • Emotional Expression – Along the same lines but not the same, emotional expression is more focal on feelings than thoughts.  If you’ve ever heard of the fight-or-flight response, the different types of anger, the stages of grief, or the five love languages, then you’re aware of different “classifications” of emotional expression and management.  Read up on some of those things, and think about how your character handles emotions like happiness, sadness, fear, anger, loneliness, paranoia, and so forth.

Detrimental Traits

While acquired traits are certainly more enjoyable to brainstorm during the creation process, detrimental traits are as important – or even more important – to the character’s wholeness as well as their role in the story.  Not only do these negative or limiting traits make your character realistic, relatable, and conflicted – they create a need for other characters and their strengths to move the plot forward.  A few examples of detrimental traits include:

  • Flaws – Character flaws are probably the first thing that came to your mind while reading this, but they’re the essence of the category.  Flaws in a character’s personality, morality, or behavior can be a source of character development; they set an individual on their own path and provide a unique motivation for them.  Having Character A struggle with sobriety while Character B learns to be a more patient mother can do a lot to separate their stories and personalities from each other.  Even if certain flaws don’t reach a point of growth, they create a third aspect to personality and force us, as writers, to be more creative with how our characters get from Point A to Point B, and what they screw up along the way.
  • Fears – Everyone has fears, whether we’re conscious of them or not – and I’m not talking about phobias or “things that give you shivers”.  Just like everyone has a primary motivation throughout life (romance, family, success, meaning, peace of mind, etc.), everyone has a fear behind that motivation (loneliness, failure, emptiness, anxiety).  We all have something we don’t want to happen places we never want to be and things we never want to do.  We’ve all been in situations that mildly bothered others but wildly affected us at the same time.  For me, it’s a lack of autonomy, or in any way being forced to do something or be somewhere against my will.
    What does this mean for me?  It means that when other people have nightmares about being chased by an axe murderer, I have nightmares about being kidnapped and locked up.  It means that I’m continually aware of my “escape plan” if something goes wrong in my living situation, and I’m hypersensitive to someone telling me, “You have to do this.”  It means I struggle to follow rules and usually don’t get along with authority figures because I have to assert my independence to them.  It’s irrational and continual and doesn’t just affect me in one situation; it subconsciously directs my steps if I let it.  That’s how real, guttural fears work. Phobias are only skin deep, and they don’t make you feel any closer to the character.

Originally posted by giantmonster

  • Secrets – Even goody two-shoes Amber from the swim team, with her blonde blonde hair and her good good grades, has a secret.  Everybody does, even if it’s not a purposeful, “I have a deep, dark secret,” sort of secret. We have things we don’t tell people, just because they’re embarrassing, or painful, or too deep to get into, or they don’t paint us in a good light.  While the secrets themselves tell a lot about a person, so do the reasons a person keeps a secret.  Hiding something out of shame suggests a person is prideful, or critical of themselves, or holds themselves to a higher standard than they hold others.  Hiding something painful suggests that the person struggles to handle sadness or regret, or that they feel uncomfortable showing raw emotion in front of loved ones. And so on and so forth.
  • Conflict – Whether internal, interpersonal, legal, moral, societal, or what have you, conflict will limit your character’s actions at every turn.  A story is nothing without conflict driving the plot in different directions and causing your character to rethink both their plans and their lifestyle.  Without Katniss’s moral conflict over killing other tributes, The Hunger Games would be the story of a girl who entered an arena, killed a lot of people, and lived the rest of her life rich and comfortable.  If Luke Skywalker didn’t have interpersonal conflict with Darth Vader, Star Wars would be the war-story of a guy who joined a rebellion and then… yeah.
  • Health – Physical, mental, and emotional health is a huge limiting factor for characters that often goes untouched, but it’s valuable nonetheless.  Not everyone has a clean bill of health and can jump off trains without pulling a muscle, go through a traumatic life experience without any hint of depression or anxiety, or watch a loved one die in gunfire and shove right on without emotional repercussions. Consider creating a character who’s not perfect – who isn’t perfectly in-shape or abled, or neurotypical or stable day-to-day, or completely clean and clear of residual heartache, unhealthy relationships, or bad emotional habits.  Don’t define them by these traits, of course – but don’t feel that you can’t write a character with health issues without writing a “sick character.”

So this post got ridiculously long, but I hope it works as a reference for you when creating unique characters.  Remember that you don’t need to outline all of this information to create an individual, realistic character.  These are just some relevant ideas to get you started!  It’s up to you, as the writer, to decide what’s necessary and what’s excessive for your creative process.

Still, I hope a majority of this is helpful to you!  If you have any more questions, be sure to send them in and we’ll get back to you :)  Good luck!

- Mod Joanna ♥️


If you need advice on general writing or fanfiction, you should maybe ask us!

things i love about this music video (and im probably missing a lot of things feel free to add more)

  • The graveyard forms the letters   TS
  • How when she says “tilted stage” she doesn’t tilt the gravestone on her side she just makes sure its fair again
  • Her grave turns into the marble bathtub she talked about at the grammy museum before performing blank space
  • The single dollar
  • Her SNAKES ARE HER SLAVES like the media says she is treating her friends and family
  • She gets into a fucking car accident then poses for paps???? WITH HER GRAMMY TOO
  • How she got locked in a cage???? But still looked fucking fierce
  • But also about that cage, she got the keys back and is taking control of her reputation again by having her own feast
  • HER ORANGE OUTFIT IS EVERYTHING
  • The cats everywhere???? It doesn’t add much but its taylor swift so shell find a way to add cats somehow no matter what
  • She’s FUCKING ROBBING A STREAMING SERVICE WHILE WEARING A CAT SHIRT
  • Oh yea, shes poking fun at everyone calling her greedy when she took her music off streaming services
  • HOW SHE TEACHES HER “SQUAD” HOW TO ACT THAT’S HOW THE MEDIA PORTAYS IT. Btw, taylor never used the word squad ever to describe her friends
  • THE NUMBER 13!!!!!!!
  • HER “SQUAD” ARE MANEQUINS
  • HOW SHE KILLED HER SQUAD ????
  • HTHE MANSION AGAIN, WHERE SHE COLLECTS MEN
  • FORCING THEM TO WEAR I LOVE TS SHIRTS LIKE PEOPLE THINK SHE FORCED TOM TO DO
  • Her old selves trying to reach to her??? But shes over it???
  • Shes also saying her old selves are the actresses playing in people’s bad dreams
  • SHE KICKS YOU BELONG WITH ME TAYLOR WITH HER HEEL????
  • HOW ALL HER OLD SELVES ARE FALLING TO THEIR DEATHS
  • ( I hope she didn’t destroy the sparkly guitar that thing is a gem)
  • THE CHOREGRAPHY
  • SHE LOOKS SO HOT
  • HER CURLS
  • I LOVE HER CURLS SO MUCH
  • THE PLANE AKA “HOW SHE JETSETS AROUND THE WORLD” THE BLANK SPACE CHARACTER
  • THE ENDING SCENE KILLED ME
  • HER OLD SELVES
  • I WONDER HOW MUCH FUN SHE HAD DRESSING AS HER OLD SELVES AGAIN
  • THE SASS
  • POKING FUN OF HER OWN INSULTS
  • THAT ONE VERSION OF HER WITH SNAKES ADSAGDASHDSA I LOVE HER
  • SHUT UP!!!!!!!!!!!!!!!
Yes, Sir // A Mitch Rapp Smut

Collab With The One And Only @stilinski-jpeg

Relationship: Mitch Rapp x Reader

Warnings: NSFW, Explicit Sexual Content, Smut, Violence (like seriously some crazy shit goes down), Oral (69), Fingering, Multiple Orgasms, Overstimulation, Unprotected Sex, Rough Sex, Choking, and Swearing.

Word Count: 9,859 

Song: Young God by Halsey

A/N: Hey guys! Welcome to day 2 of #MitchWeek! Yes, this smut is completely inspired by that bathtub scene from the trailer. I came up with this idea and immediately told Nia about it to which she said and I quote “if you don’t write this, I will.” And so we decided to turn it into a collab! I hope you guys love how intense this is as much as we do. We really felt no need to hold back.

“I don’t need a babysitter.” Mitch snarled at Stan Hurley as the pair walked down the long hallway.

“If anyone needs a babysitter, it’s you.” Stan chuckled at his least favourite trainee’s expense.

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Bad humans?

Alright so to jump into the whole humans are space orcs thing: i have yet to see ANYTHING about bad humans. People with bad intentions, murderers, thieves etc. What if violence amoung other alien species is nonexistant because they don’t see the point in killing your own kind. So youve got this crew whos following by the Human Handbook and annotating everytime their human does something new. And these poor guys are already terrified at some of the creative stuff we humans do to survive. Then this group of basically space pirates come along and they send their human to negotiate and save them (again) but these guys have their own humans who are just not having it because why wouldn’t they jump on the bandwagon of having a human? They’re SO useful for invading.
But this crew is so use to their nice, happy, lovable human whos a bit crazy and quirky. But they LIKE her that way. Shes saved their asses dozens of times being that way.
So when the equivlant of space pirates board and its a bunch of humans they all figure “Oh its ok theyre humans theyll see we have a human and leave us in peace.” But then their human starts showing signs of aggression and they start attacking each other but shes WAY out numbered and her crew is just shell shocked because “ why are you attacking? Thats another human!” And she just shouts at them to help her because these humans are trying to kill the whole crew and “ill be damned if these bastards kill me or my crew” and she’s already taken out three of them but they’re just as creative.
When its finally all over and they survived one of the aliens had the guts to ask her why they wanted to kill her because isnt she human too? And she has to explain that there’s bad humans or there who hurt and kill other humans because they can and they like to. And her crew is just SHOCKED and even more terrified because “Humans kill EACH OTHER?”

lapis is probably going to leave

@thelightwithinthedark said:

I want to ask you something. From the lines that was said on the trailer for the new season five episodes of Steven Universe. Lapis said “Their gonna take their anger out on this planet just like they did before.” “I won’t let myself get caught up in another war.” What is your take on this and could this give us more of Lapis’ arc? Also I want know on what do you want Lapis to go through so she can have character development? I’m really worried for her and I love her so much. Your very logical.

i think lapis is leaving the barn. it’s been foreshadowed for a very long time, and this was never a mutually happy thing. it was her and the crystal gems trying to coexist, and it mainly worked because they were always avoiding a core issue: they’re determined to defend earth. lapis is not.

why don’t you put that corn in a mirror for thousands of years and then see how it feels about the table? (laughs) it would really… hate the table!

the ‘table’ is earth. and that… never changed. remember, this was long after steven tried to show her the beauty of earth, by way of uh… leaf. and cities.

of course that wasn’t going to be enough.

lapis tried to be positive, because it’s steven, and he’s her friend! she wants him to see her best, and she knows he’s the reason the other crystal gems let an old enemy live on earth, despite trying to kill humans (and their boy).

connie: you almost drowned me when you tried to steal the world’s water

lapis: …i almost drowned a lot of people.

she feels guilty for some of her actions, but after her breakdown, she’s gone back to avoiding all these things. she doesn’t really want to address bad blood with these people when she has nowhere else to go.

that’s why people often remark that she seems ‘out of character’ when talking to steven - she’s actively trying to be the beach summer fun buddy.

life on earth is really confusing… it took me a long time to get used to it. i’m still getting used to it.

but things aren’t so peachy. there are too many reasons she hates the earth, too many tensions between her and the crystal gems, too many things lapis avoids talking about (connie, steven, jasper, greg, the crystal gems as a whole)… it was only a matter of time before the fragile truce was challenged. 

the other CGs don’t have much nice to say about her either.

steven: visiting peridot and lapis will be so much fun!

amethyst: …yeah, cause when i think fun, i think lapis.

pearl was nothing short of scornful of lapis in ocean gem. that never really changed. she’s only tolerating her, even in gem harvest. lapis feels the same, judging by their history, and the malice in her voice when saying peridot should be ‘the pearl’ when pretending to be crystal gems. 

garnet has sympathy for malachite, but even that was with the careful neutrality of “yikes. those two are really bad for each other”. alexandrite agrees, suggesting “you two should spend some time apart”.

you ran? from blue and yellow diamond?!

the benefit of pretending everything’s fine was that lapis was left alone, without having to face more severe consequences, and for the crystal gems, that this very powerful gem didn’t give them any trouble

but... with the diamonds setting their sights on earth, that peace is in question.

they’re gonna take their anger out on this planet just like they did before. i won’t let myself get caught up in another war.

lapis looks out for lapis - that’s always been part of her. she cares for her friends, but she’s also determined to live. despite her guilt, she can be calculating, vicious and desperate to keep the status quos that benefit her. when that is no longer possible, she adapts, lashes out… or flees. 

in other words… the crystal gems will fight for earth. lapis doesn’t want to.

i think acknowledging this is good. lapis’ challenge should involve facing consequences and figuring out what’s right for her now. because this isn’t it.

peridot: earth is our home now! isn’t that worth fighting for?

peridot wants to believe she will stay, but… judging by the lighting, their eye-contact and the angles, we already have lapis’ answer:

Sometimes even the calmest GMs snap.

Context: Walo, our aasimar cleric, has suggested diplomacy for every creature in this dungeon, including a griffon, three dust mephits, and a giant scorpion. She did this for the last dungeon too. Everyone was started to get pissed that she would use her first turn in every combat to try futile diplomacy rather than something useful.

Normally-stoic GM: Alright, now it’s Walo’s first turn. {He glares at the player playing Walo, a little ticked.}

Walo: Well, all the lamia did was hiss at us angrily, then we tried to kill it. {The GM’s face clearly says “Don’t you dare.”} Don’t you think we should try d-

GM, louder than anything he’s said in the last two sessions: SHE’S CHAOTIC EVIL, YOU IDIOT!

anonymous asked:

Maybe Dark!Annabeth fighting a child of the big three and she knows that defeating them with physical, raw power isn't possible, so she attacks mentally. She defeats them with words, something Annabeth constantly does throughout the books to her enemies. Making them so angry, distracted, and/or sad that they lose focus and she easily takes the victory.

Annabeth feels him coming before she sees him.

There’s a charge in the air. A gathering static that threatens to strike with every movement she makes, but never quite gets the guts to do so.

That’s Jason Grace for you. Son of Jupiter, chosen of Juno, and just a touch too soft to do what needs to be done. Oh sure, he’ll kill monsters if he needs to, but when the monsters are gods, his solution is to become a priest.

It’s about finding a compromise, he’d said. And making sure that we’re heard.

Annabeth’s finding there are better ways of making noise.

“You got here faster than I expected,” she remarks as he touches down in front of her. She’s perched on the crumbling remnants of a wall that’s thousands of years old. Some small, distant part of her regrets what is about to happen here, but not enough to change course.

“Your pattern’s getting old,” he says. His gladius is out and he holds it warily between them. Annabeth keeps her drakonbone sword at her side. “The others can hold Percy off long enough for me to stop what you’re doing.”

She raises her eyebrows. “You’re the only one coming?”

He tries to hide his grimace, but that’s the danger with fighting your friends. They can read you too well, and a smile curls over Annabeth’s mouth at the confirmation. She hops off the wall, landing lightly on the dirt.

“What made you think I’d be at Pompeii?”

Lightning crackles in the sky overhead, raising the small hairs at the back of her neck. He nods at the scaffolding in the distance, empty of workers this early in the morning. It’s a grim dawn, about to get darker.

“No tourists today. You might’ve turned against the gods, Annabeth, but you’re not a murderer.”

Isn’t she? Annabeth has lost count of the number of monsters she’s put in the ground (under the ground). How many demigods died in the war with Kronos? They bleed red the same as mortals, and her hands are as stained as anyone’s.

So are Jason’s, and irritation pricks at her face. She smooths it away with a cool smile, carefully tracking him as he starts to circle her. She has a certain amount of faith in Jason’s willingness to ‘save’ his friends, but she’s not an idiot.

“So I should start picking locations with people if I don’t want you to interfere, is that what you’re saying?”

“That’s obviously not what I’m saying.” His gaze flickers over the ruins stretching behind her. “So this is all rigged to blow, huh?”

“Leo does good work.”

He winces. He can play on whatever friendship the two of them might have had all he likes, but that betrayal is the real knife in the guts and they both know it. Annabeth coerces her expression into concern, the cogs of her brain turning the right muscles to give it the realism it needs. She takes a half step forward, and Jason doesn’t step away.

“He misses you, you know.” Her voice is a soft thing. Caring. “Misses both of you.”

“If he misses us so bad, he should come and see us.”

“You really think we’re going to be welcome at Camp after all this?

“You haven’t killed anyone.”

The yet sits between us, and it doesn’t matter anyway. The gods would be more likely to forgive her if she had killed someone. They could have murdered thousands of mortals and not been struck down, if they’d just done it far away from the last vestiges of godly power in this world.

Gaea had plotted to bring down Mt Olympus, and that’s definitely on Annabeth’s list. But she’s always been a methodical sort of girl, and divine power runs deep. Best to stamp out all traces of it, one relic at a time.

She sighs. “We don’t plan to. You know that.”

“You’re trying to kill the gods!” Lightning cracks again, closer now. It takes more strength than Annabeth wants to admit to to avoid reaching for her weapon.

“And how many times have they tried to kill us? At best they don’t give a shit, Jason, you know that.”

But he’s shaking his head. They’ve had this fight before, all of them, enough times that she could probably just record it for him to save energy. He’s long since stopped listening to sense, and she doesn’t bother with more than a cursory attempt to convince him.

“You’re too late for this one,” she says. “I’m proud of you for getting here before it blows, but you were right. It’s ready to go.”

His grip shifts on his sword. And - there’s something in his expression that prompts her to brace for an attack, because it’s not defeat. This time, she thinks. This time might be the one where I push too far.

It’s sad, sort of, but relief swamps that soon enough. It’s not that she wants to fight old friends, but it would make everything a lot simpler. To just be able to fight, without caring what happens to them anymore. To draw battlelines instead of blurring them

“I don’t want to hurt you,” he growls. “But even if the rest of your team is ready to destroy this place, they’ll stop once you’re a hostage.”

Annabeth laughs. It’s a miscalculation, but she can’t help herself. “The others might. But hell itself couldn’t keep Percy Jackson from me, Jason, and you’re no Tartarus.”

“I can deal with Percy.”

He can’t. She wonders idly if he knows that. Everyone’s aware of Percy’s power these days, but that’s what he’s like with her at his side. Jason, she suspects, still has a little too much optimism left about what Percy’s self control would be like without her. What it would be like if he even thought she was in danger.

“Right, well, that’ll be your mistake to live with.” She squints up at the sky, trying to judge her next play. Being a hostage would accelerate certain things that she’s not ready to set into motion just yet. Most of all, she doesn’t think that Percy is quite as ready to fight the others as she is.

Not yet.

“You made a miscalculation,” she said finally. “You always want to go for the biggest player, Jason. It’s one of your biggest weaknesses.”

“You can’t talk your way out of this, Annabeth.” His body moves, and she can almost trace the lines in the air, the familiar forms he’s about to slide into. “You’re coming back to Camp wth me.”

He lifts his blade, wreathed in lightning. She smells ozone on the air, the threat of violence wafting in behind it. She clasps her hands behind her back, and lays down her hand.

“Where’s Piper, Jason?”

Everything stops. Nature itself holds its breath as those too-blue eyes widen in sheer panic, before narrowing at her.

“Piper’s your friend. You wouldn’t hurt her.”

Annabeth waits. She doesn’t need to say anything. The silence between them does it for her. The even sound of her breathing. The shroud of absolute confidence holding her shoulders straight.

You are not going to take me, her body says, like it’s all a foregone conclusion.

“She can handle herself,” he tries again, and there’s the edge of desperation that she’s been waiting for. Enough to cloud his thinking. He might not think she’s a murderer, but there are other atrocities. Things she hasn’t held back from in the opening numbers of this new war.

“Against Percy?”

That’s a risk. Because they both know that Percy isn’t steady, isn’t stable, that his relationship with Piper had been tenuous at best and that without Annabeth there, his temper might just get away with him. Piper has her Charmspeak, but there are ways around everything if you have enough power.

It’s a risk, because Jason’s anger could always outweigh his fear. He could always take it out on her rather than fly off for Piper. Annabeth is confident in her ability to take him with a sword, but Jason comes with all those bonus add-ons that children of Athena just aren’t privy to.

So she gives him one last push. Just to make sure.

“Tartarus has so many doors,” she says softly. That same quiet concern from before, turned deadly now. “You know we found all of them, right Jason?”

He spits a curse, something in Latin about the gods and what he hopes they’ll do to her. She watches him leap into the sky, shading her eyes against the rising sun until he’s no more than a dot in the distance.

“You say that like they haven’t already done their worst,” she murmurs, before turning back to the ruins.

There’s work to be done.

Blood Spiders for the win

Context: Party is all level 8, 3 fighters, a warlock, and a rogue. Rolen(me, fighter) Andraste(warlock) Brom(Rogue). We just got done talking a hag out of killing blood spiders, homebrewed constructs given free will. Huge things that ooze blood from their mandibles and stuff. It’s great. We’re trying to fight off an orc invasion and need allies.

DM: So the Broodmother turns to you all and says she will grant you 1 thing.

Andraste: We are trying to fend off and invasion of orcs, is there anyway you can lend us aid? You will get a ton of bodies and blood and meat.

DM: *glaring* roll persuasion.

Andraste: *NAT F***ING 20*.

Dm: *groans* you get an escort of 12 blood spiders, who offer to let you ride into battle with them.

*cue entry to the siege of a city, 5,000 orcs attacking.*

DM: as you all crest the hill, the blood spiders begin making this horrible screeching, and the orc hordes turn and just like, shit themselves, as the blood spiders just decimate their ranks.

Sansa Stark does not deserve your hatred

In my last year of school we had to write a character analysis and I decided to write about Sansa Stark. My teacher (who was only a couple of years older than me) was a huge asoiaf fan and he got really excited about it, but I remember him frowning and saying in a perplexed voice, “How can Sansa Stark be your favourite character?”

I looked at him with the same confusion mirrored in my own eyes and replied: “Because she is strong.” That was the first time I realised how hated Sansa was and it really infuriated me and so I decided to show him in my essay why she is my favourite character and honestly I think he got it because I did end up getting a good grade.

The analyse focused on book Sansa but this will focus on show Sansa,and it will probably be a bit of a read.

This here is the very moment I began to like Sansa. This is where she looses her innocence and where her character growth begins. This is when she goes from being a child to a young woman. This is where she wants to kill her Prince Charming and she would have if the Hound had not stopped her. This is also a part many viewers seem to overlook, deciding to still view Sansa as a stupid little girl and that is the problem with those who dislike Sansa, they refuse to acknowledge her growth.

Keep reading

How The AD Reveal Should Have Gone (Alex's Backstory)

When Alex left her adopted home, she begged/borrowed/stealed/etc enough money to get to the states in order to find her real parents. During this time, she met Wren, and he became infatuated with her. This was 2 years before Ali disappeared. 

Alex, at first, thought Jessica was Mary. She visited the DiLaurentis household and explained who she was and the horrible life she had endured. Jessica played the part of Mary, internally freaking out about the amount of chaos Alex’s reveal would undoubtedly cause.  She put Alex up in a hotel room while she asked her to be patient as she got up the nerve to explain to her family about Alex’s existence.  

At this point, Alex was not aware that she was a twin, let alone that her twin lived next door to her “Mom”.

Jessica immediately went to Peter, and the two of them devised a plan. Jessica would use her authority on the board at Radley to commit Alex as someone with multiple personality.  Peter, being genetically related, signed Alex in as “Bethany Young”.  They used Alex’s true back story (one which Alex originally had no problem agreeing to) as proof that she had a mental break, complete with accent.  

Once Alex/Bethany was in Radley, Jessica kept tabs on her, and after the mind numbing drugs kicked in, would occasionally take Alex/Bethany on outtings. This is when she would insist Alex call her “Aunt Jessica”.  This was also why Jessica had told Ali you can “never turn your back on a Hastings”, because she was well aware that she could never share her knowledge of Alex’s existence, and if Ali had ever seen Alex, she would think she was Spencer.

There were a few times that Alex/Bethany was able to escape.  

(photo credit to PLL Theories)


The first time was Ian’s Halloween party.  While there, she overheard Noel talk about his and Ali’s plan to scare the girls.  At this point, she hadn’t yet seen Spencer.  Alex had fuly intended to severely hurt/kill Ali in that abandoned house, though Ali was stronger that she thought.  Once the girls were freed from the locked room, Alex finally saw Spencer and she seethed with rage. She realized the true reason behind Jessica betraying her, and instead of leaving town, as she had originally planned, she opted to go back to Radley and devise a new plan.

Before she did, she befriended Ian, who was a member of the NAT club.  At that point, she both flirted with Ian, as well as paid him with money provided by Wren, and convinced him to film Alison and her friends. He didn’t understand why “Spencer” wanted to be filmed, though Alex incorporated it as part of her flirting, telling Ian she wanted to see how Ian saw her in his eyes.  

Alex’s first priority, however, was still hurting Ali.  Alex/Bethany would never forgive Jessica for having her wrongly commited.  She starts writing to Ali, although when Ali visits Radley to see her, Alex has her roommate(Kimberly Brown) pretend to be “Bethany”.  Ali, being the mean girl she was at the time, enjoys playing with her new toy.  

When Ali begins to get “A” messages (from Mona), she begins to wonder if it isn’t Bethany sending them.  She antagonizes Alex/Bethany through letters and “visits”, making things even worse than the already are.  At the same time, Ali isn’t completely certain that “Bethany” is behind the threats, so after receiving the lipstick note on the mirror, she devies a plan to either expose Bethany or have her take her place.  

Ali drops of an exact duplicate of her outfit at Radley, with a note for Bethany to escape and come meet her so they can finally work things out.  Ali figures she and Bethany can either hash things out for good, or that if someone is trying to kill her, having Bethany run around dressed as she is hedges her bets a little bit in case it is someone else threatening her.  

At this point, Alison believes that the other Liars are innocent, and not the ones leaving messages.  That said, she can not have them in her way for all that is about to go down that night.  So, she drugs them.

Meanwhile, Jessica receives a phone call that Alex/Bethany has escaped.  She freaks out, and forbids Alison from leaving the house at all.  

Spencer and Ali argue.  Ali walks back towards her house and Spencer walks towards the woods/house.  Melissa hears heard the argument between Ali and Spencer, as do the girls (Aria, Hanna, and Emily), in a drug induced haze. The girls arrive in the bushes in time to see someone dressed like Ali, hit Alison. Mrs. D also sees Alex hit Ali from the window.  Mrs. D rushes from the house as Alex runs away.  The girls, again drugged, begin to chase Ali’s assailant.   

Mrs. D, believing Ali dead, buries her.  Mrs. Grunwald pulls Ali from the grave. The girls, chasing Alex through the woods, finally lap back around to the gazebo area and attack Alex.  As they begin to attack her, they start to hallucinate that it is Alison, and finally stop.  They leave Alex’s lifelss body in the gazebo area, and Melissa stumbles across it.  Seeing only the clothes and hair, Melissa thinks Spencer killed Ali, and buries her to hide the evidence.

At this point, Alex’s roommate, Kimberly Brown, who had escaped from Radley with Alex, leaves their meeting spot and comes looking for Alex to figure out what is taking so long.  She sees Melissa burying Alex, and as soon as Melissa leaves, she digs out the grave and saves Alex.

As it turns out, this was the worst mistake Kimberly could have made.  Alex, now set on burning down everything to do with Spencer, and the other liars, kills Kimberly Brown on the spot, switches clothes with her, and buries Kimberly in the grave.  That way, when her body is found, no one will expect she is alive and able to exact revenge.   At this point, Alex still believes she has killed Alison.

Mona sees Ali walking along the road, sends her out of town.  Ali knows for sure that someone is out to kill her, and that her Mom buried her without hesitation.  There is no reason to stay.

Alex then spends the next year devising a plan to get revenge on the liars for trying to kill her.  She enlists Wren to start dating Melissa, to get his way into the Hastings trust, and to learn more about Spencer.  As it turns out, Wren starts falling for Spencer, which only makes Alex hate Spencer more.

She starts communicating (electronically) with Mona, Lucas, and Jenna, who she learned from the NAT tapes had hated Ali as much as she did, as was also picked on by the liars.   When Aria returns to Rosewood, Alex gently nudges Mona to start sending A messages to the girls again.  She tells Mona that she will be an outcast agin, now that the Liars will be together again. In essence, she sets Mona free on the girls to torture them, knowing at some point she will escalate the game to her own level. 

When she notices the DiLaurentis house is sold, and that workers start to dig around the gazebo area, she knows she will need to get ahold of that body to switch around medical records.  “Bethany Young” has to remain dead, or Jessica and/or Peter might start searching for her.   She pays off some cops and people in the morgue and is able to alter paperwork, and steal the body.  

She noticed Jessica and Charlotte together, and eventually figures out how Charlotte fits in to the story.   When she first approahces Charlotte, Charlotte does not believe her.  She thinks it is Spencer trying to figure out where Ali is, if Ali is alive, and that she still wants to find her and hurt her.  Once Alex gains Charlotte’s trust, and Charlotte realizes how awful Ali was to Alex, Charlotte becomes a double agent, though doesn’t immediately tell Alex that Ali is still alive.  (Alex is still wondering what happened to Ali’s body)

Alex tries to burn the girls to death in the lodge fire, and that is the night she realizes Ali is still alive.  However Ali goes immediately back into hiding.  Alex then spends Season 4 trying to find Ali, and using the Liars to do so.   It is Alex that kills Mrs. D, and Mary takes the fall for her (as she did for Spencer with Eliot)  Once Alex heard thought Mona (via Shana) that the girls found Ali, Alex knew that Mrs. D that had to die, because Alex couldn’t have Mrs. D spilling the secret that Spencer had a twin.  

Alex has also realized that Charlotte had been lying to her about Ali, and that is why Charlotte agrees to “take the fall” as Big A- to protect Alex.  Season 5 up to Charlotte’s reveal is about laying the groundwork to have Charlotte take the fall with everything wrong done towards the girls.  At this point, Alex is mostly done with revenge, and just wants to live her life out with Wren, Mary, and eventually Charlotte (once she is released).

Then Charlotte is killed, and Alex is denied her family.  She thinks one of the Liars did it, though doesn’t know which one.  She enlists the help of Mary, Eliot (Charlotte’s true love), and Wren to help figure out who killed Charlotte.  

Then… Alex starts to fall for Toby.  While Alex had never really been jeaous of Spencer’s life before (I mean, who would with Peter as a father?), she did start to covet Toby.  There were two problems here- Yvonne and Wren.  Alex believed she could deal with Wren, though Yvonne would have to go.  Therefore, she set up the car accident, and while Toby was knocked out (and before help arrived) further injured Yvonne so that her injuries were mortal.

Next, she had to convince Wren that she would kill Spencer, and take over her life, allowing her to be with Toby.  This met with more resistance than she expected, and she eventually killed Wren, worried that he would tip Spencer off.   Alex knows she is playing the long game with this, and uses Aria and Ezra’s wedding (with Toby’s return) as her in to fully take over as Spencer and work toward getting Toby back. 

As for Mary, it could go either way as to whether she knew Alex’s ultimate plan to take over as Spencer until the very end.  I am going to say that until Spencer was kidnapped, Mary did not know, and by then, it was too late.

Really consider the SJM hate before you take it too seriously

You guys have to realize that she was pushed so fucking hard to produce those books and i’m positive that she realizes that it has some obvious weaknesses.

While I tend to not agree with anti-SJM I can recognize that the book had some mistakes. It’s what happens when an author is under a ginormous amount of pressure by herself, her fans, her publisher and probably her agent. This fandom has A LOT going on and she is at the absolute middle of it. Before you criticize her maybe stop and make sure it was REALLY Sarah who made that decision. If it was, then fine, be mad. But she owns the characters. She is the characters. If you don’t like it, then I don’t know what to tell you. Don’t read it. 

SJM does not intentionally kill of characters of color in her books. She’s not a white supremacist. She doesn’t hate POC. It’s a YA novel, not literature. Lower your expectations for the social justice agenda. She was not trying to make a political statement. I understand that she fell short on this end but she did not do it on purpose. It was a lack of foresight. It sucks. Most of us recognize that. There are larger, more prevalent racial problems than a YA novel with some questionable diversity. 

SJM does not idolize have abusive love interests. Rhysand and Rowan are not abusive partners. Let me repeat, so you can all hear me. RHYSAND AND ROWAN ARE NOT ABUSIVE PARTNERS. Their characters are real, which allows them to make real mistakes. Should Rowan have hit Aelin in HOF? No. Should Aelin have been acting like an entitled brat? No. Should Rhys have asked Mor before making a deal with her attacker? Yes. But these actions do not define these characters. Their mistakes are few. They do not try to control or manipulate their partners. They act as equals to their partners. They are accepting of their partners. They are loving to their partners. They are supportive of their partners. Case closed. Moving on. 

anti-SJM blogs- Respect authors. Respect their work. If you don’t like it, learn from it. Take it in stride. Understand it. Understand opposing viewpoints. Have some class. Stop being dicks.