switch to end

anonymous asked:

Ethan and reader playing the new legend of Zelda game?

Of course!! Here you are😊😊💕💕

_____________________________

- Buying it immediately when it first comes out

- Playing for hours on end

- Switching off when one needs a break

- Debating on whether or not he should record it

- Finishing it within a day

- Is it worth it

- Always

- ‘Napping’ for 12 hours afterwards

- Sleep is for the weak

9

Sick Viktor | Pt. 6 Mama Yuuri edition
pt. 1 | pt. 2 | pt. 3 | pt. 4 | pt. 5

just eastern european things:
  • having a drawer full of plastic bags and storing plastic bags in another plastic bag
  • uncomfortable family reunions for every single holiday where everyone brings ridiculous amounts of food and several 2 litre bottles of soda
  • having to finish your food every time because you or your parents paid for it and if you paid for it you have to eat it
  • CABBAGE
  • homemade wine from plastic bottles that your family or your uncle’s neighbours’ wife’s cousin made in the countryside
  • cheap alcohol and cigarettes
  • foreign men always coming to your country and declaring ah yes i heard that eastern european women are beautiful
  • that one relative your mom hates and who she always makes polite but slightly salty conversation with at reunions but then after a few glasses of homemade wine you know they’ll get into an argument
  • your parents’ and grandparents’ revolution/war/army stories that you’ve heard a thousand times before
  • those red plastic candle holders that melt with the candle but everyone is still buying to burn underneath a picture of jesus??
  • crochet placemats everywhere
  • ‘persian’ carpets that have been in the family forever. everyone always trips on them but there are always the persian carpets
  • your grandmother has at least one plastic statue of virgin mary in her house somewhere and at least one wood painting of jesus
  • tiny pocket-size, laminated pictures of saints that your grandmother always buys at church and give to everyone every time they visit
  • potatoes
  • the eternal fascination of every adult with the news on tv. one news hour ends? switch to another channel for the exact same news
  • the group of old women gathered outside on a bench, there is always a bench and there is always old ladies and they always tell you that you’ve grown so much since they last saw you even though it was just last week
  • the cars are parked on the sidewalks, the cars are parked on the street, to the point where you’re not exactly sure where you’re supposed to be walking
  • there is always a queue and it’s always eternal
  • growing tomatoes
  • a bowl of plastic fruit??
  • your grandparents giving you money for your birthday ‘to buy yourself some cakes/sweets’ and you having to pretend you don’t want it ‘no come on you don’t have to’ before inevitably accepting it ‘you really didn’t have to thank you’ 
  • spending that money on cheap alcohol
  • as soon as it hits 24 degrees everyone is out grilling food, in the back yard, in the park, in the cemetery, on top of a soviet-time apartment building…
  • SAUSSAGES
  • these plastic things on every table always in godawful floral or fruit patterns

and finally

  • weird shit like this
2

Every time its always Dean who ‘makes the call’ to Cas, how Sam knows this is the deal.

Originally posted by yourfavoritedirector

Every time Dean moves away from Sam, or waits for him to go, then calls.

Originally posted by ksenianovak

How Dean was so confused in 10x21 when he picked up Sam’s phone and Cas was calling it. How when they do talk have clearly been on the phone for a while and right at the end, when in front of Sam, Dean switches to the case and ends with a perfunctory ‘ok let us know’ or ‘keep us posted’ (most recent example 12x13) …. 

It reminds me of how open Dean was on the phone with Cas when Sam wasn’t there in 12x02. 

How it’s been shown that they clearly call and text in between those that we see on camera.

It reminds me of his physical reactions, side glancing at Sam when they’re on speakerphone, straightening himself and the conversation out when it might digress because Sam is there…. 

Originally posted by xagaaga

Exactly how he reacted when he was caught off guard and grinning over the idea of cute fluffy koalas and had to immediately pull his face back to neutral once he realised.

Originally posted by itsokaysammy

Yeah, cos they’re like 3 brothers, sure.

At the end of each Splatfest, participants will earn Super Sea Snails based on their individual and team contribution. If you give snails to Murch in Inkopolis Square, he can add additional slots to your gear, or scrub your gear to remove its secondary abilities.

Please note that Super Sea Snails will not be distributed for the Splatfest World Premiere event taking place this weekend. Save data from the demo will not carry over into the full game.

It is currently noted that The Pokémon Company International’s press site is listing Ultra Sun & Ultra Moon as being on the Nintendo Switch with a “To Be Announced” date. It’s currently unclear if this means they will come out on Nintendo Switch in the end but we’ll provide all details as and when they come. They have since deleted this note.

The Pokémon Company stated to Kotaku that the listing on the press site was a clerical error and not indicative of any release on Nintendo Switch, stating it will be exclusive to the 3DS.

Source: Serebii 

youtube

Relax at the end of a long #MusicMonday with “Ajna,” our heroine’s theme in Indivisible!

What if the paladins’ zodiac signs are based on their elements?

Hear me out.

We already have Hunk, whose birthday is on January the 13th - making him a Capricorn. Capricorn is an earth sign, and the yellow lion is the guardian spirit of earth!

Shiro’s birthday is on February the 29th, making him a Pisces - the most spiritual of the signs.

If this pattern continues, we have 3 possibilities each for Keith, Lance and Pidge:

  • Keith: Aries, Leo, Sagittarius
  • Lance: Pisces*, Cancer, Scorpio
  • Pidge: Aquarius*, Gemini, Libra

(*not very likely, both would’ve been confirmed by now)

My guess for Keith is that he’s an Aries.

Aries are said to be brave, courageous, and trustworthy, but also fierce and impulsive.

They’re born leaders, always willing to take one for the team - but their stubbornness can sometimes cloud their judgement.

Keith has all these traits, as shown in “Across the Universe” and “The Blade of Marmora”. While he was able to pilot the Black Lion in order to save Shiro, he didn’t seem concerned about his own wellbeing in the slightest when he took quite the beating from those Marmora fighters.

Keith likes to push himself. But when a member of his team is in danger and he’s got to make a quick decision, he usually acts very level-headed.

When Allura was taken captive by Zarkon, he proposed to come up with a plan instead of rushing head first into battle, something he didn’t consider at all when he was fighting Zarkon one on one. While this may have seemed cold, it was - strategically speaking - the decision any experienced leader would have made.

And when Shiro was beginning to lose consciousness, Keith didn’t blindly rush to him in a weak attempt to take on those beasts by himself. Instead he placed everything on one card, asking the Black Lion for help.

And it worked. Because he knew what he was doing.

Lance doesn’t seem like a Scorpio at all, and if we rule out Pisces as a possibility, Cancer is the only sign left. And it fits:

People with the Cancer zodiac are sensitive, loyal, creative and spontaneous - but also naive and clingy.

It’s canon that Lance is very loyal to his teammates and friends, but he also likes to internalise his issues and has insecurities that gnaw at his confidence. Let me hug u

As for Pidge, I can see why one would argue that she’s a Libra - but I’m leaning more towards Gemini.

She’s quick-witted, adaptable and a fast learner, but indecisive and a bit of an overthinker at times. Her main goal is finding her brother and father. While this may motivate her and give her a reason to continue piloting the Green Lion, it is also her biggest weakness. I wouldn’t be surprised if the paladins’ enemies used Pidge’s family against her at some point in the future.

Her ability to figure out Olkarian technology in a split second and her eagerness to learn Altean has me convinced that she’s a Gemini. They’re said to be two-faced.

These are my guesses based on Season 1 & 2 and what little information we have on Hunk and Shiro. If you have any ideas or things that you’d like to point out, feel free to add on!

How to Keep Your Readers EMOTIONALLY Involved

Why is it that sometimes a book or movie can make you THIS emotionally invested  … 

And sometimes it’s more like this? 

My stories used to inspire a reaction similar to Hermione’s in my readers. And in me.  At some points I’d be reading my work, and a little honest voice buried somewhere in my head would say “I wouldn’t care if this character was hit by a bus right now.” Then I’d heap some denial atop the voice, silence her unwanted mutterings, and go back to trying to enjoy my story. Problem was, my readers appeared to have this little honest voice as well. And if she told them “Cartoon bus. Hitting this character. Wouldn’t that be funny?” they had a tendency to listen to her.

What was the problem? My scenes didn’t connect to my reader’s emotions. They didn’t change those emotions throughout the scene. They started out sad and they ended just as sad or even more so. And what came after that? Well, another scene that began with the main character feeling horrible, which ended with him just as downtrodden as before. Or worse: The scene began positive and just got better. The next one would start out absolutely giddy and ended effervescent. And this kept going until the characters were almost singing with joy. (Okay, maybe I’m being slightly snarky about my past self.) But after that, I’d follow it up with a long sequence of sadsadsad scenes. 

So what happened? My readers had only two emotions while enduring this: frustration and impatience. 

The scenes weren’t keeping my readers emotionally engaged. The scenes weren’t changing emotionally. And that is what needs to happen: The emotional charge of the scene has to change. Switch between negative and positive. The flow of the reader’s emotions has to be taken into account, and consciously adjusted. It’s that simple. 

How can this be accomplished? 

1) Determine what’s at stake in the scene. To the characters, something important is being threatened, something emotional or primal. Love? Safety? Friendship? Justice? Make sure the scene means something for the characters. (If it’s not emotionally significant to them, connected to the A Story, B Story, or Character Arc, it’s not a scene and the reader won’t care.) And since the readers are emotionally connected to the characters, the readers care about what’s at stake, and are conscious of what it means. 

2) Beats. The exchanges of action and reaction between characters and forces of opposition in pursuit of the goal … these carry that emotion, these are how emotions shift within the scene, gradually taking it from one to another. 

3) Emotional Charge. If the scene starts with what’s at stake in positive way, then it’ll switch to negative by the end. If if starts negative, the scene will change to positive. 

Anyway! How does this work?  

To illustrate it, because I’m having a lot of fun reading the screenplay, here are five scenes from Zootopia. 

Let’s start with the scene right after this happens: Manchas has gone savage, and Judy and Nick are running for it.

Scene 1 

What’s at stake? Life

Opening Charge: Negative (They’re being chased by a jaguar who is about ten times bigger than either of them, and who seems quite keen to tear them apart. To the characters, this scene opens with a 95% likelihood of imminent brutal death. To the audience, this scene opens with two characters we’ve come to care about in this dangerous situation.)

Closing Charge: Positive (They manage to call backup. Judy manages to handcuff Manchas. Nick stays to help Judy, rather than hop on the gondola to safety. They fall but manage to survive. They fall again, but are caught by a vine just before impact. Bogo and the rest arrive, and Judy is full of confidence about her discovery in the Otterton case, and eager to show them. Everything in this scene ended in Judy and Nick’s favor.)

How has what’s at stake changed? They lived.

Scene 2

What’s at stake? Judy’s lifelong dream, the goal she’s worked towards since she was a child. 

Opening Charge: Negative (Judy tells Bogo that this is way bigger than a missing mammal case – Otterton and Manchas went savage. He scoffs at her. In response, Judy confidently sweeps back the leaves to reveal the wild jaguar … and he’s gone. With her proof nowhere in sight, what she’s told Bogo sounds insane and ridiculous. Which provokes him into demanding her badge.) 

Closing Charge: Positive (Nick stops Bogo from taking Judy’s badge. Nick also bluntly tells him that he’s been an unfair little jerk to Judy, they have time to solve the case, and they have much more important things to be doing than standing around dealing with these idiots. He even calls her “Officer Hopps” instead of Carrots. They’re back on the case.) 

How has what’s at stake changed? She still has a chance to achieve that lifelong goal. And Nick was the one to buy her more time. 

Scene 3
What’s at stake? Truth

Opening Charge: Positive (Judy, and the audience, are feeling thankful and closer to Nick.)

Closing Charge: Negative (But even though we are in a good place, Nick looks far away … he starts thinking back … and we can sense that this memory lane doesn’t end anywhere pleasant.)

How has what’s at stake changed? He’s about to share something significant.

Scene 4
What’s at stake? Innocence

Opening Charge: Positive (We see little Nick! Looking happy and excited. All he wanted to do was join the Junior Ranger Scouts, and his mother scraped together money to buy him a uniform. She’s even adjusting his tie for him, lovingly.)

Closing Charge: Negative (Nick, who had been so happy at the beginning of this scene, is now hiding from the evil kids,  struggling to pull the muzzle off, panicked, crying like his heart’s broken.) 

How has what’s at stake changed? Traumatized

Scene 5
What’s at stake? Closeness

Opening Charge: Negative (Well that was a horrifying story. And now Nick is avoiding eye contact, while revealing the takeaways he got from that childhood episode, which have shaped his decisions from then on. Suddenly Judy, and the audience, understand Nick a lot more. We empathize and sympathize with him.)

Closing Charge: Positive (The traffic cameras would have caught whatever happened to Manchas! And Judy has a friend that can help them access those cameras. They’re back on the case.) 

How has what’s at stake changed? Nick dodges out of further vulnerability BUT they’re back on the case – this time, together. 

So!

As you can see, the emotional charges of these scenes fluctuate smoothly, from a scene’s opening to its closing, from one scene to the next. In every moment, in every beat, we’re feeling something. And when the scene turns, we (and the characters) are feeling the opposite of what we were at the beginning of the scene. Our curiosity and minds are linked to the story by the question “What’s going to happen next?”; our emotions are connected to the story by the conduits Judy and Nick, these two characters we care about, as every emotional change pushes us closer towards the answer to the question “What’s going to happen to these two? Is everything going to end up alright for them?" 

Now, let’s see what happens when you stop paying attention to the emotional changes of your scenes. 

Scene 1: Manchas is gone. Bogo is berating Judy. Nick stands there and watches. Judy ends up handing over her badge. The real cops leave, and Judy stays behind, figuring she might as well try and complete the case anyway. All Nick wants is that carrot pen, so he tags along.

Scene 2: Judy has nothing to feel thankful about, and certainly doesn’t feel closer to Nick. He’s thinking back on his childhood, but doesn’t share anything with Judy… 

Scene 3: Instead of the flashback opening on a happy Nick, it opens on him getting beaten up by the evil children, and ends on him weeping with the muzzle strapped to his face. 

Scene 4: We snap back to the present. Judy staring, beyond tears at this point. Nick looking traumatized and bitter. He remembers he needs the pen. He thinks about the reward money if they had found all those missing mammals. He has the traffic camera revelation! He drags a dejected Judy into his scheme, which she doesn’t care about, but why the heck not? 

In this horrible alternate universe version of Zootopia, this sequence of scenes is negative from beginning to end. And what would have happened to the audience if the scenes had played out in this depressing way? 

They would have emotionally checked out.

The connection between emotions and story would have snapped.

We would have forced our emotions to abandon the story, and watched the rest of the movie feeling betrayed and cheated. 

Because in the end, all we care about are these characters. All we care about is story, and character is story. It’s no coincidence that removing the emotional changes of the scenes equated to removing Judy and Nick’s relationship in the scenes; that relationship, that B Story, or Love Story, function (oddly enough) as the heart of the movie: it keeps the story alive, it keeps us connected and invested in the narrative, it keeps the scenes emotionally turning. Before Nick showed up, and we had two characters to care about, what kept us emotionally involved in the story was our relationship with Judy, this plucky bunny that we really wanted to see succeed. Establishing that connection is a subject for another post, but in regards to scenes, this manipulation of the audience’s emotions is how you keep that connection going strong.

I just said to manipulate someone’s emotions. How villainous.

3

Are you only talking about their position in ‘bed’ or their relationship? Either way, I see them as an equal or vague (nobody knows who the uke/seme) like when I drew them here. It also depends on their behavior as uke/seme! Yea it’s really easier to explain with drawings above.

If I really have to choose; I’m more comfortable with uke Natsu than uke Gray. Btw, I imagine drunk gratsu once lol they became ooc. 

K but the foxes having to fly

It’s such a train wreck which is funny since they’re at an airport.

-Andrew and Aaron always swap passports as a joke
-Allison has at least five suitcases with her and hell if they think they’ll charge her extra for it.
-Renee does this weird thing where she stares blankly at people and freak them out.
-Matt is aggressively chewing gum and rattling off odds of how many planes crash per year followed by his rant on how planes just v a n i s h
-I should point out he has no fear of flying
-he’s just getting Nicky wound up
-Nicky is writing and rewriting his will every time Matt opens his mouth.
-no one is really sure if Andrew actually took out his knives before coming to the airport.
-if he has them, no one catches on.
-Neil gets dragged away since his passport is flagged by the FBI for security reasons and that means Dan has to chase him down
-actually Neil escaped airport security a while ago, man. He picked his way out of
the locked room and strolled out.
-Kevin is hung over and informing the elderly couple across from them about the potato famine and is going on forever, even after they run away.
-Aaron had to swear up and down that he wouldn’t start discussing the chemistry that was involved in explosives like he did the last time.
-Dan has to coral everyone up, and lord help her when they discover their gate has been switched from one end of the airport to the extreme opposite end and they have ten minutes to get there.
-Neil is wearing the weirdest sunglasses and hat he stole from Nicky to hide from security guards
-and they’re s p r i n t i n g
-Neil is leading, Dan is following them close behind the rest of them.
-she basically runs down Nicky when he starts panicking over ending up on an island like Lost. (She starts running on Matt’s heels for that.
-Allison is fucking crushing it, even in stiletto heels and an army of luggage.
-(Renee took a bag and Kevin was so hungover and confused why they were running that Allison convinced him that it was an exercise so our homeboy grabbed the two bags and sprinted.
-Andrew is literally only running because fuck if security guards catch Neil because Neil has his stash of candy and Andrew point blank will refuse to get on the plane if Neil isn’t there. (Only because of the candy though.)
-these guys barely make it on time
-security sees Neil from a distance but it’s to late, Matt hauls him into the plane when he starts flipping them off.
-they are the most disorganized chaos to ever hit first class.
-dan starts cursing Allison for thinking them all going to Paris was a good idea
-Renee is pretty content with her sprite soda and headphones while Nicky is holding her hand looking terrorized.
-Aaron and Kevin are going shot for shot
-Neil subtly hands over the bag of candy WHICH ALSO HAS ANDREW’S KNIVES over to Andrew
-Matt and Allison look far to pleased with themselves and Dan is done.

anonymous asked:

Please please please do demon Fruk!! Or demon x angel Fruk!

Okay, I’m too lazy to make a whole comic, so I’m just going to show you a few pictures and explain the plot I have in mind.

Arthur is the Lord of Wickedness and Francis is the Lord of Righteousness. Arthur meets up with Francis in the heavens and demands full rule over the Earth. Francis refuses, and Arthur threatens to end his existence. 

Instead of having a bloodbath, they agree to save their energy and have a dance across the galaxy instead. Whoever is leading by the end of the dance will decide the fate of the other. They are accustomed to having these dances, since Arthur frequently demands control over the Earth. Francis has always won, and every time, he decides to let Arthur live and have his share of control over the Earth. 

Just before the end of their dance, Arthur plants a kiss on Francis and it distracts him long enough for Arthur to switch their roles and end the dance leading.

Arthur turns Francis into a human child so that he will have to grow up and live in a world full of his torment and evil. Before Francis is transformed, he tells Arthur the reason why he always decided to keep him alive after their dance was because he knew he couldn’t live without Arthur, and he’s sad to know that Arthur can live without him.

As Arthur drops off Francis down on Earth, he looks at Francis’s face and begins developing sympathy. He thinks of the dances he and Francis had shared, and how he would never have another dance again. He realises he was foolish to make the decision he made.

He places France in water and decides instead that it will be up to humanity to decide how much good or evil is put into the world by their actions. He then turns himself into a human as well.

Neither have any recollection of their past life, but feel a deep connection.

Jupiter Love | college professor!jennie | M

Originally posted by 7ofuu

Summary: Your crush on your professor is harmless until you ask for help during one of her office hours.

Word Count: 3,150

Okay, your plan wasn’t precisely to bang your english professor against the wall during office hours, but if you and your pants were being honest, you were definitely thinking about it.

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