there are so many of them so it seems like it's the whole world

my pals on the lancecord asked me for some tips on cuban spanish so i thought i’d share them here too for all you lance writers. i’m a cuban voltron fan who doesnt want to live in fear of bad spanish in nearly every damn fic and im trying to be the change i want to see in the world. so feel free to message me if you have any questions about lance’s culture bc this is nowhere near being comprehensive at all.

lets get into the stuff google translate can’t teach u!

i don’t know anyone under the age of 60 who says “dios mio.” lance definitely would not, unless he is doing an impression of his abuela.

things that sound more natural than dios mio: ave maria, ay dios, por dios, AY POR DIOS

more commonly we exclaim “coño!” for anything. shock/anger/awe/etc. if the reaction is negative, it’s just coño. if the reaction is positive, we drop the first syllable and draw it out like “‘ñoooooo”

we exclaim “pinga!” or “cojone!” or “pinga cojone!” as a negative reaction more commonly than any translations of omg too

“de madre” is something we usually exclaim as a negative reaction. it can be yelled or sighed or grumbled. usually has a frustrated or incredulous connotation

“wepa!” is a sound we make as a positive exclamation.

we say “‘ueno” like the verbal embodiment of ¯\_(ツ)_/¯ (it’s bueno with the b dropped)


other things that sound really stiff for cubans to say is like, “hola, como estas?” i mean, you say it to people you’re not on a casual level with. to friends/family these sound more natural:

“que bola asere” is how we greet our close friends

“que bola” or “que vuelta” is how we say hey

“oye” is hey! but not as a greeting, as an exclamation. something you would say before a greeting or on its own when surprised/offended/trying to get someone’s attention/etc

common insults: cabron/cabrona, mojon, comepinga, comemierda

common pet names for anyone: flaco, nena, mojon, mi socio, corazon

“asere” is our word for “bro” that no other country uses (1000% what lance calls hunk)

we also have a tendency to call our family members by their relation+their name, such as “my Tio Jimmy called” or “Abuela Carmen is making food.” i think this is when we have big ol families and just saying tio or abuela isnt specific enough


also this isnt spanish but i s2g so many bilingual cubans i know use the word “fire” almost constantly to describe something awesome. so i think thats a small cultural thing that communicates lance is cuban without having him speak spanish. (ex. “omg that’s fire” “hunk makes fire tacos” “pidge is fire at fixing stuff” “can you play that fire song?”)


now here’s a bunch of stuff that’s just my opinion

  • I think it’s most in character for Lance to drop Spanish words only one or two at a time into English phrases, since that’s how he uses it in canon (“Hasta la later, Keith!”). A couple of quick examples off the top of my head -
    • tremendo/tremenda - an adjective for huge. “You’re being tremendo sore loser, but okay.”
    • todito/todo - means everything. you can use them one after the other for extra drama. “I forgot todito, todo, about calculus immediately after passing it.”
    • These sound like really natural ways to drop Spanish into conversation without being forced if you keep it to a minimum. I aint here to tell u how to write your lance but i beg you - Please show restraint and don’t try to use all of these tips at the same time!!
  • I recommend following latin internet personalities (like jaxxgarcia or mr. red) to pick up their Spanglish phrasing if you’re really into that. please don’t try to make up your own. it’s never as cute as you thought.
  • if you’re writing full on spanish for more than a word or two, please do not ever make Lance speak it “accidentally” (or even worse, on purpose) to someone he knows doesn’t understand the language. that’s really rude and alienating and it’s so against lance’s character to isolate himself from others like that when he speaks fluent english. 
  • other times Lance can toss a spanish word in without sounding forced is if he’s namedropping cuban things! Try looking up some of our 
    • food (ropa vieja, pan con lechon, arroz con leche)
    • drinks (materva, iron beer, malta), 
    • films (juan of the dead, azucar amarga)
    • or music (celia cruz, marc anthony, juanes*) and have lance mention them by their spanish name if the topic comes up. 
      • *not all of these musicians are cuban, but they’re some of the most popular amongst us. i’m simply naming artists i think lance is most likely to enjoy considering his age and personality.
  • speaking of music, we have very specific dance styles that are pretty cool and almost mandatory to learn at a young age. cubans in general love to party, and to host large family gatherings which easily morph into parties, and basically any social event seems awkward if there’s no one dancing at any point. 
  • what I’m trying to say is Lance definitely knows salsa or merengue moves.
  • I don’t love to party and I’m not a good dancer and I don’t like dancing, but I know salsa anyway because I had to be in the environment my whole life. always exceptions, but the majority of cubans grow up knowing how to dance and it looks more or less like this:

and one last opinion for the road:

Voltron takes place in the future, so I like to dream of Lance being born in a world where Cuba’s free from communism. If you’re doing a Voltron AU that takes place nowadays, please don’t write about Lance’s experience in Cuba if you aren’t familiar with what it’s like to live under a regime like that. It’s very bleak and textbooks don’t cover half of the fucked up things that those who live there actually have to go through.

Lance could have been born in Cuba, but raised somewhere else. Miami would be my recommendation because it’s our second homeland and it means he would have been raised surrounded by Cuban culture without the governmental oppression. But Cubans are absolutely everywhere, so it’s equally believable that Lance’s family could have immigrated to Pawnee, Indiana. Even in Voltron canon, I think it’s likely Lance moved to America at a young age because he clearly has a native fluency in English.

edit: I have a cuban things tag now if you’re interested in finding out more cultural details!

4

I’ve been thinking about this game. Personally to me it represents a lot of lost potential - it’s a great concept but it’s brought down by a less than stellar execution. The cartoon designs look more like stickers than anything, just barely resembling a stereotype of a stereotype of the 1920′s-30′s cartoon style. While I don’t like complaining about people’s choices in design and art, I guess the theme is one that I’m rather passionate about, and a little bit of research from the developers would bring the game to a much greater level of quality than it is at the moment. The monsters in the game are also just unimaginably lame, and to me represent just plain blowing off the original idea in favor of more “serious” horror.

(Continued under a readmore because I say a lot; tl;dr I talk more about where the game went wrong in my opinion and how I would recommend changing it.)

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prongswhatthefuck2  asked:

What are some good tips for getting started with writing a book? I have a concept but i can't put it into place.

Getting Started with Your Story

There’s no one way to start writing a book. For some people, it’s enough to just jump in and start writing to see where the story takes them. If you’re not too keen on that idea, then here is one process (as in, not the only process) that might help you move beyond your concept. 

  • Concept ≠ Plot

Many writers mistake concept for plot, but they’re actually two very different things. A world where everyone grows up with superpowers is a concept; the plot is what you decide to write about within that concept - the specific characters and what happens to those characters; who your antagonist is and what conflict arises when that antagonist goes after what they want. All of these things contribute to your plot. 

So first, define what it is you actually have at this particular point. Do you just have a concept? If so, you’ll need to take the necessary steps to develop that concept into a plot. 

  • Concept >>> Plot

If you’ve decided that all you really have is a concept, then how do you take it and turn it into a plot? You brainstorm. All brainstorming really amounts to is expanding your ideas. All you’re doing is asking questions about the concept and delving deep into the answers. 

The most simplistic way to start this process, especially if you’re struggling, is to ask one of two questions (or both, if applicable). These two questions: What could go wrong? What could go right?

Going back to my example about a world where everyone grows up with superpowers. If I were to ask the question “what could go wrong,” I’d end up with a whole list of possibilities. 

  • The powers suddenly disappear
  • People start abusing their powers
  • Someone figures out how to steal powers
  • A hierarchy of strong vs. weak powers develops, creating superiority/inferiority dynamics
  • Someone is born without a superpower

There are many more possibilities I didn’t even think of here, but any one (or more) of these could become a plot. Choose one that sounds interesting, and then ask yourself “and then what?” 

Say I choose: Someone figures out how to steal powers. Then what does that person do? Do they recruit people to do the dirty work for them? Do they work alone? Do they hoard these powers and barter them for other goods? Do they attempt to enslave people? Do they attempt to take control of institutions? What do they do?

Your goal is to take your ideas and turn them into actions taken by characters. People doing things. And each piece you add will usually lead into another. If you went with the idea that this character is stealing powers and essentially selling them for other goods, you’d have to ask yourself follow-up questions. First, who are they selling to? Why would anyone buy a new superpower if they already have one? What uses would they have for additional ones? What is the key demographic that this person is trying to reach? Secondly, what are they selling them in exchange for? Money? Favors? Souls? What is this character getting in return?

Now that you’ve examined potential actions that the character takes, you’ve also exposed potential new characters. 

  • People they’re stealing from
  • People they’re bargaining with
  • People that try to police these crimes
  • People that try to copy this character’s process

At the beginning of this section, I talked about using “what could go right” as another optional jumping off point. This is a good path to follow if your concept is already really negative. For a concept where someone is killing people for some pointed reason, you might ask “what could go right” and explore ideas where the killer is caught and brought to justice. 

The point of all this is to think about change as a means of taking your idea from concept to plot. A concept is static - it doesn’t move, evolve, or change. By developing a plot, you’re forcing the concept to be challenged in some way. If you think about it that way, you’ll be able to formulate conflicts, and the people that orchestrate and fight against those conflicts. 

On that note, I think we’re ready to move onto the third piece of my graphic above. 

  • Plot = Character Actions and Consequences

At this point, you have sketches for characters. You’ve got this nameless, faceless person that is stealing the powers, and all these other nameless, faceless people that I listed above. In essence, we have character concepts. And just like we turned our initial concept into a plot, we have to turn these character concepts into actual characters. 

The basics are the easiest way to start. You figure out their name, their gender identity, their age, their appearance, some brief backstory and personality traits. I personally prefer the simplest questionnaire that I put together back in the early days because it hits on the poignant pieces of a character without overwhelming you with 100s of questions. 

Now that you’ve given your character concepts names and faces and potential behaviors, you start to consider how one character’s view of the world inspires them to take certain actions, and you then think about how those actions affect your entire story. 

We already kind of talked about the motives of the power thief in our example, but definitely delve deep here. On the surface, this character seems bad - stealing from people and then selling what they steal. But depending on what it is they’re getting in return, could we not argue that this character is a supernatural Robin Hood? Maybe instead of selling, they’re giving, and maybe the characters they’re stealing powers from are people that abuse and misuse their powers. Character motives can take a plot and turn it on its head, forcing you to reconceptualize everything. And that’s okay! That’s part of the process.

But separate from that idea, if we have a character concept of someone whose powers were stolen, and after developing their basic backstory, we discover that person’s name is Rose, and she has an especially close relationship with her brother. So when her powers are stolen, how does this affect her life? Was she using her powers to keep her brother alive and protected? What she using them to keep a roof over their heads? Was she using them as part of her job, as a means of providing? What happens to her life when her powers are stolen? And what will Rose do about it? Whatever Rose does will impact the story. If she does nothing to get her powers back, how does she solve her problems and does that make for a good story? If she does decide to act, then you’ve moved onto a new plot point to dive deeper into.

My point is, character concepts come from plots, but characters themselves often create plot, as their decisions and mistakes and successes create new outcomes. So if I could modify my original flow chart:

Before you develop something, you conceptualize it. You have a concept, then you make it a plot. You have concepts for characters, then you make them characters. And those characters end up driving your plot, to the point that this happens:

Plot inspires character. Character inspires plot. And it just keeps going around and around and around. Breaking it down into these pieces helps organize the process, but developing a story is rarely this neat and tidy. You’ll get ideas that don’t make sense, ideas that aren’t cohesive, characters you don’t need, characters that piss you off, problems you can’t solve, or plot points you’ve committed to that you no longer like…it will be messy. But it’s your mess, and the more you work on developing your own process, the more it’ll make sense to you. And it’ll become easier to know how to go about fixing it when something’s not right. 

Have fun with this process! It’s supposed to be fun. When the pieces start to become clearer, you’re able to put them together in a rough outline. And once you have a rough outline, you can start writing, and really see it take shape. 

-Rebekah

anonymous asked:

Could you list all of the tropes that you consider "feel good violence"?

Okay, “Feel Good Violence” is very simple as a concept. It’s violence that feels good, when you’re reading it, when you’re watching it on screen, because for the perpetrator violence can feel really damn good. However, that is violence when taken outside of context. It is violence without consequences. It is violence for the sake of violence. Violence that serves no purpose but to prove the character or person is tough.

Protagonist Sanctioned Bullying - Bullying in general is a fairly popular method to achieve “Feel Good Violence” because bullying does feel good. The audience sympathizes with the protagonist, so when the protagonist acts they cheer for it. Its not presented as bullying by the narrative, but it is still bullying. Usually it’s a rival or a character set up to “deserve it”, but sometimes not.

Making people afraid makes you feel tough. Many authors will fall prey to the sweet lure of bullying and not even know it because bullying is violence without fear of consequence. Most often, they’ve been the recipients rather than the perpetrators, and acting as the bully is a very different ballgame. It is an emotional and psychological high. You feel big, strong, safe, and untouchable. Powerful. In their worst incarnations, most superheroes become bullies.

Bullying is all about control, protected status, and freedom from consequences. An entirely fictional world creates the opportunity for all these things, with the narrative itself siding with the bully. Bullying is Feel Good Violence writ large in real life. It’ll follow you into the fictional world just as easily. Power is a high you never forget.

This is very common trope for characters who also act as a means of self-insertion by the author. For them, it isn’t bullying. It’s an example of how awesome their character is and how tough they are.

Everything But Dead - When the only morals applied are if someone died, the rest is sanctioned without comment. There are no narrative consequences for the character’s behavior, and everyone cheers them on. Anyone who calls them out is an acceptable target, usually evil, or the protagonist wins them over in the end because their actions are “justified”.

By Any Means Stupid - This is the “by any means necessary“ trope, where the violence really isn’t necessary and the author just wanted an excuse to paint the room red.

Unprovoked Violence Is Always the Solution - This is the one where the protagonist skips all the other steps and goes straight to preemptive violence against a total stranger, for no reason other than it makes them appear tough. Usually not framed by the narrative as bad, but it is. Oh, yes, it is. Worse there usually aren’t any consequences for the hero physically assaulting someone in a room full of witnesses because everyone knows they’re the hero, right?

Random Violence Before Strangers is A-Okay -  The protagonist disembowels a bully in front of their victim in order to protect them and receives effusive thank yous. Nothing comes from this. The bad guy is dead. We all feel good. All is right in the world. Except… violence freaks people out.

Acceptable Targets - These are people designated by the writer as non-entities and targets for violence regardless of narrative context. A very slippery slope that is ever descending. But, you know, it feels good? Sure, so long as you’re not on the receiving end. This kind of dehumanization happens in real life too, just in case you were wondering.

Beating Up My Source - You have a character who collects information from an old standby, they threaten and beat up that standby regularly to show they’re tough. At what point does this seem like a terrible idea? Never! Hey, they’re a bad person so you feel good, right?

Waving My Gun Around - Trigger discipline is just the beginning of this problem. A gun is not a toy. but you’ll find a vast array of narratives who use it that way in order to look tough.

Killing Your Way to the Top - You can’t really destroy organizations like this. Killing the people at the top will just lead to someone else taking their place. Whenever you create a power vacuum someone will fill it. You can’t destroy an organization by killing. It doesn’t work. But, it feels good!

Must Obviously Be Boy - Because female fighters are unicorns and the mooks have never laid eyes on a woman before. Usually part of a larger narrative issue with violence, but acts as a “get out of jail free” card.

Clear the Building - That time the character decided to knock everyone out to prove that they are tough. Weirder when it happens on stealth missions.

I Am Not Gaining Levels - When you’re reading a book and the character is fighting like it’s a video game. They fight everyone like they’re in an RPG chasing XP. Why? We don’t know, but it makes them feel good.

Let Me Shoot Him Twenty Times - We could call this spray and pray, but let’s pretend for a moment the magazine could run dry.

Magic Bullets - The bullets that go where you want, stop when you want, and don’t cause accidental casualties. You know, like the protagonist blind firing through a wall and hitting a four year old playing in the yard across the street.

Body Armor Always Prevents A Blow-through - Nope!

New to Training, Perfect Sparring - That time the main character took on their evil rival (school’s top/better trained student) in a sparring match and won, especially when it was their first day.

Sparring Just In General - The vast majority of Western media doesn’t understand the concept or purpose of sparring. Many authors seem to think its a UFC match where you just beat each other up and the first thing you do during training to “assess your capabilities”.

Queuing for Combat - This is an old Hollywood trick where the burden of a group fight is lifted as the stuntmen wait their turn to fight the protagonist. Particularly egregious in written action sequences where the author doesn’t grasp the concept of teamwork. It also warps the understanding of how many people its possible for a human to fight at once.

Terrible At Torture - Torture is a terrible way to gain information in general because it doesn’t lead to a confession so much as confirmation bias. The subject will tell you whatever you want to hear because they want the pain to stop. It’s even worse when done poorly, which it is 90% of the time. Usually, media uses it for shock value or to prove how tough a protagonist is. Torture is not putting a blowtorch to someone’s foot and hoping for the best. It’s far, far more complicated than that. Neither torturer nor subject come out of the experience whole. Besides, the unimaginative protagonists say, “screw you!” The clever ones lie.

What Is: Dress for Success - How we dress our characters is often necessary for crafting a sense of narrative realism. This comes in often as a reason for why its so difficult to take female action heroes seriously, but it happens to the guys too. Not a bad trope on its own, but often symptomatic of a larger narrative approach to violence that ends with “feel” and “good”.

Beautiful and Badass - This one is a very specific female fantasy, which is that you can meet all the cultural standards and definitions for beauty while being in direct defiance of them. These are the female characters who are never touched by the combat they engage in. They are always graceful, always elegant, always beautiful in motion and the narrative will pause to tell us this often. “She fights like she’s dancing.” For these characters, their supermodel-esque beauty is a natural extension of their being. They don’t work at it. Combat is incidental. It’s a set piece to tell you how awesome the character is. It generally amounts to nothing, serves no real narrative purpose, but by god the author is going to walk us through it in excruciating detail. Combat and character are separate, and consequences are for other people.

My Instincts Performed A Wheel Kick - Your instincts just don’t work that way.

There’s probably more, but that hits most of the major sins.

Keep in mind that many of these tropes are not issues by themselves. They often work when context and consequences are taken into account by their narrative/setting. Generally, this results in characters with no accountability for their behavior and exhibit no responsibility for their actions. The issue, of course, is that responsibility and accountability are what make well-written violence work. Violence often drives the narrative. It’s part and parcel to who the character is, and their decision making. It’s the difference between a character who presents themselves as tough or skilled and one who actually is.

-Michi

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Best Pun Ever

Mallory and Mark Kensington were two star struck lovers who had been married for 12 years. Mallory was a commercial airline pilot and Mark was the captain of a nuclear submarine. They were both very responsible with their money, lived simply, had no children, and no vices. The only exception to their frugality was their dog Max whom they doted on at every possible occasion. Unfortunately for Max, fate had terrible plans in store for him. One dark August day, Mallory and Mark were both at their respective jobs and in a cruel twist of fate suffered major mechanical failures at the same time. In a million to one oddity, they both perished in the astonishing first-of-its-kind airplane/submarine accident.

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NCT - cherry bomb theory 🍒

i was trying 2 uncover anything about cherry bomb but kept hitting a dead end??? like rip it was impossible to create a theory ,,, on a pair of cherries ,,,,, & a bomb ,,,,,, UNTIL.


i had to think bigger. u all know exo right? Supposedly they’re aliens with superpowers that come from another planet, ‘Exoplanet’.

Could it be? That after following the huge™ success of exo, SM wanted to further continue this legacy?

i !!! tried to find ANYthing that could link nct + planets. ? it was hard bc we were all SO sure that nct’s concept was all abt dreams & connection, not planets.  after HOURS of going through old nct videos, teaser images & anything ‘out of place’, ….  BHITCJDSG I FOUND THIS

This is a screenshot from The Origin. the 1st teaser video to EVER be released under the name NCT.

dont u find it strange? look at the colour of that giant planet/moon. it’s not red but its not grey, like u’d expect from normal moon colours. instead, its right in the middle, a light pink colour.  

!! !!! !!!!! BHITCHSGKJ  i searched it up on google ?? & SURPRISE SURPRISE

AND THEN I CLICKED ON MULTIPLE ARTICLES AND !!!!!!!!

*chenle scream*

“If we could travel to this giant planet, we would see a world still glowing from the heat of its formation with a color reminiscent of a dark cherry blossom, a dull magenta,”

 Michael McElwain (NASA Discovery Team)

cherry blossom planet’ also known as exoplanet GJ 504B is supposedly the youngest & smallest planet discovered around a star that resembles a sun (similar to our solar system.)

The existence of GJ 504B was discovered in 2013.

In the same year, SMROOKIES was also introduced to the public in 2013.

?????????

also look @ the name of the exoplanet & see the similarities below

6J 504B

SR 17B

SR 17G

at first , everyone was a little confused w/ the way SM named their rookies (even me) but ?? ?? now its kinda clear ??

i was also !! confused when cherry bomb dropped like it was a bop ? but i didnt kno what i was dancing 2 lmalkfhsdkgh da song made no sense to me & i didn’t kno what the message was behind it.

however one thing i DID kno was that there was a lot of planes and helicopters shown. even the some of the choreography imitated a plane.

the helicopter dropping all the cherry bombs actually had “NCT” labelled on it.

it seems like planes have been hidden from us since the debut of NCT-U.

here is a screenshot of a scene from “Without You” M/V.

look at that poster behind that man. There is an image of a yellow paper plane. there’s also a white toy plane hanging above the poster.

the date “1893″ was framed … why??

during 1893 April 16th, a full solar eclipse took place !! since it was a total eclipse, it covered the earth in total darkness.

do you guys know what a solar saros is?

A Saros is known to be a period of approximately 224 lunar months that can be used to predict eclipses of the sun and moon.

There are many different Saros cycles numbered from cycle 1 all the way to cycle 180 and still counting.

Which Saros cycle did the eclipse of April 1893 belong to?

Saros cycle 127.

?????? and obviously the next unit to debut was ???? NCT 127.

one more creepy ass thing. turns out that if u look at the NCT “Switch” M/V

behind doyoung’s beautiful™ back, is the date April 16 1961.

it was a historical day because at April 16th 1961, Russian cosmonaut Yuri Gagarin became the first man to enter space.

?? LSITEN TO ME . we have two important dates here.

April 16th (1983) - total solar eclipse

April 12th (1961) - first man in space

both of these months are in April.

16 - 12 = 4

4th April was the debut date of NCT’s 1st unit, NCT-U.

…..  ?? ??

o k … anws back to the planes …..

if u also look closely in the “Limitless” M/V , a plain grey helicopter appears for LITERALLY ONE tiny second. 

this is a two second ending shot of the Limitless M/V. i paused every frame and played it in slow motion 2 figure out what the hell it was. don’t u think it looks VERY similar to a window of a plane/helicopter? if u look outside, the sun is rising above the horizon.

i feel like nct 127 are boarded inside. 

in Cherry Bomb, taeyong raps

“No fireman this is fireworks, cherries in the sky high.”

in this single sentence i think taeyong just mentioned every nct 127 era so far.

“no fireman”

“this is fireworks”

“cherries in the sky high”

could it be that nct 127 are being “reborn”? transitioning into a new image? compared to limitless, Cherry Bomb is much brighter and the u kno !!!!!!!!! wow look at us we’re gonna explode and show u all what we’re made of !!! prepare ya asses cos we comin !!!!!!

yes i honestly think that nct 127 got on that plain grey helicopter & … …. travelled somewhere new …. to another fuckgin WORLD  ?? cos

it LITERALLY just looks like the limitless helicopter got an upgrade. i swear its the same one ? ??  

sjsjfjdshkdjgh *that one meme of taeyong lying on the floor*

,,,,, enough abt planes  ,,,,,,

,,,, & helicopters ,,,,,,,

SO IT SEEMS THAT there’s actually a lot !!! of connections with smrookies/nct  + moons, planets etc.

Pre-debut dance video “Super Moon”

Pre-debut doyoung + taeyong singing their own written song “Piece Of Mind”

“The moonlight behind the clouds whisper to me , the hushed calm tells me it’s alright.”

NCT-U “Without You”

Ten’s solo M/V “Dream In A Dream”

NCT/Winwin teaser “7th Sense”

NOT 2 MENTION nct 127′s best song album track “Sun & Moon”

“You and I

You and I

You and I

The two of us just like one

Every night in my dreams

We are connected by you

We look to the same sky

Oh when my moon rises

Your sun rises

Under the same sky”

u know what i think?

this song is a message from nct 127 (planet GJ 504B) to the other ‘undiscovered’ planets/moons. aka the other nct units yet to debut & the hidden members waiting to stand on stage so desperately. they’ve all trained together but due to this unit concept, they rly can’t stand as one one stage just yet.  

this message is especially key in Ten’s “Dream In a Dream” M/V.

look at the primary colours that paint the whole scene.

lucas is surrounded by dark blue & ten has dark pink colours. they’re obviously from different worlds.

the lyrcis in “Sun & Moon”

“We have the same time,

But we’re in different places

This is a twisted fate.”

clearly u can see ?? ten & lucas are separated from each other since they belong in different planets or put to be in different ‘units’.

It then shows imagery of space. Then a scene of ten walking past the shadow of lucas. it indicates that no matter how close they are, fate will always separate them. ? its sad i kno. but they’re truly from different worlds.

Also i need 2 mention that it was actually confirmed that only 1 of 5-6 exoplanets has been directly discovered. we all kno that nct has this “limitless” unit concept. but i do feel like there will at least be about 6-8 major nct units overall ??? does each unit belong to an “exoplanet”? a different moon?

was nct 127 & this “cherry bomb” concept planned all the way back 2 when smrookies were first introduced ??? are the “undiscovered exoplanets” and “hidden moons” future units that have yet to debut?

so this is why our fandom is named “nctzen” like ,,, are we citizens of all these planets ?? how many more are there. … if its truly limitless ,, are we a galaxy ??

u can read my limitless theory & see that ?? wtf lmao it connects to this theory too ??? ?? dreams ? space ? time ?

jsjslgkhsljfhg bhitc im dying its nearly 12am & im sweaty & half dead W HAT IS THE TRUTH D AMN IT

anws thnx for readin !!! i lov yuta 🍒 

... Somehow, Still Talking About This Captain America Shit (Now With Bonus Spider-Man and Agents of SHIELD)

So now Secret Empire has revealed its Shyamalan Twist and given the readers a Good Guy Steve Rogers as well as Hydra Cap, and the kinds of dickbags who, when this whole bullshit began were dismissing people’s complaints with “oh come on, don’t you know how comics works, it’s all going to be put back at the end, blah blah blah…” are crowing I-Told-You-So’s.

But here’s the thing:

Yeah, fucknuts.  We always knew this.

Keep reading

Friendship Comes First:  What (Good) Fanfiction Can Teach Us About the Romantic Subplot.

I love all forms of storytelling:  television, books, movies, you name it.  As long as it’s quality, its ripe for the picking.  

It’s so easy for me to become engrossed in the lives and psychologies of fictitious characters, to care for them as though they’re people I really know.  Which, on some metaphysical level, I suppose is true, but that’s a topic for another essay.

However, in the midst of all my possibly Asperger’s-fueled hyper-fixation and nerdery, there’s one inevitable aspect of seemingly every plot to which I will almost always role my eyes and click the fast-forward button:  the goddamned romantic subplot.

So many times have I seen the exact same variation of romantic love between fifty homogeneous couples, and each time, I failed to see the appeal:  in books, the smirking, obnoxious male love interest will woo the object of his desire through flagrant disrespect, the same toned bodies will copulate furiously on my television screens (typically at the exact same moment my parents or small siblings will walk into the room), the same vapid, flirtatious stares and generic dialogue will be exchanged. 

But where’s the basis for it?  Yes, these people are stressed to be attracted to one another to the point of obnoxiousness, but do they even like each other as individuals?  Are they even friends?  Is there any three-dimensionality to their relationship besides sizing each other up and deciding to bump uglies? 

Simply and also sadly, the answer is very rarely.  And so, it seemed to me that romance was not my cup of tea, both in the fictitious world and out of it.  Or so it seemed.  

Because it was then, at approximately seventeen, that I discovered a remarkable phenomenon that would change my life forever:  fanfiction.  

Never before had I been so enraptured in the relationships of fictional characters, and I was baffled as to why.  Yes, I’ve read a tremendous deal of fanfiction that is, in fact, book quality, but as an avid bibliophile, I was perplexed as to why I’d never been so captivated by the romantic endeavors of a published author as I was by the passion-projects of writers not much older than I was.     

After a lot of time, careful consideration, and the illuminating words of some of my fellow bloggers, however, I believe I can finally put words as to why. 


1.  Give your characters a narrative purpose (besides being The Love Interest.) 

Do you ever wonder what inspires Supernatural fans to tirelessly churn out fics about their favorite human-on-angel pairing?  I have, and this is someone who’s a proud proponent of the stuff.  

The sheer magnitude of free literature available, constantly repositing the pair in all manor of situations and walks of life, is absolutely baffling, and undeniably impressive.  Indeed, some of the best works of romantic literature – and yes, I do consider fanfiction to be a form of literature – I have ever come across were starring none other than this specific pairing:  from the infamous Twist and Shout (which I don’t recommend if you ever want to listen to Elvis Presley music, visit a beach, or feel joy ever again) to the charming Have Love, Will Travel (probably my personal favorite), some truly beautiful love stories have blossomed from a pairing that has never even been confirmed onscreen to have romantic connotations.  

Perhaps just as baffling is the other end of the spectrum:  Lisa Braeden.  Lisa, for those unfamiliar, is basically posited as the love of Dean’s life, with whom he lived for a year before being forced to give up his dream of a family life and return to full-time demon busting.  They’ve canonically kissed, had sex, shared a bed, and everything typically associated with an onscreen couple.    

Yet comparatively no fanworks exist about them.  When Lisa does appear in a fic, she is usual Castiel’s rival for Dean’s affections, or simply a hapless bystander. 

Why is this?  Well, a disillusioned observer might point to straight women’s apparent predilection towards fetishizing male homosexuality (I, for the record, am not straight myself;  I’m a proud bisexual who, thus far, has only dated women.)  I’m inclined to retort that this isn’t giving female fans nearly enough credit. 

For starters, remove all context from each relationship and examine them with a critical eye:  on the one hand, you have Castiel, Dean’s angelic savior from forty years in perdition.  Castiel is clearly fascinated with Dean, appearing in his bedroom, somewhat suggestively (advertently or otherwise) inquiring about his dreams, watching him sleep, routinely invading his personal space, and ultimately rebelling against heaven in accordance with Dean’s wishes. 

On the other hand, you have Lisa, a perfectly nice character who’s introduced as “the bendiest weekend of (Dean’s) life” and…well, that’s about it.  She’s later shown as a sort of amalgamation of Dean’s subconscious desire for a mother figure and normal life, but she, as a character, remains somewhat underdeveloped and hollow. 

You can’t expect fans to hold the two relationships to the same caliber and then cry internalized misogyny and fetishization of gay and bisexual men when they don’t.

The fact of the matter is, onscreen “friendships” are typically much more developed, much more three-dimensional, and much more ideal of what a truly epic romantic plot should be.  A character with a clear place in the narrative and three dimensional characterization all their own will almost always be more charismatic than a character who’s introduced as exclusively The Love Interest.  

This is not to say that what makes fanfiction so great is that it sexualizes or romanticizes friendship.  In fact, I’m inclined to believe it’s the other way around.  

Which brings me to my next point…

2.  Make sure your characters are friends.

It’s a romance for the ages.  A love like no other.  They’re soulmates, yin and yang, a match made in the stars.

But do they enjoy each other’s company?  Laugh at each other’s jokes?  Take part in each other’s interests?  Are they even friends?  

The sad fact of the matter is, romance and erotica are, as a whole, starved for values of friendship and camaraderie. 

This is something I realized only after my love of fanfiction took root, when I tried to return to my normal sources of adult entertainment (romance, erotica, and porn) and found them, by comparison, almost bafflingly lacking in warmth and camaraderie.  

What I think makes fanfiction so addictive is the fact that it’s built upon the established relationships of two or more characters (the Onceler and company notwithstanding) who, typically, care for one another as friends and compatriots.  

Look at some of the internet’s favorite pairings:  Dean Winchester and Castiel remain a classic.  Bucky Barnes and Steve Rogers are always crowd-pleasers.  Kara Denvers and Lena Luthor are seeing a rise in popularity.  We all know Sherlock has somewhat fallen from grace, but the union of its two main characters still retains a devoted following.

This is no accident:  despite lacking onscreen confirmation, these characters have proven themselves to care for one another as more than objects of their sexual desire.  They’re friends, with relationships based in loyalty and warmth that are, unfortunately, sorely lacking in typical fictional romances.  

Once you get a taste of this brand of friendship-infused romance, in fanfiction or otherwise, it’s hard to go back.  

This isn’t just limited to quote-unquote “fanon” couples, either:  couples such as Mulder and Scully, Bones and Booth, Yuuri and Victor, and Ladybug and Chat Noir can all attribute their popularity to this strong basis in friendship, camaraderie, and mutual respect.

This is also the leading cause as to why the formerly booming 50 Shades franchise, and other arguably sexist, abusive dynamics, are struggling at the box office.  

Which reminds me… 

3.  Make sure your characters are equals. 

Unless you’re writing a Lolita-esque social commentary, it’s probably your best bet to keep your characters on fairly equal ground. 

I mean this in every sense of the word, too:  I have a difficult time getting invested in a romance when there’s a pretty blatant power imbalance, which oftentimes occurs due to the implicit sexism of the entertainment industry.

Disproportionately young actresses are assigned as love interests to much older men, such as Emma Watson’s twenty-something-year-old character lusting over a man almost twenty years her senior in Irrational Man.  

Physically mediocre or average-looking male characters are frequently pared with stunningly beautiful women who like them because they’re “nice,” fueling the existing mentality of all self-proclaimed “nice guys” who think society owes them a hot girl.

Furthermore, @popculturedetective just released an amazing video explaining the “Born Sexy Yesterday” trope, in which hopelessly naive, beautiful women are seen swooning over their more savvy male lovers.  (Found here:  https://www.youtube.com/watch?time_continue=2&v=0thpEyEwi80)

I love Splash and the Fifth Element as much as anybody, but both films incorporate all these tropes in ample proportions, and it’s frankly ridiculous. (On the topic of Splash, however, I’m greatly looking forward to a subversion of this trope in its remake, starring Channing Tatum as the titular merman and Julianne Belle as his human love interest.) 

On the other hand, you have fanfiction.  I’ve read numerous essays professing that fanfiction is becoming increasingly popular due to the fact that same-sex relationships tend to be implicitly devoid of these sex-based imbalances, and I’m inclined to agree.  

However, I’ve read others stating that male-male pairings tend to be so popular because male characters are typically more well-developed by writers, making it perfectly understandable that fans would be more invested in a possible romance between two characters of equal multidimensionality (see point 1) than one that is sorrowfully underdeveloped.  I’m inclined to think that this theory is even more on point.   

Because look at some of the successful onscreen relationships I listed prior:  we root for Bones and Booth’s inevitable union the same way we swoon over slowburn fanfiction, delighting in Mulder and Scully’s banter and craving their interaction.  

These are, in my opinion, some examples of straight couples done right, because they’re portrayed as friends (see the previous point), and just as importantly, as equals.  

Last, but certainly not least, the male characters in both pairings are depicted as having nothing but respect for their female compatriots, depending on their intellectual know how and not being ashamed to say so. 

A more contemporary example that gets this wrong?  Well, not to offend any fans of the pairing, but Mon-El and Kara, a la Supergirl.  Mon-El was, at the beginnings of his arc, consistently disrespectful towards Kara, putting her down and insulting her in the very same episodes in which her female compatriot – Lena Luthor – is shown vocally admiring and praising her.  

Mon-El has since improved on his behavior, but the damage is done:  I still have a difficult time seeing him as a likeable character, much less a suitable love interest for my beloved Kara.   


These are just a few recommendations, based on the ways in which my somewhat obsessive love of transformative literature (i.e. good fanfiction) have helped me as a writer and helped me view the implicit problems with mainstream romance with a more discerning and critical eye.

Here, I could provide a counterpoint with the recurring problems I’ve noticed in fanfiction, or I could go into some recomendations for writing explicitly gay and lesbian relationships.  Both of these, however, are topics worthy of another essay.

Disclaimer:  I am assuming that any and all readers are trying for an enjoyable, healthy romantic subplot with equally charismatic, consenting, and likable characters.  Dysfunctionality can be just as interesting from a literary standpoint, but again, this is a topic for another essay.


There will be essays like this published at least once every other week, so be sure to follow my blog and stay tuned for future writing advice and observations! 

✨ february fanfics!! ✨

» After the Storm by ofthedells

Allura, Pidge, Hunk, Lance and Keith go camping.

» bad communication by calliopinaround

“Can we, like, stop speaking in code now actually, because I’m not anymore certain than I was two minutes ago that we’re talking about the same thing and I just want to know if you’re saying you like me back or if I just maybe read way too much into this entire conversation and made that part up?”

» Block, Punch, Dodge by chasing_the_sterek

In which Lance is a secret badass, Keith is surprisingly not as emotionally constipated as normal and everyone cheats at least little bit.

» Dancing Lions, Painted Wings by genericfanatic

Years after peace has been made between the Galran and Altean kingdoms, The witch Haggar comes for vengeance. The young symbol of peace, the half-galran, half-altean Prince Kalor is lost.

» galaxies in your eyes, flowers in my heart by Elysabeth

Lance meets his neighbor, grows flowers, almost dies, paints the universe and falls in love. Not necessarily in this order.

» Ghost of the Future by wittyy_name & Zizzani

When Lance is thrown through time, his future self from one year ahead is transported to the past in his place.

This Lance is faster, stronger, and markedly more mature. Not only that, but he’s distinctly more intuitive about his teammates and A LOT more touchy with Keith.

» Heart on Fire by dumpsterdiva 

Recipe for this fic:
1 peaceful morning jog in the park
1 auto-mechanic hothead keith
1 soccer player sinamonroll™ lance
2 cups mutual pining
A dash of angst
All the sugar in the world
Way too many bad pick-up lines
And a burn so slow you could slow roast a whole Kaltenecker

» He Sleeps in the Sky of Ice by jadencross

It’s been three months since the plan to rescue Allura, and Team Voltron has finally found each other again.

Well, almost.

» He Who Fights Monsters by magisterpavus

When Knight cadet Lance Espinosa is kidnapped by a strange red dragon who kills its own kind, certain truths are revealed…and so are the true monsters.

» how will you know its good (because you never do) by mayerwien

Keith and Lance make a 1 AM pilgrimage to Jollibee, Keith questions everything in the known universe, and Lance just wants to eat his gravy and carbs in peace.

» i just want you to know who i am by Kyoshu_Koi

“It’s you!” Keith screamed, “It’s always been you.”

» it’s quite bizarre, and will remain this way by mayerwien

Dear Mr. Coran,

I am writing to entrust to you the care and supervision of the young man who will be working with our custodial team starting this coming Tuesday. The young man’s name, as I’m sure you already know, is Keith.

» Laughter Lines by tibetanturnips

Keith and Lance have visited Earth a few times since they became paladins twenty years ago. This time will be the hardest.

“I’ll see you in the future when we’re older and we are full of stories to be told.”

» let the whole world know by redburn

Your soulmates first words said to you are inked on your wrist at birth.

Except now Keith decided he wasn’t going to wait for his soulmate to come along, instead he was more keen on asking out the cute barista who worked near their campus.

» Love and Other Questions by squirenonny

Canonverse Soulmate AU with romantic and platonic soulmates (and some gray areas in between)

» never saw you coming by dimpleforyourthoughts

Three months in space on his own would have been fine. Three months in space with Lance McClain is a whole other fucking story.

» Of booty shorts and injuries by Queerswimming

Keith and Lance unexpectedly meet at the emergency room in the middle of the night.

» Pillars of Doubt by Sarolonde

Lance’s wild, carefree smile is missing and he’s isolating himself. Keith hates it, he misses Lance but doesn’t know how to fix it, especially when he can barely cope with his own problems. 

» Shadow of the Past by wittyy_name & Zizzani

When Lance is thrown through time, he finds himself one year in the future, in place of the Lance that should be here.

He finds his team to be remarkably familiar, yet distinctly different. They have more scars, a better grip on the whole saving the universe thing, and over a year’s worth of teamwork to bind them together. But the weirdest part? Keith seems to be a lot more touchy with him. Not that he’s complaining… much.

» The Canvas Effect by neadevar

Lance Mcclain is desperate to find his niche in the world, thought he might have when he discovered he had a soulmate. Only his soulmate seems to be a dick.

» the currents you create by theoddoodisnude

Some days, he woke up even more tired than he’d been when he’d gone to sleep, and willing his body to go through the motions was just—tough. Like wading through thigh-high water or running on soft sand that gave under the soles of his feet.

» The Hunt is Over by lilythechessie

Along the road to making the world a better place by taking down any and all Galra, Lance runs into love in the dark of night on a motor bike. Literally.

» this love has a heartbeat by ashmes

Keith has never really paid any mind to grand romantic gestures, let alone big celebrations and days dedicated to them. It didn’t make sense to him back then on Earth, still doesn’t make sense to him now that they’ve all been invited to the Festival of Love.

» together by RainPhee

Not a single member of Voltron was ready to be taking care of an alien baby themselves.

But that’s what they got.

» Voluntary Drowning by GhostFox

“Oh my god, are you always this annoying?” Keith fists a hand in his hair, tugging lightly as he tries to convince himself that the tingling in his stomach is frustration and not because the dumb quirk at the corner of Lance’s lips is kind of cute.

“Only with people who are cute when they’re mad,” he says easily, as if his own stupid words don’t embarrass him at all. Keith, however, tries to ignore how hot his cheeks feel and blame it on the sun.

“I hope you do drown.”

» you are the sun, and I am the moon (and we will never collide) by dreamingunderthetstars

Lance was Keith’s sun, and Keith was Lance’s moon.

Chasing after one another for eternity, never stopping, only running, and wising that for once, just for a little while, if they could collide.

Keep reading

{PART 21} I Won’t Stop You // Jeon Jungkook, Vampire!AU

Originally posted by jengkook

Pairing: Jungkook x Reader

Genre: Vampire!AU, Fantasy, Angst, Smut

Summary; Just when you thought your night couldn’t possibly become any more heartbreaking; the man you thought you knew turns out to be something you had only ever considered to exist within the realms of nightmares and folklore.

“Perhaps, he didn’t want to be understood, so much as he wanted to be loved. His truth would set her free, but the question remained; would she stay?”

I update this series every Tuesday evening, 9pm-10pm (UK Time)

{Part 1} // {Part 20} {Part 21} {Part 22}

Keep reading

Gift AU Idea

The thing about the Gift, is that you never quite know what you are going to get, and what it’s going to cost. 

It sometimes cost a lot, and early - for such little payback that it hardly seemed worth it. It sometimes cost nothing anyone could ever know - and changed a whole life. Sometimes it was a gift at birth, and sometimes a curse before death, but it always happened. 

When Jack Zimmerman was born, his parents were beyond thrilled. He was a weird looking baby, but my god, they loved him more than they ever thought would be possible. That first night, at midnight, a light filled up the dark room and formed a fae shape, indistinct but instantly recognisable. 

“I will take his first last breath.” The solid light said, before fading completely. Bob, who had his ability to grow a beard taken as payment for his ability to always land a solid punch, and Alicia (who lost all her memories before she was 4 so that her smile could light up a room) looked at each other and blinked. 

Because what the hell did that mean? 

-

When the light filled the hospital room where one Eric Richard Bittle lay sleeping, both his parents were wide awake and trembling. Susan lost her ability to read at 19, and Coach lost his own name three weeks after his 4th birthday, and both knew the sting of a ‘gift’ that never really lived up to the price they paid. Neither of them wanted their darling baby to suffer - to lose anything. They wanted to give him the world. Coach glared at the light while Susan hid her face in her hands. 

“That’s my son and I swear to all that is good in this world if you hurt him, if you hurt my boy-” his voice broke at the end. He’d paid a high price for his gift, lost his name and gained only the ability to write with both hands. Susan had it worse - she remembered words, her love of books, the simple skill of reading labels or instructions - gone now… all for the knowledge of when it was best to pick the ripest fruit. 

And god, he feared for his boy. 

“I will take his joyous childhood.”

And Coach found out that it was impossible to punch a living light.

-

Sometimes you met people who had the same gift, or paid the same price. Shitty lost his name, just like Coach, and Bitty was pretty sure thats why he trusted the mustachioed man so much. His gift was never feeling cold. Ransom lost his birthmark and Holster lost his first love - and gained each other, a soul bond so strong that sometimes it was difficult for them to tell who was feeling what. Lardo swapped her appendix for the ability to see in the dark, Nursey lost his spatial awareness for his love of words and Dex lost his calm. Dex wasn’t quite sure what he got, which wasn’t all that uncommon because really… in a world where your sense of smell can be traded for the ability to flip a pancake… sometimes it just wasn’t easy to work out what your gift was. 

Chowder lost his baby teeth for his joy of life, Johnson his ability to tell the time for some weird alternative universe only he could see. 

Jack lost his first last breath on the bathroom floor of a nondescript hotel room for a second chance - Bitty lost his carefree childhood with every taunt and shove as he grew up. 

Bitty figured that the price was okay. He could make the best pies anyone had ever tasted. 

Sometimes Jack wondered if it was worth it. 

And of course, sometimes… you got it wrong. 

-

Bitty always knew his childhood was going to suck. His mamma and Coach did their level best to make sure that home was safe and secure, but it didn’t stop the nightmares at night, the fear of monsters under the bed or the sheer god-awful time at school. The only time he was ever at ease was in the kitchen, where his mamma taught him to bake using her own way of things, never needing to measure, never relying on a recipe she couldn’t read. So, Bitty, and his parents, always just assumed that he was going through hell as a kid, so he could bake. 

Coach hated it. Coach hated a lot of things, but seeing his son scared and frightened one too many times had taken its toll on the man. They moved three weeks after the supply closet incident. 

All for the sake of some stupid pies, his son suffered. 

He never did eat a single one. 

-

It wasn’t until Bitty got to Samwell that his actual gift turned up…

EVERY STAR IS A MIRROR 

Aries ~ The snowflakes of Pisces winter fall and death embraces the zodiac.
Sweet, sensual death. Evaporating into the divine, deep in the hollows. And the further we go into darkness, the brighter the light within us shines
Bursting to awaken with the first sound of spring, bluebirds echo in the Aries ear, calling… calling… calling….
bring back life, colour, and god’s delight to the bleakness
Special child of the divine, still held in heaven’s arms, waiting to be born like an exploding nebula, scattering pieces of itself everywhere out of curiosity and enthusiasm. Follow the sound of bloom, the fresh smell of spring, the feeling of warmth beginning to saturate your spirit once more
the earth’s revered child has finally been born. The zodiac begins

Taurus ~ 
As a child of Venus, Taureans navigate the world through their senses. The fresh air of nature, trees, flowers and wildlife is extremely therapeutic and stimulating for them. They are often acutely sensitive to the seasons and weather changes. There is a real need for contact with nature, which and many Taureans fill the roles of farmers, gardeners, horticulturists or artists who use natural materials. One of the male images of Taurus is that of the green man, the male fertility principle. This sign is the closest manifestation material purity, and their sensory alertness allows them to connect to the five sense experience like no other. They can make universes out of empty sketchbooks, make homes out of half crescent Moons and heatwaves through their determination and spirit. This is all four seasons rolled into one.

Gemini ~
Gemini provides a dazzling display of how the mind works. This
mad instrument in all of its
glory and its chaos, its genius and dissociation, its ability to create patterns and puzzles and spin the world upside down. Gemini is like a literal
mind fuck, you know one minute you are traveling 200,00 miles an hour down one road, into philosophy and corruption of the military
and then you have a drunk child on your hands, unable to focus or sit still for a moment. Geminis orgasm can come from conversation, communing with a mind, or meeting an intellect, someone who will talk their ear off all night
conveying hypnotizing facts and knowledge. Gemini is always
the student and the teacher, forever threading the information inside onto
silver wings and blowing them into the ether. They touch people through
language, through the way they weave words together to create
laughter or conversation or sheer delight. Gemini is spinning deliriously in a
world of thought, crossing the borderlines, doing the thinking for both dark and light. Gemini is a book of mysteries inside 


Cancer ~ 
Cancers have a surreal experience of time. It can melt through their mind
like dripping honey. The sound of clocks can be intimidating. They need music and oneness, the rhythm of stars. The moon rules Cancer, and before the 30-31 day calendar, we followed the cycle of the moon, a 28 day ‘month’, stemming from ‘mon’, or ‘moon’.
And now we live separate from nature, and the Cancer is pulled between materialism and delirium, unsure of what is completely real. But from this conflict evokes a brilliant prophet in the Cancer, a crystal ball that conjures the inner world’s most marvellous vision. Spirit guides reside in the 4th house.
So the Cancer can hear thoughts, and these are thoughts of their guide. They can receive intuitive knowledge about the past, a place where the Cancer dwells comfortably, they can be the conduit for ancestral inheritance and the protection of passed descendants, they can swim on a river of divination, because their psychic imagination is so acute. When they fear their own safety, this vision can become dark and volatile. Fear is Cancer’s most destructive poison.


Leo ~ It’s the centre of a star that bursts from Leo
and they are pure magic, a splendid cosmic artwork mixed with dripping sun maple and  the manifestation of divine creative power.
the Leo can stare at themselves and see the universe in their reflection, a flickering light of God burning behind their eyes,
constellations made of broken capillaries, sweetness and softness.
And there is the roar of the Leo lion, a heart that beats a tattoo
in their chest because it is overflowing with love, passion, and desire. The Leo has painted every sparkling essence of time and space with their
enchanted paintbrush, that mind is a visual display of milky way fireworks, heaven is a place on earth with Leo.
But the Leo can also look in the mirror and see a black hole. It isn’t always so vein and conceited. every flaw echoes so loudly. The Leo just wants to be loved, simply for who they are. Not their fortune, or photographs, or profound generosity. Only the bravest hearts are born under the sign of Leo. It’s sensitive and spirited,
ravishing and regal


Virgo ~ 
The lines and poetry of sacred geometry and mechanical movement come to life before the Virgo eyes. Sacred geometry is the sort of experience the Ancients believed was nourishing for the soul. Virgo becomes intimate with the earth and its divine faculties with more voracity than any sign. There are details perceivable to only the  Virgo, like nervous signals jump from their fingertips into their surroundings and electrify the invisible engineering. The Virgo individual is very sensitive to elements, precision, accuracy, and seemingly insignificant components, but nothing is simple to the Virgo, and they recognise
the duty and usefulness of everything, the whole dynamic of seasons and earth, the equilibrium and the silent movement. This is what makes Virgo tremendous at occult studies, specifically those requiring analysis like astrology and numerology, and those involving healing properties like minerals and witchcraft. Through intense observation of surroundings, through holding a
microscope to every leaf and flower, through watching the reverent dance of the sunrise as they measure the motion by time, they identify with the part of themselves that is infinite. They can unify with the part of themselves that is pure, that is untainted awareness and magnificence and beauty. 


Libra ~ 
With Libra we have the Snow White pages. the innocent beauty who does not know the seduction of her aura, the distressed belle who waits for a prince to save her, despite easily outwitting and serving justice better than any man who takes their hand. and in the antithetical pole, the wretched self consciousness. After Virgo has achieved personal perfection, she wants to be the fairest of them all. she evokes the images of others as she attempts to be all things, a glorious figment. they are the enchanted mirror, although they look into their own searching for others and answers. Libra is every character, the enchanting snow is the jewel in her heart and the melody in her love of people. And the witch, her voices of self resonance. Saturn exalts in Libra and the stepmother is an expression of the domineering Saturn parent, often leaving impossible idealism in the child. The notes of empty comparison against others that wither her supple apple cheeks into dried roses and destroy every venus valley. 


Scorpio ~ 
The human world is rarely enough for Scorpio. That can be why they provoke people’s souls, they want to see your insides, your darkness, your light. They can seem spiritually provocative, it’s like they know how to draw madness out of lovers, they can sense the unseen, they can experience states that question existence. And nothing is ever enough.
They don’t want a lover. They want a reunion with a soul mate, their soul. They don’t want sex. They want angelic intimacy, the evaporation of bodies into intwined ether. Scorpio is preparing for death, but they don’t want to leave without truly tasting life. The superficial is rarely enough for Scorpio. They are discontent swimming in shallow waters. They become easily bored when their brilliant mind is under stimulated and unchallenged, they become distracted into unconscious trance when people are dull. And the Scorpio cannot force conversation. There are holes in the world that only Scorpio can see, and they will crawl into one when this world is not enough. 


Sagittarius ~
After emergence from the deep Scorpio tomb, the Sagittarius hybrid spirit soars far and wide. The Sagittarius wisdom operates from the laws of nature, stars, archetypes, the Akashic records, the higher mind, and culture. It embodies the divine chant of laughter, the publication and interpretation of symbols, mythology, theology, and religion.
Here is the quest for the meaning of life, the pilgrimage to unknown regions in search of understanding and the materialisation of belief. It could be travel, education, relationships, indulgence in intoxicants, or nomadic wandering through religion. The Sagittarius guru is the scholar. His temple is filled with books, compasses, astrology notes, and artifacts from every country. He uses comedy for his teachings and applies experience to philosophy and scripture. Waiting in the middle of winter, the Sagittarius speaks many languages and knows many ways of life.
He is approachable and warm, filled with light and spice. Even with the wrinkles of time, the spirit of youth always radiates. Old as the trees and free as a bird, as young as the sunrise and as old as the night.


Capricorn ~ 
To stand on top of the mountain, to stare over the edge of the midheaven, sometimes all you would ever
see would be your own shadow. And the Capricorn’s shadow can linger like a heavy fog, always threatening, always concerning. At her peak, she radiates like a Mistress of Brilliance, she has scaled the land and sea, starred in her
own dream and written her own success story. She has stood behind people and encouraged their ascent
in her graces she has climbed and flown, a mountain goat, pursuing the grand land and salty sea. In all of this, she has only had herself to rely on,
and a voice of wisdom, found only in the darkest moments. She can be hungry for descent because she understands the reigns of flight. The Capricorn is contained, and yet they are the stitches that thread the stars, the grand mastery of it all. In her spirit wields the resources of the Gods, each of whom have tried and tested her. Through the Capricorn’s shadow, a self portrait is created. It reveals the most powerful triumphs of human kind.  The undeniable component of the shadow is that in its presence it reflects only light. The Capricorn is capable of wielding both in their starry ascent toward the heavens, an intuitive focus in strategic command, a skilled concentration that gleams fantasy into
reality. The shadow can be lined in
exquisite silver. 

Aquarius ~
Telepathy could be the Aquarius enchantment. Telepathy into the web of consciousness, the matrix of thought that connects all beings together. Telepathy into the ideas of the sky, cascading like a diamond waterfall into the Aquarius mind. And there is telepathy into the knowledge of stars and space dwellers. The Aquarius mind is a conduit for all sorts of cosmic contemplation. It receives tremendous visions of utopia and elevating bursts of intuition. It also soaks up space junk, and this may turn into madness. Aquarius is the last moment of thought before we capsize into Pisces dream.
They look out to the stars to find their soul mate. They stare into the sea to contemplate infinity. They test logic against galaxies of invisible wonder. The Aquarius mind diffuses an extraterrestrial perfume, their thoughts dart through constellations and fields of existence. Underneath the disorder is a mind that sparkles like the diamonds that rain on Uranus. Inconceivable. Curious. Marvellous.

Pisces ~ 
Pisceans can try on new personalities like they try on shoes,
and with those unusual feet hardly any shoes, from heels to flats or docs seem to fit properly, like all these personalities she tries to be, none of them cloak her soul with the colours. Nothing ever seems to fit those shades
she knows ripple inside, those pastels that haven’t been invented yet. From room to room she moves, shifting face and shape, slippery with sea salt infused in her skin, impossible to catch or define, lost and wandering,
the facets of a thousand personalities. It feels so foreign being trapped in a body, when she can feel wings fluttering behind her shoulder blades,
and scales shimmer under her thighs. Like a mirror carved in heaven, reflecting people as angels. She is the stain glass window that forever changes colour and tone, paint streaked over her spirit, impossible to conceive without a kaleidoscope. She knows her true self resides at home
The home in the sky, made of clouds and liquid love. But for now the show must go on. Who do I dress as today.
Nobody knows.

-Cherry

anonymous asked:

would you say the sith academy from the star wars universe fits for an abusive training situation?

Yes.

However, I want to point out that when you’re talking about scenarios where the teachers are sadists that’s:

1) Not what makes their training good, but is rather the method that secures the students’ loyalty.

2) Useless if the students don’t receive an education.

The problem is that in order for the setup to succeed the students still need to be taught. Which… means you still do all the “boring” and “mundane” stuff. Contrary to popular fictional conception, cruelty doesn’t make you learn faster. More than that, in poor hands, cruelty will trap you in a shock and awe setup where you’re continually having to escalate your measures in order to keep the students on their toes and the audience engaged. This is what we’ll call “not good, Bob” when dealing with a training setup because the author inevitably focuses on playing up the instructor’s sadism and not on the students education. When this happens, we get nothing but a dysfunctional methodology that creates broken dolls who aren’t particularly good at fighting.

What cruelty will provide (when not overplayed) is motivation. Cruelty can be an excellent motivational tool, but only if you give your student the tools to succeed.

When writing “sadistic training” it is important to keep your eye on the prize and the goals of the trainer in mind. Unless we’re talking an elite force (like a Sith or the Imperial Guard) where you don’t actually need many of them and they aren’t your main force, then a meat grinder scenario is not a good one. You can still have a sadistic training scenario but there’ll be a lot less death. (One can be sadistic and successful without killing a single trainee or letting them die.) 

They want to create a student who is either an exceptional warrior or just a good one and a student who is loyal to them or their organization. They may be a creation of this system, and genuinely believe in it. You can have a trainer who engages in sadistic training methods because that’s how they were trained, not because they enjoy being sadists. These guys are even more dangerous than the other types, as none of the flaws usually found in sadistic teachers apply to True Believers. They’re not in it for the power trip, or because they like being a bully but because they believe in the system. If you’ve got a sadistic training methodology, disseminated and practiced by multiple individuals in an organization then you’ll be dealing with True Believers. If so, then may God have mercy on your poor characters’ souls.

A trainer who was raised on the system they’re teaching knows all the tricks a student can pull. They’ve seen it before and seen it from within the student’s barracks. So, good luck putting anything past them, especially in any modern or futuristic world where they’ve no problem hiding cameras everywhere.

The Sith Academies of the EU run the gamut between sophisticated mind fuckery and hatchet level meat grinders. When they’re meat grinders, all they do is pointlessly waste resources. And, yes, there’s been more than one Sith Academy and the concept probably predates whichever one you’re thinking of. Korriban, for example, originates in Tales of the Jedi. Anything that predates Lucas’ “Rule of Two” will have the suggestion of an academy, and the Rule of Two came into established canon with the prequels. (Whether anyone remembers Brakiss, Zekk, and the one from Young Jedi Knights is another question entirely.)

So, here’s some training don’ts:

1) When your trainer kills, have them kill with purpose.

The way a teacher kills one of their trainees may seem random to their students, but if this is a methodology then there is a firm reason behind the why and the who. Trust they’ve picked their target before they ever walked into the room. They may change their mind in a snap decision once they’re dealing with the students, but a plan is always at play. Remember, a successful sadistic instructor plans and executes training their students like any other operation.

2) The first brutal murder will never achieve the same affect on its subjects again, so use it wisely.

Shock and awe works… once. If you want shock to keep working, then you’ve got to change tactics and attack where the subject feels safe rather than trying the same technique over and over again.

The problem with most sadistic training setups is they’ll take the ideas, but keep attempting to use the same tactics in repetition. No. To keep your skin in this game, you better be switching up.

3) Sadistic training is the torture methodology, if you don’t understand how A leads to C then you won’t grasp its lasting effects or why it works.

I’m going to keep pointing out that sadistic training is a mind game and not a physical game. Competent torture is about controlling the subject’s state of mind and reconditioning them to give you what you want. This is why it’s a far more effective as a form of control than information gathering.

Sadistic training is the same way. The goal is not to kill off what matters to the subject. The goal is to get the subject to kill off what matters to them for you. Whether this is their parents, their old life, their pet Skippy, a girlfriend/boyfriend, a friendship they’ve formed during their training, it doesn’t matter. They’ll kill whatever symbolic part of themselves they were holding onto, the piece which makes them who they are. A trainer creates a pressure gate to lead the student where they want them to go, so the student and their peers will kill in themselves what the trainer can’t.

“The Corps is mother, the Corps is father,” as PsiCorps says on Babylon 5.

When dealing with someone competent, this is insidious. Remember, the trainer controls the student’s whole world, who they interact with, whether they’re allowed contact with the outside world, and what happens to them.

It’s like dealing with your parents, if your parents were perfectly willing to blow your brains out. With no outlets, no friends except the ones you’re allowed and can’t trust, no other authority figures to turn to, no internet, no connection to the outside world, and armed guards to catch you when you run.

4) There is always a carrot to go with the stick.

Abusive tactics aren’t successful if there’s no carrot. This is an enhancement of regular training, not the sole form of training. Abuse by itself doesn’t make someone a better martial combatant (or good at fighting at all).

The problem with a lot of “sadistic training setups” is the author goes overboard. They want to make it obvious that the teacher is bad, and give the story no room to breathe. Give the characters no time to sort themselves out. The teacher’s abuse is there to make a point and specific intervals, and it won’t happen on the regular. If it’s regular, you adapt to it. The uncertainty and the lack of comfort is what keeps it scary.

A trainer won’t just abuse, they’ll also offer a sympathetic ear, be encouraging, and act as a mentor to their students. When their students have earned their wisdom then they share. This gives students a feeling superiority over others, reminds them that they’re special, and they want to work harder for their teacher or toward their goal.

As a reward, their trainer may give their students the opportunity to watch the more advanced students or the warriors they admire in practice or sparring so they have a goal to work towards.

5) The goals are always clear, and can be accomplished. It’s the goalposts that shift.

The trainer is very good at telling their students what they want, on giving them a venue to develop skill before upending them again. Like I said, abusive training is an utterly pointless practice if the process of learning is skipped.

If you want to write an abusive setup then you need to learn how normal training is supposed to work first because the abuse is just another added layer. This is why there’s a tendency to assume this training is just “more hardcore”. 

6) Punishment is not the point, what punishment gets you is the point.

Reward them when they’re good, punish them when they’re bad. Write punishment with purpose. The trainer wants their student to think, consider, and come to an understanding. Punishment is supposed to make one side too uncomfortable so one starts looking at good behavior as acceptable. Unless there’s a reason to be ambiguous, the student must know why they’re being punished.

7) When you’re looking at a situation with plans to axe a few of your trainees, the troublemakers and the problem children will be first on the slate to die.

This is one of those favored misconceptions with some authors, where the belief that a student’s “special talents” and “status” override everything else. Here’s the honest truth: a trainer working under a sadistic methodology wants loyalty over skill. No amount of ‘natural talent’ or ‘skill’ will save these troublemakers because they’re challenging the trainer’s control over the rest of the class.

Now, there are ways to manipulate any problem child into good behavior without obvious punishment whether its by convincing them they’re special, flattering them, separating them out from the others, and making them feel important or like they’re “winning” the power struggle.

If they can’t be convinced to play along, though, then it’s ‘too bad, so sad’ and will be offed. At this point, it’s attrition. Better to risk losing one, even a promising one, than it is losing the whole group. A student with less potential but loyal is better than one with high potential but unwilling to cooperate. After all, natural skill is just potential. A metric for the greatness one might achieve. If the talented student isn’t going to put effort into honing that potential, then it’s just a waste. Better to have the student who works hard, strives for success, is clever, and wants to please their teacher.

Now, back to Star Wars.

On the whole, when looking at the Sith, you’re going to find a lot of the good, the bad, the mediocre, and everything in between. With the current EU, we’re usually dealing with the meat grinder. In this case, the meat grinder rears its head anytime there’s a lack of respect for the rarity of Force Sensitives. Even in a galaxy full of trillions, the pool of candidates who are Force Sensitive is extraordinarily small. The number with the ability to actually become Jedi or Sith is a tiny fraction of that pool. They’re so rare, in fact, that it’s easier for a Sith Lord to risk themselves targeting adult Jedi or Jedi trainees for conversion than it is to go through the trouble of finding new candidates.

Think about that.

It’s not a Sith Academy if they don’t raid the Jedi Temple for recruits at least once. Given the Sith’s training methods, there should always be fewer Sith than Jedi by order of attrition. The Jedi may send their students away if they don’t make the cut, but they don’t kill them during training. The Sith blow through their candidates faster, thus needing more raw bodies while churning out fewer Sith as a result.

A good Sith Academy is one where the students are terrorizing the local population of whatever planet they’re inhabiting rather than each other. Where their methods are harsh, but the vast majority of their students don’t die in training. If you want more Sith out there than Jedi, then their period of training is ultimately shorter and they’re released to terrorize the universe more quickly. If a Sith can be trained in, say, four years compared to a Jedi’s fourteen to twenty then there will obviously be more of them.

However, the Sith will ultimately need more recruits and bodies than the Jedi because the Sith die faster. Which creates a shortage when your talent pool is already limited.

In The Old Republic, when a Sith player leads the Attack on Tython they’re given a lightside/darkside option at the end. The lightside option is to release the prisoners. The darkside option is to kill the prisoners. Here’s the problem: these prisoners are Jedi padawans.

When you have a limited talent pool, are at war, and are constantly losing your highly skilled warriors to the enemy, what do you do?

The answer is abide by the classic Sith tactic of stealing the apprentices for yourself. Killing them is a waste. Releasing them is stupid. Taking them to replace your losses is the smart choice. After all, the Jedi would do the same to you. (They do. They do it all the time. In Star Wars, the Sith and Jedi are playing ping pong with the individual members of both orders as the balls. There are numerous Sith rehabilitated into Jedi and Jedi who’ve become Sith. Light to Dark, Dark to Light, then back again.)

I bring this up because this is how you know when characters with this attitude are written in accordance to their setting. They can’t be written in generalities, the author needs to take into account the context and setting specifics which will be at play when it comes to making a decision.

When evil overrules necessity or common sense, you’ve got a problem. Well, you do if it’s not your intention for the character to be engaging in “stupid evil”. All approaches are legit, so long as you meant to do it and serves the story.

The question when either playing with or reading about a Sith Academy is, “do you understand the purpose and philosophy behind what’s happening?”

The lightside and the darkside are a clumsy attempt at Taoist philosophy. The Jedi and Sith are meant to present incompatible ways of life, and more than just an easily digestible code. There’s a lot of play in the “Survival of the Fittest” and “I’ve got Mine” mentalities, but a true Sith believes the struggle itself is what makes us strong.

Let’s look at the sequence between Luke and the Emperor in Return of the Jedi:

-The Emperor has Vader bring Luke aboard the Death Star, everything from that point on including the trap he lays for the Rebellion is part of getting under Luke’s skin.

-While Vader is in active conflict with Luke, he’s also the centerpiece of the power struggle between Luke and the Emperor.

-Both Vader and the Emperor are pressuring Luke in multiple ways to find what makes him angry. They show him how powerless he is by attacking the Rebels in front of him, forcing him to fight, threatening Leia, etc.

-They want him angry. Why? It’s because the Emperor’s goal is ultimately for Luke to destroy what he came to save whether that’s the Rebels or his father. The underlying belief is this crushing failure will expose the futility of Luke’s beliefs, lead him to abandon them, and join the darkside.

-This fight is also a test for Vader, though the Emperor is certain of his control over him.

-The Emperor wants a younger model and new apprentice to replace the old one, but if Luke can’t be swayed then he has no issue having Vader murder what he wanted i.e. his last link to his previous life.

-The Emperor fails because he underestimates Vader, rather than Luke. This happens when Vader’s desire to save his son trumps his loyalty to the Emperor, and leads him to make the ultimate sacrifice.

If you want to understand the difference between Jedi versus Sith, and the power of sadistic training then the final struggle of Return of the Jedi is important to understand. The Emperor had so much control over Vader that Vader valued his personal power over what used to be the most important aspect of his life: protecting his family.

For Vader, we see the struggle is real. When we see him in Empire Strikes Back, he has no problem hacking Luke’s hand off. We find out he’s known Luke is his son for some time, but the boy’s still just a pawn necessary to help him replace the Emperor. The offer Vader makes to Luke at the end of Empire is not one of love, but power. “Together, we’ll rule the galaxy as father and son.” It’s manipulative, designed to appeal to Luke’s desires for family, for his father, and disrupt Luke’s beliefs. Vader means to wrong foot him, make him desperate, and utilize these emotions to take power over Luke. When Luke falls, Vader doesn’t jump after him. Vader doesn’t consider Luke’s life important enough to jeopardize himself over.

The choice Vader makes at the end of Jedi is one of love. He’s hurt when he grabs the Emperor, having lost a hand. The Emperor is shooting electricity everywhere, and Vader’s systems are especially susceptible. Vader understands the sacrifice he’s making when he grabs the Emperor. This is his transition, in his final moments. This is what makes him a Jedi again.

As a haphazard circle, selfish love transformed Anakin Skywalker into Darth Vader while sacrificial love brought him back. Selfish love led to fear of loss, fear of loss led him to the hating those who “stole” his loved ones, and then he needed to control everything in order to make sure he never lost or felt these emotions again. Control led him to needing more and more power, until power itself was all that mattered.

When you’re looking for abusive environments or training methods, take an honest look at the Vader from the Original Trilogy. In a simple sense, that’s what the results look like.

-Michi

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Gil’s Story Is My Nightmare

You know, it normally takes weeks if not months for my feelings to settle on a subject relating to fiction. Like, my first time through, it’ll wash over me, I’ll consider it a while, and then, eventually, I’ll come to a conclusion.

But Gil’s story rubbed me wrong on first run, and I easily figured out why.

Gil’s story is my nightmare as a gay man.

I know I’m not the first to sum it up, but I am SO frustrated and pissed off by this (and Mass Effect Andromeda’s handling of M/M relationships in general), I need to work it out of my system.

Keep reading

10 Things I Loved About Mass Effect:Andromeda

Warning: Spoilers! And I wrote this on the spur, so there might be grammatical errors.

1.      I enjoyed the story. Yeah, people will say it recycles from the trilogy, but come on, people. Why are you surprised? Bioware recycles their plotlines all the time. It’s pretty much the same in all of their games. A protagonist gains special abilities and leads a Ragtag Bunch of Misfits team to defeat a big threat. And I’m not bothered by that. Sometimes familiarity in your franchise is good, just as long as you do new things to the formula, and I think they do.

What interested me the most was the theme of starting over. A lot of people in the Andromeda Initiative were former criminals or outcasts. The reason they joined was to start a new life, and it’s explored in the main questlines, the loyalty quests, and numerous side quests. I was worried about the game talking about colonization since humans are looking for a new home, but I was pleasantly surprised that the game made it clear that Andromeda is the angara’s home first, and humans and other Milky Way species will have to work with them. Thank god! No Mightey Whitey trope this time!

2.      Ryder as the player character. I honestly never thought I would love Ryder as much as I did when I played the game. Sure, no one will ever replace Commander Shepard, but Ryder isn’t meant to replace the Commander, rather show a different perspective in a new story. Commander Shepard is the hero we want to be while Ryder is more of a relatable character. Ryder has to learn through the entire game how to be a leader while going through the obstacles of their inexperience and youth so people will take them seriously. And it was compelling, uplifting, and at times amusing to see them become a hero in their own right and step out of their father’s shadow.

Also Sara and Scott felt like their own person. In the original trilogy, the player character is pretty much the same no matter what gender. But sometimes the dialogue can be different depending on if you play a male Ryder or a female Ryder. That’s because they are two different people who have had their own experiences and personalities. That really adds to the replay value!

3.      Female aliens everywhere! One of my major issues with the original trilogy was the lack of female Turians, krogans, and salarians. Sure we had asari an all-female race, and female quarians, but it felt weird that we met so many aliens with very few ladies. Not only do we get a female Turian squadmate, we also get plenty of lady alien NPCs gathered everywhere for random quests. We also have Kesh who works at the Nexus. And we get to see female salarians! And they kind of look the same as male salarians except with different voices. Thank god! It would’ve been horrifying to see salarians with boobs. Uh! And I’m pretty sure there were just as many female angara NPCs as there were males.

4.      The romances. Especially the queer ones. One of the things I love about Bioware games are the romance paths. Bonus points if there is a queer option. And as of patch 1.08, this game has the most number of queer romances in any Bioware game. I think my two favorite romance paths are with Sara and Vetra and Jaal and Scott. While representation for the LGBT community is improving in media, there’s no denying we still have a long way to go. And after again the crap year 2016 where we had a huge number of queer women characters die in tv shows, it was so wonderful to have a healthy and happy relationship between two women when I first played the game. And even if it wasn’t added until the patch, the romance between Jaal and Scott is absolutely sweet since we see two men show a lot of love and affection for each other which is rare to see in media.

5.      The Tempest Family. I adore every single character on the Tempest, and they really did feel like a family once you played further into the game. I am a sucker for found families, and to see these people who are trying to find a home ending up finding a home with each other just gives me so many feels!

Since there’s not really a huge crew in the ship like in the original trilogy when Shepard had an army of humans. In Andromeda, we have six squad mates, four additional crew members, and Ryder. And I think it made the family more intimate. It’s like our own little family lives on the Tempest.

Also I liked how there were more quests spread out throughout the game with the squad which I think was lacking in Inquisition. Plus. Movie Night is the best scene ever!

6.      In my opinion, the side quests were fun. I think this was one thing they improved from Inquisition. Inquisition side quests just felt like a bunch of fetch quests that got kind of boring pretty quick, and didn’t really add to the overall story. Some highlights from Andromeda were: Kadara, the angara reincarnation questline, the Turian jailed for murder, the anti-AI group, meeting Zaeed’s son, and those kids sending out a distress signal for a new light for their weed plant. HAHA!

They were compelling in their own right and included cut scenes instead of the Inquisitor going to some location like in Skyrim to do a thing come back to the quest giver saying, “I did the thing.” “Ok, good.”

7.      Unlike in Inquisition, there’s actual payoff for some of the quests you do. I don’t mean to be mean to Inquisition, I still love the game, but remember when we were promised that you had to build your forces up in order to defend against the main threat. Yeah, you built forces to get influence points to gain perks, and that’s it.

In Andromeda, while, yes. It’s not the same level as Mass Effect 2. When you actually complete quests and help out leaders, you can get different results during the final battle. Like, there’s a chance Captain Dunn may not survive.

Also, when you get 100% viability on all the planets, you get a special surprise on Habitat 7- being told that it will one day be habitable because of our efforts. Sure it was a side quest, but it just felt so rewarding!

8.      The climax was actually fulfilling and exciting. Again, something else Inquisition was lacking in. Seriously, when I first played Andromeda, I legit gasped when the archon was taking control of SAM node. The villain was actually living up to his threatening nature!

Just when we think we got everything under control, and are about to find Meridian, the Archon fucks shit up, and our sibling has to step up to save the day. Then we have to gather people we helped out and prepare for a final battle, and Ryder can finally prove themselves as a true Pathfinder and kick the Archon’s ass once and for all. People are saying the ending was as disappointing as ME3’s? Pfft…What are you even talking about?

9.      The angara. Bioware never fails to make me love an entire fictional species. Yeah, it feels a bit off that they pretty much have the same faces and the same 3 voice actors, but I really do love their culture. And I appreciate that they were clearly coded as POC while Andromeda didn’t go through with the whole Mighty Whitey Trope. The game wants you to respect their culture and to respect their home.

I love the angaran people are open about their feelings, I love how their religion believes in reincarnation, I love how we see angaran scientists, soldiers, merchants, mercenaries, and civilians. Also Aya and Hivraal are absolutely gorgeous!

And when Jaal finds out his people were created by the Kett, I was worried it was going to go the Dalish elves route, but Jaal points out that it doesn’t change anything about the angara. They are still their own people. And that was such an uplifting message.

10.  The overall light-hearted tone. I wrote a small post that got a good number of notes. (Probably the biggest number I’ve ever gotten), so to quote: “There was always this sense of hope and optimism about finding a new home. ‘Yeah, things may have gone totally wrong, but that doesn’t mean we can’t make them better’ was the overall message I got.

And really, with so many bad things happening in the world right now and too much of our entertainment supposedly being our escapism being dark for the sake of dark, this was something I think a lot of us needed.”

Mass Effect 3 had its light-hearted moments, and I love it, but man, that game was emotional draining.

It’s a bit discouraging to love something so much and get recommended videos on youtube pointing out the same flaws of that certain game, and why they thought it was a huge disappointment. Do I agree with some of their criticisms? Sure. Does the history behind the production explain the flaws? Oh absolutely.

           But people seem to forget that the original Mass Effect trilogy wasn’t without its flaws. I mean, sure everyone can agree on the Mass Effect 3 ending, but I could make a list of all the issues I have with the other Bioware games including Dragon Age: Inquisition (which despite winning Game of the Year, kind of suffers the same problems Andromeda had).

           So yeah, after the crap year of 2016, I was so excited to get a newly-released game that made me happy. And still makes me happy, and makes me in the mood to play another Ryder.

Berserk and Amon

Since :Re began (and even earlier, really), it feels like Ishida is making intentional references to the manga “Berserk” within Amon’s story arc. The most obvious evidence of all actually begins with Seidou… 

Now, this gross meat pile isn’t only a meat pile. It looks really similar to the Behelit from Berserk.

Though Ishida could’ve simply been going for a horror element here, the meat that Amon was originally given to eat had no faces. It was just a pile of human meat that was successfully presented as horrifying without further visual impact. Furthermore, the Crimson Behelit offers the chance for one of Berserk’s main characters to leave his humanity behind in exchange for his flesh, blood, and family…and Seidou changed after consuming the meat he was given (implied to be the meat of his family members). The Behelit is active when its eyes are open, too, so it seems like this reference was probably intentional. 

Of course, just one reference isn’t enough to build a theory off of. Fortunately, there are more! The gross meat pile makes its return in the latest chapter…

Though it no longer has the characteristic egg-shape. It is however, something that haunts Amon. It also looks like something that haunts Guts, a character with a lot of eery similarities to Amon.

The disgusting demon baby that follows Guts and Caska around is representative of his trauma, his guilt, and his fears. It isn’t harmful by itself and, at times, is actually helpful. This is well in-line with what human meat represents to Amon.

The demon baby is eventually consumed by a Behelit and is used to “change the world”, as per the wish of an (explicitly reference to be) empty man. Considering the context this image was brought up in, and keeping in mind Amon’s desire to change the world, it seems that this reference is intentional. 

Still, more evidence is required before people can really start drawing parallels between Guts’ arc in Berserk and Amon’s in Tokyo Ghoul. Luckily for me, people have been speculating about their similarities for quite some time and so panels are easy to find. 

1. 
Both characters wield a frankly ridiculously huge weapon that they inherited from a friend. The weapon requires a massive amount of strength to use and is unique to them. 

2. 
They both lost an arm. 

3. 
The Arata armour looks almost exactly like Guts’ armour. Both sets of armour are taxing for their user to operate, but were necessary to fight enemies much stronger than themselves.

4. 
They both wind up having the aesthetic of a “Dark Knight”. As a “knight”, they wind up saving young girls who later return the favour and help bring them down from a monstrous take-over by their armour without killing them. 

(Amon rescues Saiko in full armour, ffs)

5.
Suffered a massive betrayal at the hands of a father figure. Killed many people for said father-figure (as children!!!!) and developed an obsession with perpetuating this cycle. Also: both orphans.

6. 
A cross to bear ie. Amon’s cross and Guts’ mark (both on their necks, both meant to never let them escape from their past, both with massive religious connotations) 

7. 
Their whole look. The entire thing. Half-ghoul Amon looks so much like Guts.

There’s also the “near constant state of hatred towards a world they perceive as wrong” thing and the “fail to learn from their mistakes” thing and the “is basically no longer human” thing alongside the “awkward beautiful man who doesn’t know how to deal with women” thing. 

TLDR: Guts and Amon share a lot of characteristics and this latest chapter brought it up again so I couldn’t help but make a compilation post. 

Finding you

Originally posted by taesscripts

Words: 5992

Genre: Angst, fluff, smut

It has pretty much everything but there is a point where there will be smut so if you don’t fancy something like that you can just skip the part.

Description: Your cousin gave you a gift. It’s a pen, a pen that whatever you write upon your skin with it will also appear on your soulmate’s. Silly stuff, how can what you write with a stupid pen appear on your soulmate’s skin?

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NCT 127 reaction to you falling asleep on them

rest of the reactions under the cut - kept as gender neutral as possible

taeil

Originally posted by dimplesjae

  • honestly he’d probably be running his fingers through your hair while you lay down on top of him while watching tv or something
  • it’d be a while before he even noticed you’re asleep
  • when he does it’s kind of startling because you’re so quiet?? wow amazing
  • “wow”
  • when he realizes he stops combing through your hair because what if it wakes you up or something
  • but then you stir and move your head a little higher up on his chest and he’s like oh
  • so he goes back to playing with your hair and braids it and stuff
  • have fun combing it all out when you wake up lmao
  • your legs and his are entangled and one of his hands is on your back and the other in your hair or behind his head
  • you’re basically flat on top of him
  • he doesn’t want to move too much
  • taeil is like… crazy afraid of waking you up because you must be s o tired and he doesn’t wanna ruin your much needed sleep
  • “ah they’re so pretty”
  • turns off the tv eventually because he’s watching you now and not even paying attention to it
  • wont make any noise honestly
  • eventually he’ll probably fall asleep to the sound of your breathing tbh
  • while you’re listening to the sound of his heartbeat

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Ilvermorny/Hogwarts Combos

I’ve seen a couple of these posts, so I thought I’d try my hand at it. Go through the potential combinations of Ilvermorny and Hogwarts houses and write a bit about what they represent to me. Not based on any data or polling, just on what seems to make sense to me:

Thunderbird Gryffindor: Thunderbird house is said to favour adventurers, and this is perhaps the most literal interpretation. Thundergryffins tend to be explorers and thrill seekers. Their bravery is not necessarily geared to some righteous cause (though this combo does not preclude that) they simply want their life filled with excitement. As such they can be easily bored which can make them irascible if they are deprived of stimulation. But they are bound to make interesting the lives of any who calls them friend.

Thunderbird Hufflepuff: Thunderpuffs focus on is on experiencing things with friends. These people are not ones for solitude, they will go stir crazy left on their own for a couple of days. It seems they’re always on lunches out, at parties, on trips. It’s not so much the activity that matters so much as the company. They just love people and want to experience as much of mankind as possible.

Thunderbird Ravenclaw: This is my house combination. Thunderclaws are the creatives and innovators. Luna and her parents would all find themselves in this category. If Thunderbirds are adventurers, Thunderclaws prefer to adventure via stories - sitting curled up with a good book as their mind takes them to far off worlds beyond anything that can be experienced in reality. They are dreamers and idealists and can often get their heads lost in the clouds. It can be painful for them when their dreams do not match up with reality and perhaps the oft-found obsession with fiction is an escape.

Thunderbird Slytherin: Thunderins are definitely more on the ambitious side of Slytherin house. They aspire to achieve greatness. For them their adventure is the road to success, and the luxuries that success brings. They definitely appreciate the finer things in life and their ambition tends to be towards living the high life rather than being some lofty goal. Nonetheless Thunderins are often some of the most driven and passionate folk you will ever meet.

Wumpus Gryffindor:  Unshakeable in their convictions and unmatched in their tenacity, Wumpindors are soldiers through and through. Their causes may be righteous or not, but like the beast from which House Wumpus gets its name, Wumpindors are nigh unstoppable. This combo has a dark reputation and Wumpindors may tend towards anger and aggression. They can be quick to see force as the best option in a crisis. They are ultimately fighters - Not merely people who will fight, but people for whom fighting is their way of life and their first resort.

Wumpus Hufflepuff: If you think of the quintessential social justice warrior, that is a Wumpuff. I do not use the term SJW in an inherently negative term as many do. Rather, Hufflepuffs are concerned with honour and fairplay and as such Wumpuffs cannot stand seeing injustice in the world and seek to eradicate it. They will fight fiercely to protect their friends, but their protective instincts apply to the whole world. This can result in them lashing out at people who they see as part of the problem but at their hearts they simply wish to fight for a better world.

Wumpus Ravenclaw: Wumpenclaws are the practical Ravenclaws. These people have ideas and they want them implemented damn it! They are excellent planners and incredibly organised. This combo favours strategists, business leaders and entrepreneurs.

Wumpus Slytherin: Ruthlessness incarnate, Wumperins have lofty ambitions and will do absolutely anything to achieve them. This is probably the combo with the darkest reputation. I would put Voldemort himself in this category. But do not let you think this is an inherently bad combo, any more than Slytherin itself is. If a Wumperin’s ambition is a benign one their passion for achieving their goals is bound to result in success. And if their cause is righteous, a Wumperin can spark a revolution.

Pukwudgie Gryffindor: Anyone would be fortunate to call a Pukindor a friend, for they are perhaps the fiercest allies one could have. Their loyalty and the bonds of friendship that they form are unbreakable. When their friends are down and out they will be the ones to light a fire beneath them, and then rain hell down on whoever did their friend wrong.

Pukwudgie Hufflepuff: In my mind Puffs and Puks have a lot of similarities, so a Puklepuff represents the idea of the quintessential Hufflepuff. These people are the gentlest souls you will ever meet, kind, nurturing and supportive. The Cinammon Rolls of the world. They may well be great cooks or simply have a great love of food - or indeed of anything which brings people together.

Pukwudgie Ravenclaws: Pukenclaws are people who use their ideas and intellect to help others. Pukwudgies are known for being healers and it is in this combination that that becomes most literal - Pukenclaws are often Doctors, nurses, vets or surgeons. In their day to day life they are adept at finding the easiest solutions to problems - the masters of “lifehacks”.

Pukwudgie Slytherin: I’ve often said that Slytherins are the type of people to low-key ruin the lives of anyone who wrongs their friends. People often overlook that Slytherins are incredibly loyal to one another and it is in the Pukerin combo that this quality shines through. The focus here is less on ambition and more on cunning and ruthlessness - more specifically the cunning and ruthlessness required for the Pukerins family (be that literal and/or metaphorical) to survive. And when they or their loved ones are wronged, they are not above enacting a terrible, yet subtle vengeance.

Horned Serpent Gryffindors: Serpendors are people with an area (or areas) of expertise and they know it. They are self-assured in what they are good at (and know what they are bad at) and this surety results in unmatched confidence and competence in that area. That classic Gryffindor bravery comes through in their ideas and their execution. They are independent and efficient. Hermione would be a proud Serpendor, as would McGonagall.

Horned Serpent Hufflepuffs: An unusual combination, as the warmth and heart of Hufflepuff may seem at odds with the detached analysis of Horned Serpent. However funnily enough I think that Isolt Sayre herself falls into this combo. Serpenpuffs know people. They are excellent judges of character and know what makes people tick. They may find promising careers in psychology. They are well meaning but they may feel the need to coddle their friends and family (just as Isolt refused to tell her children of Gormlaith even into their teenage years) and they can at times be aloof and irascible. If you are friends with a Serpenpuff you can probably expect a couple of fallings out (just as Isolt did with William), but in the end they care for their loved ones deeply.

Horned Serpent Ravenclaws: These two houses share many similarities, and of the four Ilvermorny Houses, Horned Serpent is the one with the most direct Hogwarts counterpart here. As such Serpentclaws represent the “stereotypical” Ravenclaw. Aloof, cool and analytical, these are the academics. Their work is done in papers and in the lab, but the implications can be world changing. They need to be mentally stimulated at all times and as such prefer the company of other intellectuals.

Horned Serpent Slytherins: Slytherserpents have a focus on the cunning aspect of Slytherin house. They are always the ones with the plan and that plan is more often than not at least a little underhanded. While other Slytherins may let their ambitions outmatch their abilities, Slytherserpents never have this problem. They do not achieve their ends through brute force and ruthlessness (as Wumperins do) but through subtle tricks and manipulations.