this is the most obvious one

hmmm the thing is we’ve had a nod to ascension day via isak’s ig which, I, a Christian, had to be reminded was happening bc it very nearly passed me by without me realising. but Ramadan, one of the most important months in the Islamic calendar, is being completely ignored….even tho the main is a practicing Muslim?? like how hard would it be to have made a 40 second scene with no obvious time stamp/date reference of Sana just wishing her family a happy Ramadan, which Julie could have uploaded once Ramadan officially commenced?? I’m ?????

Why is Otayuri getting so much hate: a possible explanation

Don’t get fooled by my title, also reminder that explanation =/= justification.

I always try to analyze phenomena and their possible causes, that’s the scientist in me I guess. So I started thinking about ant///is and I was like: but why. I just said in a recent post that Otayuri is obviously not the first relationship portrayed in the history of anime with such a (small) age gap, and I found some posts that talk about how some age gaps in older (and even recent) anime are just outrageous (even when one of the parts is a minor), and yet those don’t seem to be getting any hate or discourse.

But why?

• The sheer number of fans.

The first probably obvious reason is that Yuri on Ice has a lot more fans than other similar fandoms, and it gained them within a very short time span. It’s getting more and more fans every day, so it’s a mathematical rule that in a huge fandom there will be all sorts of people (it’s like a huge sample group), and some of these are an///is. The bigger the fandom, the more the a///is. 

• The particular moment in history in which YOI came out.

It’s no secret that there’s discourse everywhere now, especially on certain types of social media. A lot of discourse is good discourse, but we also need to realize that not all discourse is good discourse. I think this discourse wave has played a huge role in the way an///is have suddenly decided to become active in hating on people over idiotic reasons. It’s like a marketing thing: they saw a discourse niche that was unoccupied and decided to take it over. Regardless of whether your discourse is right or wrong, writing about it is one easy way to increase your follower count, and who ain’t a slut for that

• The fact that many YOI fans aren’t used to anime and manga content.

This goes together with my next point, but I thought I’d still make it two separate ones. A lot of people who became hardcore YOI fans don’t usually watch anime or read manga (myself included). This without my next point wouldn’t give much info on its own, but keep this in mind because I really think that the majority of an///is fall under this (and the next) category of people.

• The fact that many YOI fans are from the US and aren’t used to content not made in the US.

Listen, I know I’m making a huge assumption here, but I think it’s one that is generally accepted within the fandom: most (if not all) an///is are from the US. It seems obvious to me because the US is one of the few places where (though not even in every state, I think) the age of consent is 18, and all their interactions with us non-an///is seem very US-centric, especially in the way they generally aren’t willing to acknowledge the fact that different countries have different laws and/or traditions and generally a different mindset. 

My goal is not to attack the US mentality here, but, again, I feel like what I’m saying is pretty much accepted even by many of my US friends. And what I’m describing is certainly what an///is act like, so I’m just going to keep explaining why I think this is the main issue (and why I think my assumption is generally right).

We’ve seen before how the US (generally speaking) are scared of importing recreational content from other countries and they’d much rather buy the rights to said foreign content and remake it with their own rules to make it more appealing to a US audience (sometimes even inexplicably and with ridiculous and disastrous results). Recent cases of this have been the US buying the rights to the Norwegian teen TV-show Skam and the popular anime Death Note getting remade into a Netflix movie. The US are screaming at the rest of the world: we only want the idea of your content, but we’d rather make it our own than show yours for what it is, never mind that your show reflects what your country is about and how your the customs of your country reflect on your personal (pop) culture. We don’t want your content EXACTLY because it reflects something that might differ from our views, and our viewers won’t like it. 

And I guess they never will if you actually don’t show them what the rest of the world looks like.

I went a little bit on a tangent there, but my point is: US audience isn’t used to consuming content that isn’t made in the US. I’m not even talking about language here: TV shows aren’t dubbed or subbed, the US literally remakes them and remakes the content to fit the US views and mentality.

That means that the average US citizen will very likely find anything that is untouched by americanization weird if not completely out of their moral values. Couple this fact with the previous one: many YOI fans aren’t used to any kind of content that isn’t perfected and polished specifically for their tastes. 

It’s amazing and it speaks for the quality of YOI that many of them could still get used to a different form of art (anime) and enjoy it and even become hardcore fans (and are now probably getting interested in other anime and manga etc), but out of these amazing people, a (thankfully smaller) group of them still couldn’t wrap their minds around the fact that fans from all over the world, with their own set of morals, ship something that in their minds is controversial (just because of a man-made law that not even every US state follows). They don’t care about what the law in Japan, Russia or Kazakhstan is and they’ve made this loud and clear. 

Bottom line: 

The key to this (like for many other issues) is just one:

EDUCATION.

There’s little we as a fandom can do in this case, especially we people not living in the US since we always seem to be dismissed. They send us anon hate and if we reply saying that Otayuri is legal in our own country we never hear back from them. There’s not much we can do if they aren’t willing to listen to us. 

But all I tried to do here is offer possible reasons why this phenomenon even exists, and maybe by reading this someone will have a brilliant idea on how to fix this. I don’t offer solutions, but understanding why and how something happens is always the key for the next step, whatever the next step might be. 

twodemigodtraveleroflorien  asked:

Two questions! A) what would be good motives for a prince villain BESIDES tragic backstory B) Any advice for writing a redemption arc?

Wow, I’m in love with this ask. Antagonist motivations? REDEMPTION ARCS? Yes please!!

Okay, so the plan is, I’m going to address the first question first and the second one second. I think that seems reasonable. This might get a little lengthy, I can feel it in the wind, so we’ll see at what point we’ll probably need a Read More.

Question A: (Princely) Villain Motivations

1. Perhaps the most obvious is, well, power. I know a lot of people get pretty tired of the whole “powerful villain wants more power/land/control/riches.” But the fact is, it makes sense, particularly for an antagonist that was raised in power. Keep in mind the kind of childhood this Prince might have had, and all the things they might have been told since they were young. Since they were a child, and during their most formative years, they were likely told time and again how it is their duty as the heir and future leader to uphold the reputation, stature, and altogether power of the entire kingdom. That’s quite a lot of pressure to be under, and it’s hard to get out from under that idea.

Now I’m caught up in the psychology of this trope so here are some points that are somewhat related.

- The first thing they have to fear is looking bad. A Prince is a public figurehead, many are looking to him. That’s a lot of people to disappoint. And when your only counsel is potentially people who are leading you askew, it’s hard to avoid counting on the wrong advice while under pressure.

- These people they could potentially disappoint are both people they personally care about (family/friends) and people that they are responsible for (the citizens)

- Particularly if it’s family applying the pressure, then this care stands to lose everything they have ever known of they try to stand for what they actually think.

2. Noble Ends: Maybe this character kind of has some good ideas or intentions, but for whatever reason, the execution is less than the best- as in, noble ends but evil means. This can take a number of forms, but often you see noble-ends/evil-means characters doing things like putting other people in danger if it means saving one specific character, etc. For every character, this can be different. This particular character is interesting because they are in a position of political and military power, meaning that things are pretty high stakes within their personal lives, the interior of the kingdom, and in their entire country’s relationship with other entire countries. I’m sort of going of the assumption here that you have an idea of the kinds of things your villain does, just not why. 

One of the most often quoted phrases I see about antagonists is that “every villain is a hero in their own minds.” Really take that into consideration for this option in particular, but really it applies to any antagonist.

3. “The Puppet King” Approach: By this I am referring to the trope where a political or powerful figure is actually just being used or manipulated by others with ill intentions. This can be the result of many things, such as straight up blackmail, or the controlling people having leverage over them (like hostages) or, if you want to connect it back to the first idea, through emotional manipulations.

- Blackmail: The controllers have something against them that, if revealed, could be disastrous for the character.

- Leverage: The controllers have something the character desperately needs or wants and are holding it over their heads.

- Emotional Manipulation: Borderline Tragic Backstory, and relating to the first idea, but the controllers could be telling the character terrible things in order to get them to do terrible things- perhaps they told them that they are useless or worthless if they don’t do these things, and this character craves the validation, attention, interaction, etc that comes with pleasing these people. 

4. “They’re Not Evil, They’re Just Misguided”:  Maybe this character is completely misinformed about the situation. This could be an elaborate manipulation on someone else’s part, or really no single person’s intention, but the product of the environment in which this character lives. It sort of ties back to “Noble ends and evil means”, except with a lot more deception and miscommunication going on. Keep in mind, they still have to make the choice to do some terrible things, so it’s not like they didn’t have bad intentions ever.

There’s also a few things you should keep in mind when writing a character like this.

First… if some of these ideas make it look like I am giving the “villain” something to be pitied, or like they have qualities or intentions that one could actually understand, or even an actual (gasp) tragic backstory, it’s because I actually am. If you want to write a good villain, and I mean a really good villain, they have to be just as complex and psychologically believable as the hero. Not only that, but it helps readers keep in mind that no one is just born with a gun in their hand and murder in their hearts. That layer of real tragedy is sometimes needed to show people that hey, this person fell real hard, and that is not just their personal tragedy, but a tragedy of the very world we all live in.

That being said, I am going to jump into my second thing to keep in mind… This villain can have understandable intentions, but that doesn’t mean that they aren’t gonna do villainous things. Make them do terrible, horrible, horrendous, awful, unforgivable things. After all, they aren’t really a “villain” if they don’t do entirely evil things sometimes. Yes, it kind of sucks that this person became this way, but now it’s a little too late. They are a threat that needs to be dealt with now, or they will only breed more tragedy. 

A villain’s “tragic backstory” only is meant to explain their actions, not to excuse them.

As for question two… I actually think I’m going to get back to you on that one. Redemption arcs deserve an entire post, because they are remarkably complex and I just can’t limit myself to only giving a handful of tips. I will be setting that post up probably later today, tomorrow at the latest.

Thanks for the questions, as always, and look for the redemption post on the horizon. 

~Penemue

6

Dabb vs cars

Surprisingly, not the next round in my ongoing, bitter feud about his continuity problems. A “I come in peace” study on parking.

I watched 10x09 today and I did the usual OTP “aw they’re so far apart” sad heart feeling at the shot of them all outside Sharkey’s.

No, not Dean n Cas.

The Impala and Pimpmobile.

Anyway it got me thinking about in that moment it represented pretty well how Dean and Cas were doing with each other. Of course there isn’t room to park beside Cas’s car, so Dean goes and parks on the other side of the door, leaving this big gap between them, bigger because there’s a parking mark thingy Cas is about to trip over before the shot abruptly ends. (I hope Misha was okay.) The cars have a clear line of sight to each other, but there’s just something so unutterably sad about there being no way for them to park side by side, per Cas’s parking, and Dean putting that extra space between them. (Also so they can go in the door… I’d say unobstructed but the longer I watch the gif the more I become convinced there’s footage out there of Misha ruining the impression of Cas’s reserved dignity…)

In the context of season 10, where Destiel was at right then was the first time they’d seen each other since 10x03, when Dean cleared his bed for Cas like, thanks for saving me from myself pls make yourself comfy, and Cas freaked out and gabbled some stuff about work and Hannah and such and told Dean to rest up, then fled the scene. Dean is pissed off Cas called for help over trying to deal with Claire (and it kind of looks like making excuses of busywork to not come home, when you flee with an apparently important mission and it turns out you’re wandering around trying to earn back brownie points with your vessel’s daughter, having randomly and abruptly swapped onto a personal mission without telling Dean a word of it) and in general the car placement amused me by seeming to echo how they were doing.

Being me, obviously thinking about that made me start thinking about Dabb, cars, and his old Carver era patterns. He got the one per season (two if we were lucky) Deep Emotional DeanCas Talk, to give us a real, solid moment to show how they were truly doing. 8x08, 9x10, 9x22, 10x09, and 11x10 spring to mind though obviously in other episodes he wrote with them they also still shared some pretty epic emotional moments or there were other strong Destiel things. However he is the one who gave us Cas’s original car, and two of these instances are directly before the Big Talk to tide things over and give us the emotional background for later. I figured some thoughts about some notable Dabb car stuff would be a nice thing to do. After my amused nostalgia run through Carver era moments, I’ve included Dabb era in general and picked out some other moments.

9x10 is the start of all this, once Cas finally gets some wheels of his own. The most interesting set piece barely involves any driving, but is the first time the Impala and Continental are parked beside each other. Like, RIGHT beside. Like, Dean n Cas should be this close to each other all the time. Cas’s car is a step ahead (I mean, I assume so he could get out the door). All episode Dean n Cas are a beautiful emotionally supportive unit, but Dean can’t cope with this, and so he gets in his car and leaves, pulling away from the closeness he’s offered from his family, the thing with the cars being exactly what he did when he walked away from them on the bridge too. I mean, that’s fairly obvious, I’m just amused after I went back to look, HOW closely the two cars were parked, like they wanted Cas’s car in that shot, next to Dean’s, and they’d force the most unrealistic parking job ever when there’s all that unused space around them, to get all the random details into the shot they needed. As a bonus, Dean had to have been the one to park the Impala so close blocking Cas’s car in. Unconscious desire to be so close to him and to keep him? He’s still recovering from asking him to leave.

(I know the Impala and Continental shared space in several end of season 9 episodes but not 9x22 as far as I recall in the earlier parts, and the Worst Dabb Vs Cars Fuckery Of Them All occurs in the final driving moment of that episode, just putting Cas IN the Impala for the drive home despite the fact his car ends up the Bunker at the start of 9x23… That’s a symbolic gesture of what he was trying to convey in the moment of Cas sitting in the back of the car but for the sake of talking about how they park together, useless. I feel like in 9x18 it’s just a reminder Cas HAS the car, and the show doesn’t do anything useful with it to represent Cas…)

Onto 11x10, and honestly my favourite of Dabb’s Dean n Cas chatting scenes because it’s technically pretty superfluous except for the fact he really really wanted a final DeanCas chat before Cas got Casifered, and so he made one heck of a driving continuity snarl to wrangle it. Obviously Cas followed Dean’s longing to his spot because how else… Anyway, he parks a long long way off. In season 11 he’s feeling very distanced from Dean by his anxiety and trauma. This is the epitome of the “I came as soon as you called” behaviour, with Cas dropping everything to come help Dean, and romantic blurring into focus walk aside, the long shot shows us beautifully that Cas is hesitant to approach, and maintaining the distance with Dean. After all the season 10 and early 11 drama between them, including several rounds of mind controlled punch ups, they’re fragile and miserable, and Cas’s last interaction with Dean on screen was an angry and frustrating one. Cas himself bridges the distance betwen them but his car waiting off in the background suggests his reservations, and the rest of the episode spells out everything, before he chooses to do something he thinks will help move their cars closer, as it were.

Entering Dabb era proper, in 12x02 we see Cas’s new truck (still with hay) and Dean pulling up to it. Obviously they’ve got their mission to save Sam, the jokes about Mary being brought along to chaperone their date, etc. But since the car conversation in 11x23 the ball has been in Dean’s court to approach Cas, and I would assume the mythical instance of mixtape giving is somewhere between 12x01 and 12x19; the point is, here, as the first 2 episodes of season 12 in general showed (and Dean in 12x22 confirmed talking about how happy he was to have Cas and Mary back in the same breath), Dean approaches Cas, parking right behind his truck, as a symbol of the confidence and comfort they have now. They work great as a team in this part of the season, although Cas has been standing around by his lonely parked truck waiting for most of the episode up to that point, and is forced to continue standing by the truck for most of the rest of the episode.

12x12 Cas is still in the “I’ll just wait here then” mode, hanging out at their designated meeting place as Sam, Dean, Mary and Wally arrive in a convoy and park on the other side of this parking lot, so he has to come to join them (Dean rotating on the spot as he does so… heh, I love that moment.) By the middle of season 12 Cas has run away to find Lucifer, echoing 10x03’s parting, and also killed for them and invited cosmic consequences, and in 12x10 given a firm well-communicated emotional talk to help him feel included and loved, and yet he also leaves to search for Kelly some more, echoing other times he’s gone off to do a side project and been very much on the outside. Once again he’s waiting for them to catch up, and Dean seems to breeze by him - and there’s so many other people with them (and part of why he left in 12x03 was to give Sam and Dean space with Mary, exclusing himself from the family). In the diner scene Cas has the whole waitress thing to deal with, with Dean acting up around so many people with conflicting needs to perform. Cas has been waiting for an incredibly long time, but if you ever needed a more firm “the ball is in your court” it’s the “I love you” at the end of the episode.

12x19 also has a important “where the cars are placed” sequence, which you could really do with a whole gifset of, but of course the Impala is there because Kelly stole it, and it’s been left off to the side by them; likewise Sam and Dean are left to the side by them as they drive off. Sam and Dean placed the truck before they did that and took it back (and all the stuff about Cas and Dean and fixing the truck in the episode is a whole ‘nother thing)… From this angle it looks ominously like the park in which Dean found Mary, with the lights behind the trees going on - of course night has just fallen rather than the sun coming up, and Cas is driving away from the light. As Dean walked Mary into their lives, newly resurrected, Cas drives out of their lives >.> Between all the stealing cars and rushing into save Cas, the gap between them as they’re parked is obvious and as a result of the circumstances. They’re apart because there’s too much going on, Kelly made off with Cas in the car, and Sam and Dean were helpless chasing after them. The distance and swapping around of cars and using them as part of the chaos is very effective. Cas calmly takes possesion of his truck again, freshly fixed by Dean, but drives off with Kelly. In 12x23 they steal some stock Destiel phrases to exchange, and it’s touching the truck which opens the rift. I had a nose around the outdoors scenes and couldn’t spot Cas’s truck and the Impala even on the same side of the building, and honestly am kind of confused about where the truck went. Not, as I said, that I’m trying to continue the feud with this post. But I mean.

*clears throat*

I’m just saying he ruined the continuity in 12x01 for 12x02 by doing the exact same thing as 9x22 by just not using Cas’s truck when it would make sense to take as many vehicles as they can get their hands on so they could split up… Obviously all the many set pieces to do with cars worked best/could only work if there was just the Impala but it’s all style over function again… So in 12x02 to let Cas split up to help they add an extra day to let him get the truck so he can follow leads and do the legwork, and Mary and Dean end up back at the Bunker, immediately falling back into old static patterns when it would have made so much sense to just have them in a motel NEARBY instead of abandoning their hot trail on finding Sam so Mary could shower… He handed them that excuse on a platter and killed the urgency and Dean n Cas were split up all episode when they could have been at least local-ish to each other and maybe had that phonecall in person and and and… shh Lizzy

Manspreading is NOT real.

So there is this infamous buzzfeed video called “women try manspreading” and I can tell you it’s one of the most idiotic things ever. So in the video, one of the women describes manspreading as “taking up as much space as humanly possible”. So that right there is already a red flag. So the most obvious reason why men spread their legs is because they need room for their genitals, I mean it’s common sense. Ladies if you don’t know thats like just put tennis balls in your pants and try putting your legs together. So anyway the so called manspreading that they show in the video is not even taking up space. It’s ridiculous how these women complain about petty things. And later when one of the women was on the train she wasn’t even manspreading she just put her legs on the seat and they were crossed. These women shouldn’t even complain they do the same exact thing but with purses, sure they don’t take up that much space , but it’s the same thing it’s not a problem. So the moral of this is that manspreading is just an excuse for feminist to complain about even though it is not real, men I understand your pain so feel free to keep doing what you’re doing.

3

Omg thank you for pointing out the wording from the Official Charts…They totally made it seem as if Harry was gaining traction and not at all mentioning that last week he was number 1..They just say Ed got back on top without mentioning who was #1 last week…There is clearly a media push or angle for him to look like a success…It’s even more obvious when you compare it as to how they treated Zayn & MOM when his sales dropped the 2nd week. Fake it until you make it must be Harry’s team motto

————–

Thank Anon for mentioning Zayn! There was orchestrated sabotage against Zayn when his second week numbers came out. This was how Zayn was treated when he had a 64% drop in UK sales compared to Harry’s 72% drop in UK sales.

I have many issues with HSHQ but their damage control ability is one of the most impressive I’ve ever seen. 🌸

Favorite bias picture challenge

Okay bish. This is gonna be long. I tried. I really tried to just freaking do what is required from me for ONCE. But you know that I CAN’T. Not when it comes to BTS or Jimin. So. Cutest ghost I’ve ever met, @mimibtsghost tagged me in this challenge. The rules are simple: • Pick ONE bias • Pick ONE picture & •Use the hashtag #BiasPicTag

I think it’s pretty obvious at this point that my bias is Jimin. You know. Park Jimin from BTS, most amazing group ever, they won BBMAs and everything. So, I managed to choose my favorite picture of him:

Because, you know. It contains all my favorite stuff. Effortlessly beautiful? Check. Black hair? Check. Plump lips and front teeth on display? Check. This specific turtleneck striped tee? Check. (I love that T-shirt and I want it, so I’m currently on a not-so-expensive look-alike T-shirt hunt.)

But Mimi, you had to see this coming. I’m very clear about my love for Jimin. And there’s not a rule to NOT include bunch of other favorite photos, right? RIGHT? Well, so here it comes. I love these ones very much, too. My biggest weakness is his dark hair. Look. Just look at this casual dark haired Jimin. 

If you, just like me, had troubles breathing then brace yourself, because black haired Jimin performing is whole different level of out-worldly experience. And like… when he sings House of Cards… I can’t. Really.

 But of course, it’s not just black hair that gets me. Just look at my perfect bias at fansigns, having fun, just breathtakingly EXISTING.

And should I even mention that every. Single. One. Of. His. Selfies. Is. Golden?

…that would be it. Really. I couldn’t avoid making it this long and still I’m not satisfied because I want to drown in his beauty and personality and… Like… I connect to him on so many weird levels. I never thought I can love someone I’ve never met and they don’t even know I exist, this hard. But I do. This guy just *chose* me to stan him (until then I was convinced I just stan jikook as a whole, both on the same level :D) so I did and I don’t think I will ever stop in my life. Jiminie is special. K, sorry, bye. 

Also I tag whoever who wants to do this, specifically my lovely @mochishake, @run-sober-wolf & @nini17 but don’t feel pressured please ^^ You don’t have to do it, if you don’t want to!. :)) (also @parkesjimin if you’d like, you could do this, too!)

2

Unwilling Bride Pt1

Unwilling Bride Pt2

Unwilling Bride Pt3

Unwilling Bride Pt4

Unwilling Bride Pt5

Unwilling Bride Pt6

Unwilling Bride Pt7

Unwilling Bride Pt8

Unwilling Bride Pt9

Unwilling Bride Pt10

Unwilling Bride Pt11

Unwilling Bride Pt12

Unwilling Bride Pt13

Unwilling Bride Pt14

Unwilling Bride Pt15

Unwilling Bride Pt16

Unwilling Bride Pt17

Pan sat across the table from Killian Jones, the idiotic pirate form all those years before.

While at the time it was merely a life altering joke to indirectly be responsible for his brother’s death, but he knew how to get the most out of things.

‘What do you want?’ Killian asked, being sure to keep his face from showing any actual emotion.

‘A partnership of sorts, one I think you’d greatly benefit from.’ Pan answered smoothly.

‘And what will this partnership imply?’

‘I will grant you the safe passage on and off the island whenever you like; and if you want to live long enough to find a way to kill the immortal Dark One passage into a land where you can live forever might come in handy.’

Killian gave a slow nod, making it obvious that he didn’t fully trust the boy across the table, but the offer did appeal to him.

‘And what will you require from me?’ the pirate asked.

‘The island provides me and my lost boys with everything we need to survive but it can’t provide everything we want. I want you to bring supplies.’ Pan replied.

‘An errand boy?’ Killian scoffed.

‘An errand boy is exactly what I need, and you are willing to do whatever it takes to get your revenge.’ Pan teased.

Killian looked down and Pan knew that he’d take the deal no matter how hurt his pride was, but still he wanted to hear the pirate say it.

‘So do we have a deal, will you be my errand boy?’ Pan smiled.

Killian tightened his jaw and refused to look up and meet the boy’s eyes, but he gave a small nod.

That wasn’t good enough.

‘I can’t hear you.’ Pan taunted.

‘…We have a deal.’ the man spat.

‘Good, now I’ll leave you a list of supplies I want by the seventh sunset along with some coins, and if you behave you can keep what’s left after the supplies are bought.’ Pan smiled before he disappeared in a cloud of smoke.

He reappeared a mile or so away from the camp, sure he could have just landed there but he wanted some time to himself before he was surrounded by lost boys.

Though he enjoyed their company greatly, but everyone needs alone time.

If he’s being honest he needed a second to ease out of Pan and back into Peter. Pan was great for business, but he didn’t want to be the boy demon all the time. Sometimes he wants to just be Peter, the guy who flies into trees and loves a good game of Knights and Bandits.

The guy with the loving wife.

Peter sighed as he remembered their disaster that was this morning.

He had gotten so close.

(Y/N) was right there on top of him, in his arms…practically naked.

The sigh had now been upgraded to a frustrated groan as he ran his hands down his face.

He hadn’t meant to startle her, he just so damn excited for a damn hand on him that when he felt her tongue he simply was not prepared.

He had assured his wife that it was OK, he was fine and there wasn’t anything to be embarrassed about. It seemed to please her enough, but that was bull shit.

It was by far the most embarrassing thing to happen to him in his life, and he’s been alive a long ass time.

He entered the camp and saw the boys all loafing about, some playing card games.

(Y/N) must not have been in the mood to train today, not that he could blame her. Even he hadn’t the energy for a game.

Hell he didn’t have the energy for the conversation he and his wife would have to have when he reached the tree house.

As he walked through the camp he noticed (Y/N) wasn’t there, meaning she was in the tree house.

Soon after he had passed the camp Felix walked up from behind him, having followed him out of the camp.

‘How’d it go?’ Felix asked, referring to the meeting with the pirate.

‘As planned.’ Peter answered.

‘How’s your nose?’

‘Felix leave before I give you laundry duty for the rest of your life.’ Peter snipped.

Felix turned and headed back, but not before mumbling “You’d think I was the one that broke his nose.” under his breath.

Peter climbed up the latter and pulled the handle on the door and found it was locked.

He figured she must be so crippled with embarrassment that she had decided to hole herself up in the tree house.

‘(Y/N) let me in, we need to talk about it eventually.’ he said.

‘I don’t want to talk.’ she said from inside.

Before he could think of a supportive thing to say the door flew open and he was magically pulled into the room and thrown on the bed.

He felt his arms being lifted and his hands being tied to the headboard.

What the hell is going on?

The door closed and locked and Peter looked up and his mouth was dry.

There was (Y/N), his sweet innocent wife, wearing nothing but her black pair of lace undergarments.

‘Not that I’m complaining, but what is going on?’ he asked as he looked her up and down in lust.

‘Do over.’ is all she said as she straddled him.

He wanted to hold her in his arms and feel her soft skin beneath his rough hands, but said hands were a bit tied  up.

‘The rope wasn’t here this morning.’ he said as he continued to stare.

‘True, but a little birdie told me you like letting someone else take control in the bed room.’ she smiled as magically remove his shirt.

Felix.

‘I’m going to beat him to death.’ Peter sighed.

‘He also says you like to be kissed here.’ (Y/N) grinned before she bent down to kiss his neck.

Despite himself Peter moaned at the feeling.

He could tell he was going to enjoy this do over.

Holy fucking shit guys, the tgre fandom has to be one of the most toxic fucking wasteland fandom i’ve seen in a long time. An this is coming from a person who was in the naruto fandom, when kishi fucking ended it.

This is one of the biggest reason I don’t fuck with tgre or tg like I use to, a bunch of 13 year old wannabe edgelords. Knowin damn well if Ishiba fucking side lines Touka with some shit like, “Nah kaneki never loved her lol”. Ya’ll would be pissing yourselves in rage.

Like he couldn’t make that fuckig symbolism anymore fucking obvious. Cause guess what kiddos?! Unless kaneki ken, had his nut sack destroyed, down the line somewhere. Than im gonna take a good fucking guess and say he fertile. An unless Touka had her tubs tied at some point off screen then she probably fertile. Which means if Ishiba gonna use her as a plot point the bitch is/Will be pregnant. An yes it can happen after your first time. Unless i fucking went blind and didn’t see where Kaneki got his ass up to get a condom than- Opps!

An its not the touken shippers and it not Hideken shippers. There only a selected​ few of you guys who are 13, who believe tgre is the most fucking adult thing you’ve ever read. An are such hardcore dick riders that you can’t see the piss poor writing in front of you.

An everyone fucking knows, I have the biggest fucking problem with Ishiba. An his 60 plus fucking character selection and fucking red harring and the symbolism! Oh the fucking symbolism, from hell. Where it suppose to be so deep! God! Did you read the phrasing of those words and how the letter 8 was on her cheek! What is he trying to tell us!!

*breaths in*

Because the bitch, can imply someone was sexually assaulted but doesn’t have the balls to commit and say yeah it happen. Or he can’t fucking confirm whether a character is dead or not without dragging it on for 30 more chapters and 6 spin off series.

We have such a laundry list of character we don’t fucking see like ever. Or die in the matter of panels. That I have not gotten connect to any character. Why because they all suck! Ever single character that either works with CCG. Or the fucking ghouls suck massive dick and are not interesting! I mean it! God do I mean it, the characters I do give a fuck about are either.

Alive but you never fucking see her, not confirmed dead yet but she magically was gonna get married to a CCG member, Not confirmed dead but it heavily implied to be fucking dead.

What they all have in common is they are all humans who associated themselves with selfish ass ghouls and humans!

Just- good fucking lord. An kaneki and Touka act like they can’t say their supposed best friends names. Like hell will split open- an- God I just can’t wait for Kaneki to dissociate this fucking memory too.

I use to love this series now It gives me an headache. Who dragged me back here I was out for like 3 years, why!

anonymous asked:

About the Jackals & Peter: Carl said in the Guardian interview titled 'I had a rule that said you can't do heroin and crack' that lyrical references to the Libertines on the first Jackals album were intentional. As for Peter, does anyone doubt that Let it Rain is about him? I thought that was one of the most obvious ever. And with that quote from Carl, he clearly doesn't consider Peter/the Libs irrelevant for the Jackals (or at least he didn't in the past.)

Hey there! He did indeed, thank you for reminding me. Carl and Peter both have recently been far more honest about the fact that they do at times write about one another. I am not sure why the anon is bent out of shape by something that at this point isn’t a secret. People like to ponder what lyrics mean, it’s just fun really, and sometimes inspiring, and unless the songwriter confirms their meanings, we all know it’s ultimately a guess. For those wondering, here is the quote from Carl, this is the source and here is the actual quote: There are a few lyrical references to the Libertines on the record. Were you conscious of that? I was aware of them. You know how in therapy, when you’ve had a fucked-up past, you need to go back as an adult and nurture that baby? I think that’s what you have to do in songwriting. x 

7

imagine RFA helps Jaehee with her café and each one of them has a cupcake based on their personality & favourite flavor on the menu

Jaehee: Tiramisu Cupcakes

Jumin: Dark Chocolate Cupcakes

Zen: Angel Food Berry Cupcakes

V: Cinnamon Cupcakes

Seven: Honey Lemon Cupcakes

Yoosung: Raspberry Chocolate Cupcakes

Saeran: Mint Chocolate Cupcakes

BONUS

Vanderwood joins the party with his secret agent menu cupcake

🔔 BELLS IN WITCHCRAFT 🔔

Originally posted by marklsmovingcastle

Bells might just be the earliest form of superstitious practise that I remember. My baba attached three sakura-patterned suzu bells on my schoolbag as a kid, purportedly for good luck and protection from evil spirits – and Japan is far from the only place to have associated bells and bellringing with mystic practise. They’ve been used worldwide to ward off evil and carry messages – and in a more metaphysical sense, sound is the movement of energy through substance. Sounds have the potential to work powerful magic.

Here are some of the ways I’ve found utilising bells to be helpful to my craft. While I’m more likely to use traditional suzu type bells, your own background, path and culture will likely have its own types of bells – and as ever, bells can be ornate antiques or they can be a bottle cap in a tin can, as long as they’re used with intent.

GETTING STARTED

🔔 As with so much of the craft, if you’re new to the witching bell, it’s a matter of exploration and experimentation. Get a “feel” for what works for you and the specific bell you’re using.

🔔 It’s good practise to ensure that the bell itself is cleansed, warded and protected – you don’t want anything nasty tapping into that power. All witching tools can do as much harm as good, intentional or accidental.

🔔 A good way to begin incorporating bells into your craft is infuse them into any typical ritual that you’re comfortable with, or even just a prayer or moment of contemplation at your altar if you have one.

🔔 Give the bell a soft ring while focusing on the energy it’ll ripple and move, try to track the movements it creates and what it touches. The tone it’s sending out.  The most primal and versatile use of the bell – and what many of the below come down to – is simply another manner of physically channelling energy, giving it shape and direction.

PROTECTION

🔔 “Passive” bells such as windchimes or small bells attached to belongings you don’t want disturbed are a starting point. They will scare off some forms of spirit all by themselves, especially if appropriately blessed, charmed or enchanted. Or cursed.

🔔 Gently tolling can draw energy into a ward or circle you are forming and enforce its protective properties, or for a simple cleanse, letting the sound travel to every corner of the area you are protecting. It’s a little more “cutting” than a smoke or incense cleansing, which I view as more “gentle” forms of cleansing. Both have their uses.

🔔 Harder tolling is, in my opinion, one of the most powerful ways in which to enforce a banishing – however, it’s best to you know what you’re doing with the bell before you go bashing it about.

DISCERNMENT

🔔 Bells can have quite the effect on your perception and awareness. Ringing and then stopping, listening to the silence left in its wake, can bring you new perceptions or make things you’d previously missed obvious. Let it attune your mind and senses to something new, whether that’s in your thoughts or something with a little more presence. Visualise travelling with the sound, taking heed of the energies it touches and disturbs. Take note of the echoes – you’ll learn what they mean with experience.

🔔 A set of windchimes can let you know if something is passing through or if there’s some unusual energy afoot – and, yes, it may also just be letting you know that it’s a particularly breezy day, but that’s witchcraft for you.

CONJURING

🔔 This can be as simple as calling good energies to witching tools, spell jars, tarot decks, crystals, altars and shrines, your favourite teddy bar, anything at all.

🔔 With spirit work, it can truly help to magnify your “calling”. This can range from gently bringing your latest offering to the attention of your friendly neighbourhood house spirit – all the way to trying to catch the attention of something more. Be mindful, however. As I said, I consider bells pretty powerful tools and a call that’s too loud is not good spirit work practise for the spirit worker’s own sake. It can really help coax something out of hiding if you’re gentle with it, though.

COMMUNING

🔔 Some use bells to mark the beginning and end of a ritual, and I’ve read that in Wiccan practise an altar bell can be used to invoke the Goddess, although as a non-Wiccan, I’ll welcome corrections on that if I’m wrong.

🔔 In my experience, very simple forms of communication via bell work a lot better than anything too complex – “come here” and “stay away” have already been covered, and other than that they can serve as greetings or signals of a start or end of some practise or ritual, the opening or closing of a door, etc.

🔔 They can also serve as a warning or a litmus test regarding spirits, a signalling of your presence and awareness, lack of fear, or willingness to defend – but be prepared to deal with whatever responses these garner.

BINDING

🔔 Bindings are where you most often see that famous (clockwise) circular motion of the bell, embodying the meaning of the spell. This can be a simple binding to seal a spell or charm or enchantment, or a spirit-binding.

🔔 Personally, spirit-binding is something I do as little as possible simply due to my beliefs holding the autonomy of spirits in very high regard. However, sometimes situations arise that call for it, and I’m aware that not all bindings are unwilling. Far from it – and some spirits are dangerous when unbound.

🔔 As an animist (believing that all things, including inanimate objects, contain a spirit of their own), I consider gently nudging a spirit back into its physical form a sort of semi-binding, and that can be useful.

I’ll leave you all with a note that I am an urban apartment-dwelling witch through and through, so I understand that we can’t all be jangling away at all hours. I myself have a glass windchime in my front window that makes a distinct but muted sound when disturbed by passers-through, and highly recommend wooden ones also. I also only use my small and relatively quiet suzu bell for my crafting – one given to me by my baba herself.

Feel free to add any of your own findings, and happy tolling.

FRENCH MUSIC RECOMMENDATIONS

Note: Some of these artsits are not from France, but are Belgian, Canadaian, even Austrian. What I mean by ‘French music’ is that it is sung in the French language.


THE NATIONAL ANTHEMS OF THE FRANCOPHONE COUNTRIES:

France - La Marseillaise
Belgium -  La Brabançonne
Canada - Oh, Canada!



POP AND JAZZ

It would be fair to start off with one of the most successful and famous French singers - ZAZ. Her genres are jazz and acoustic, some songs you should definitely check out are: Je veux | On ira | Les passants | La vie en rose |  Si jamais j'oublie;
Another obvious one is Lara Fabian. Some of her songs are: Je t’aime | Je suis malade | J’ai besoin de parler | Ma vie dans la tienne | J’y crois encore;
Céline Dion Pour que tu m’aimes encore | Je sais pas | On ne change pas
Parler à mon père | Encore un soir;
Desireless Voyage, voyage;
Indila Dernière danse | S.O.S. | Tourner dans le vide | Feuille d’automne
Amir Haddad (my personal favourite) J’ai cherché | On dirait | Au cœur de moi | Oasis;
Alma Requiem | La chute est lente | Ma peau aime;
Tal Le passé | Le sens de la vie | Rien n’est parfait | Je prends le large
Vianney Je m’en vais | Moi aimer toi | Dumbo | Sans le dire
Zoë Loin d’ici | Mon ange | Adieu | La nuit des merveilles
Le coeur de pirate Comme des enfants | Crier tout bas;
Christophe Maé Il est où le bonheur | La parisienne | On s’atache | Belle demoiselle;
Jean-Jacques Goldman 4 mots sur un piano | J’irai où tu iras | Sarbacane;

RAP AND HIP-HOP

Stromae 

Papaoutai | Alors on danse | Formidable | Tous Les Mêmes | Ta fête | Carmen |  Quand c’est;
Maître Gims J’me tire | Est-ce que tu m'aimes? | Bella |Habibi | Sapés comme jamais | Laissez passer
Columbine Les Prélis | Dom Périgon
Suprême NTM Ma benz | That’s my people | Seine-Saint-Denis Style | Métèque;
Diam’s Jeune demoiselle | Car Tu Portes Mon Nom | Par Amour | Coeur de bombe
Booba Validée | Tombé pour elle | Scarface | Comme une étoile | Ma couleur | Au bout des reves
Nekfeu Mauvaise graine | Tempête | Egérie | On verra | Ma dope;
SCH Allo maman | Fusil | Champs-Élysées | A7;
Lacrim Grand Armée | Colonel Carrillo | Gustava Gaviria | Poutine | Brasse au max;

ROCK - classic, alternative, indie, folk

Kyo Dernière danse | Le chemin | Le Graal | Je cours | Je saigne encore | L’équilibre;
Indochine J’ai demandé à la lune | L’avanturier | Trois nuits par semaine | 3ème sexe;
Noir désir Le vent nous portera | L’homme pressé | Un jour en France | Comme elle vient;  
Izia La vague | Les ennuis;
Images Les démons de minuit | Corps à corps;
Rita Mitsouko C’est comme ça | Marcia Baila;
My diet pill L’air de rien;
Luke La sentinelle | Soledad | La terre ferme | Le reste du monde | Se taire | Stella
Sortilège D’ailleurs | Metaporphose | Rock city;

FOLK/ CHANSON FRANÇAISE

Jacques Brel Ne me quitte pas | Quand on n’a que l’aimour | La chanson des vieux amants;
Renaud Toujours debout | J’ai embrassé un flic | Mistral gagnat;
Bénabar Le diner | L’effer papillon | A la campagne | Politiquement correct | Dis lui oui
Fréro Delavega Ton visage | Le coeur éléphant | Mon petit pays |Autour de moi;
LouanAvenir | Jour 1 | Jeune (j’ai envie) | Nos secrets | Rester seule;
Edith Piaf Non, je ne regrette rien | La vie en rose | La foule | La boheme;
Claudio Capéo Un homme debout | Ca va ça va | Riche;
Kendji Girac Andalouse | Cool | Conmigo | Elle m’a aimé | No Me Mirès Màs | Les yeux de la mama;
Léo Ferré Avec le temps | C’est extra | La solitude | La mémoire et la mer;
Mes Aïeux Dégénérations | La différence | Ça va mal | Train de vie

EDM/ ELECTRONIC 

WoraklsToi | Salzburg | Bleu;
N’to Trauma | Time | Minuit Caféine | Sur les berges | Flash;


INDIE POP/ INDIE ELECTRONIC

Le couleur L’amour le jour | Jukebox | Voyage amoureux;
Bagarre Mourir du club | Le gouffre | Claque-le | Ris pas;
Les Pirouettes L’escalier | Je nous vois | Dernier métro
Poom Les voiles | Toi et moi | Qui es-tu?;
Aline Je bois et puis je danse | Elle m’oubliera | La vie électrique;
Fishbach Un autre que moi | Béton mouillé | Y crois-tu;
Lescop La forêt | La nuit américaine | Le vent | Le mal mon ange;
Juniore Panique | A la plage | La fin du monde;
Frànçois & The Atlas Mountains La Fille Aux Cheveux de Soie | La vérité Grand Dérèglement;

Energy Tethers 101

Updated (again): 04.28.17

*this post is fueled by angst*

Okay, no, seriously though, it really does make me sad that so many people seemed to have no idea what I was talking about when it comes to connecting things for energy transfer.


So, what even is an energy tether?

I personally use the term “energy tether” to describe this type of energy work, but they could be called anything - energy cords, energy feeds, etc. Basically, it’s a metaphysical connection to allow a direct and continuous flow of energy from a source into a target. And I say target, because it doesn’t need to be an inanimate object - it’s possible to do this with yourself too.

That sounds a little convoluted, Richtor; can you break it down a bit more?

Yes, I know, I’m fancy with my words. You’re creating an energetic line between two things, one thing to be used as a battery, to allow energy to constantly flow from the battery into the second thing, keeping it charged / powered forever.

Are you serious?

Yes.

Why don’t we do this for everything in magic?

Honestly, I don’t know. If you’ve got an understanding of energy work and visualization, it really isn’t even that hard to create one. It can even be done with representational magic if you really wanna go that far, but it’s not that complex when you get down to it. 

I’m assuming it’s just a case of, people don’t think about it like that, or, it wasn’t as widespread a thing as I thought it was.

Can’t we just do this with passive charging, like how we charge things in moonlight?

Yes, but objects only hold a limited amount of energy before they become full; once you’ve used up the energy, you need to recharge it again. Creating an energy tether allows a constant flow of energy, so as it is being used up by your intent or goal, it just refills itself.

To me, passive charging is no guarantee that the energy will stick or be absorbed by the object, and that is also why I prefer things that require focusing on the energy yourself (direct channeling), or this method.

What *can* you use energy tethers for, anyway?

Basically anything you want to keep charged for extended periods of time. Optimal for sigils, any sort of charms - hell, you can even connect thoughtforms / servitors this way. But, seriously, anything you want to keep constantly charged with minimal effort, this is a way to do it.

What can you use for “batteries” or power sources?

Anything that produces an almost endless amount of energy. The sun is the first and most obvious one I think of. You can use anything else that produces a lot of energy, though. If you live near a dam, or those electricity windmills, those would work. Power lines and electric generators are awesome, and a great way to incorporate different feels of energy (and tech magic) into your practice. Space, even; like, the entire damn thing. If it produces energy, it can be tethered.

What do you mean about different feels of energy?

This isn’t specific to tethers - all things that have and produce energy have different “feels” to them. The sun is more hot and energetic than the moon, which is cool and calming. Rose quartz is a bit more gentle than, say, jasper, which is hot and fire-y. Tiger’s eye is more solid and stable than clear quartz, which is fluid and mold-able to almost any intent. 

We all experience feels of energy differently, however; these are just how I “energetically feel” those things.

(You also don’t need to “feel” anything to still do energy work, but that’s like a  whole ‘nother post.)

Can you tether to something that doesn’t have unlimited energy?

Sure, yeah, but you’ll drain it, and then it won’t be fulfilling its purpose anymore.

So, you could use yourself as a power source?

You could, but it’s super draining and I wouldn’t recommend it. That object would constantly be taking your energy away from you, and it could have bad consequences, including physical ones - physical exhaustion is a side effect that can occur when you use too much of your energy, and I see it happen often to people who are not careful about their energy expenditure.

However.

You can create switches for your tethers. As in, you can cinch them, close them off, to stop the flow of energy. Like you can turn on a pipe to get water flowing, then shut it off just as easily - you could create a “modification” for a tether similar in that manner.

Can these energy lines be broken?

Yep, absolutely. You can do it yourself if you no longer want them, someone else could do it if they could sense them, or they can naturally fade over time if you don’t give them proper upkeep and care.

Wait, upkeep? What happened to endless energy?

Yes, upkeep. You’re creating something to funnel energy, with energy. Energy needs to constantly be molded and kept in shape, or else it tends to just drift away. It really isn’t that hard to upkeep, though.

How do you keep your energy tethers safe from other people? 

Just program that into them when you make them.

Any disadvantages to using an energy tether?

It depends on how you view the term disadvantage. 

I think the thing that energy tethers lack is that bit of personalization that we often talk about being important in witchcraft. For example, you can keep a thoughtform powered by the sun, but it won’t contain your energy, won’t be as personally tied to you as if you charged it with your own energies. That can lose a lot of impact, when you really think about it, especially considering the nature of thoughtforms and the like.

Not to mention, you can overwhelm yourself with energy if you use a tether to connect yourself to an external source that produces more than your body can handle. You know how you can be overwhelmed by external energies, just by walking around? Yeah, now imagine that pumping straight into your body without a natural exit channel. Not fun.

Are there any other applications for energy tethers?

Fuck yeah. Use them to draw energy out of a target, in the form of a curse - literally sap their energies away so they have none left for their daily lives.

You can even connect yourself and another person with energy tethers, if you want to be able to share energy more freely and with more ease. (This is basically what I did with @ashesforeverashes​, in a sense.) 

Some people don’t like their energies taken without consent, though, and certain witchy protections can even prevent these sorts of tethers from forming in the first place, so keep that in mind.

Okay, all this talk about tethers, are you gonna show us how to make them?

Only if you ask nicely.

Please?

Okay that’s better. 

It is essentially just a combination of energy work, intent, and visualization.

The first thing you need to do, is have an object you want charged.

Now, pick an energy source. You don’t need to be able to see it, but it can help.

Relax yourself, clear your mind if you can. Hold onto your object in your hands. 

If you can, look at your energy source; this is clearly not applicable with the sun, so close your eyes and have your face turned toward it. If you can’t see your energy source, picture it in your mind as clearly as you can. Try to get a feel for its energy as well as you can, too. 

Once you are confident with your source, imagine a cord connecting from it and to your object you want to keep charged. A nice visualization for this would be seeing the particles form together out of thin air to form your tether - literally materializing out of nothing and attaching to the source, creating a line that is slowly building down from the source and to your object. This can be done in whatever way you wish - just make it.

Take as long as you need to allow the cord to be build from your energy source to the target - it can take some time, depending on the distance and how experienced you are with energy work.

While you are creating it, focus on any attributes you want it to have - a thick cord that is hard to break, a shimmery appearance so no other magic users can see it, etc. Keep in mind the purpose of the cord, what you want it to do, how you want it to behave, and fuse that into it as it is being formed. If you wish to incorporate a switch, in order to turn on and off the flow of energy, now would be the time to do so - more visualization and intent, and declarations of “I can halt this flow of energy whenever I desire” should do the trick.

Once the cord is in place, you want to draw energy from your source and into the object, through the tether. Make it clear that energy only flows one way through this particular tether. Continue to draw from the energy source and down into the target, until you begin to feel the energy flowing through the tether naturally. Once energy is accumulating into the object on its own, you know the tether is complete.

For the upkeep; about once a week or so, focus on the tether and visualize it still being strong, without any gaps for energy to sift through. See a smooth, clean flow of energy from your energy source and into the target. If there are any obstructions, break them down and funnel them out.

What was this “representational magic” method you mentioned?

Oh yeah. 

As a boost, you can have a representation of your energy source physically attached to the object or target, if you can. So, for example, you could have a tiny model of the sun, connected to the physical vessel for a thoughtform, by a piece of string. This can help keep the energy tether strengthened in a “physical” aspect, especially if you bind the physical to the energetic. Not to mention, just looking at it, you are reaffirmed that the tether is there and the object is charged, and that can assist with the upkeep.

Are there any “modifications” for energy tethers?

Totally. You can change the “material” you make the tether out of. Think of how people can put spikes onto personal shields, or make them have reflective surfaces - it’s sort of like that, but moreso changing the tether itself into something besides a beam of light. It can be a black cord like the ones electronics use; it can be made out of natural rope or hemp; it can be just a metal pipe that the energy slides through. Try to think about how each “material” might impact the flow and/or feel of energy.

You can also have one tether break off and charge many items at once - you don’t need a separate tether for each thing. Just focus on your tether and how it can fork, and imagine another branch coming from it naturally. Or, if you’re adding a separate line after the original tether has been “installed,” imagine a separate line growing or being molded from the first and down to the new object.


And there you have it - my post on energy tethers. Obviously this isn’t complete or all encompassing. This is just my view on these energetic cords, what they are, and how they can be made and used. I wrote this off the seat of my pants, but I think I covered everything I intended to. (And it feels hardcore like the old windvexer posts to me, which I’m not bothered by lol.)

I hope this helps you guys, or inspires you, or whatever. If you have any more questions, I… guess I can open my ask box, as long as y’all behave. Good luck, and have fun!

In light of an unfortunate display of ignorance I witnessed today, let me take a moment to make something blatantly clear, for anybody that needs it:

-making fun of someone for using a fidget spinner, to the point of them displaying obvious embarrassment and shame, is disgusting. 

-when you say things like “Oh my GOD, I hate those spinners! They’re so annoying, what are they even for haha” you are being willfully ignorant. Spinners are marketed towards people with anxiety, PTSD, OCD, ADD/ADHD, Autistic people, and many other people with brains different from yours that need an outlet to focus, relax, relieve sensory-related issues, and many other things that yours does automatically. Most of the ones I see advertised even specify “For anxiety/stress/ADHD/Autism/etc”

-Making fun of someone for other behaviors such as rocking, hand flapping, echolalia, hair twirling, skin picking, hair pulling, etc is in fact, also a shitty thing of you to do. It’s also unnecessary, cruel, and humiliates the person who is doing those things.

-Don’t make fun of people who use fidget spinners. Don’t make fun of people who stim. I don’t give a rat’s ass if you think it’s unnecessary, or it “looks weird” or it “looks gross.” Don’t do it. You KNOW what you’re doing. I know what you’re doing. I’ve had it, I’m done.

Lisa Lawrence’s Archetypes and Symbols List

Archetypes and Symbols

SITUATION ARCHETYPES

1. The Quest – This motif describes the search for someone or some talisman which, when found and brought back, will restore fertility to a wasted land, the desolation of which is mirrored by a leader’s illness and disability.

2. The Task – This refers to a possibly superhuman feat that must be accomplished in order to fulfill the ultimate goal.

3. The Journey – The journey sends the hero in search for some truth of information necessary to restore fertility, justice, and/or harmony to the kingdom. The journey includes the series of trials and tribulations the hero faces along the way. Usually the hero descends into a real or psychological hell and is forced to discover the blackest truths, quite often concerning his faults. Once the hero is at this lowest level, he must accept personal responsibility to return to the world of the living.

4. The Initiation – This situation refers to a moment, usually psychological, in which an individual comes into maturity. He or she gains a new awareness into the nature of circumstances and problems and understands his or her responsibility for trying to resolve the dilemma. Typically, a hero receives a calling, a message or signal that he or she must make sacrifices and become responsible for getting involved in the problem. Often a hero will deny and question the calling and ultimately, in the initiation, will accept responsibility.

5. The Ritual – Not to be confused with the initiation, the ritual refers to an organized ceremony that involves honored members of a given community and an Initiate. This situation officially brings the young man or woman into the realm of the community’s adult world.

6. The Fall – Not to be confused with the awareness in the initiation, this archetype describes a descent in action from a higher to a lower state of being, an experience which might involve defilement, moral imperfection, and/or loss of innocence. This fall is often accompanied by expulsion from a kind of paradise as penalty for disobedience and/or moral transgression.

7. Death and Rebirth – The most common of all situational archetypes, this motif grows out of the parallel between the cycle of nature and the cycle of life. It refers to those situations in which someone or something, concrete and/or metaphysical dies, yet is accompanied by some sign of birth or rebirth.

8. Nature vs. Mechanistic World – Expressed in its simplest form, this refers to situations which suggest that nature is good whereas the forces of technology are bad.

9. Battle Between Good and Evil – These situations pit obvious forces which represent good and evil against one another; typically, good ultimately triumphs over evil despite great odds.

10. The Unhealable Wound – This wound, physical or psychological, cannot be healed fully. This would also indicate a loss of innocence or purity. Often the wounds’ pain drives the sufferer to desperate measures of madness.

11. The Magic Weapon – Sometimes connected with the task, this refers to a skilled individual hero’s ability to use a piece of technology in order to combat evil, continue a journey, or to prove his or her identity as a chosen individual.

12. Father-Son Conflict – Tension often results from separation during childhood or from an external source when the individuals meet as men and where the mentor often has a higher place in the affections of the hero than the natural parent. Sometimes the conflict is resolved in atonement.

13. Innate Wisdom vs. Educated Stupidity – Some characters exhibit wisdom and understanding intuitively as opposed to those supposedly in charge.

SYMBOLIC ARCHETYPES

1. Light vs. Darkness – Light usually suggests hope, renewal, OR intellectual illumination; darkness implies the unknown, ignorance, or despair.

2. Water vs. Desert – Because water is necessary to life and growth, it commonly appears as a birth or rebirth symbol. Water is used in baptism services, which solemnizes spiritual births. Similarly, the appearance of rain in a work of literature can suggest a character’s spiritual birth.

3. Heaven vs. Hell – Humanity has traditionally associated parts of the universe not accessible to it with the dwelling places of the primordial forces that govern its world. The skies and mountaintops house its gods; the bowels of the earth contain the diabolic forces that inhabit its universe.

4. Haven vs. Wilderness – Places of safety contrast sharply against the dangerous wilderness. Heroes are often sheltered for a time to regain health and resources.

5. Supernatural Intervention – The gods intervene on the side of the hero or sometimes against him.

6. Fire vs. Ice – Fire represents knowledge, light, life, and rebirth while ice like desert represents ignorance, darkness, sterility, and death.

7. Colors

A. Black (darkness) – chaos, mystery, the unknown, before existence, death, the unconscious, evil

B. Red – blood, sacrifice; violent passion, disorder, sunrise, birth, fire, emotion, wounds, death, sentiment, mother, Mars, the note C, anger, excitement, heat, physical stimulation

C. Green – hope, growth, envy, Earth, fertility, sensation, vegetation, death, water, nature, sympathy, adaptability, growth, Jupiter and Venus, the note G, envy

D. White (light) – purity, peace, innocence, goodness, Spirit, morality, creative force, the direction East, spiritual thought

E. Orange – fire, pride, ambition, egoism, Venus, the note D

F. Blue – clear sky, the day, the sea, height, depth, heaven, religious feeling, devotion, innocence, truth, spirituality, Jupiter, the note F, physical soothing and cooling

G. Violet – water, nostalgia, memory, advanced spirituality, Neptune, the note B

H. Gold – Majesty, sun, wealth, corn (life dependency), truth

I. Silver – Moon, wealth

8. Numbers:

A. Three – the Trinity (Father, Son, Holy Ghost); Mind, Body, Spirit, Birth, Life, Death

B. Four – Mankind (four limbs), four elements, four seasons

C. Six – devil, evil

D. Seven – Divinity (3) + Mankind (4) = relationship between man and God, seven deadly sins, seven days of week, seven days to create the world, seven stages of civilization, seven colors of the rainbow, seven gifts of Holy Spirit.

9. Shapes:

A. Oval – woman, passivity

B. Triangle – communication, between heaven and earth, fire, the number 3, trinity, aspiration, movement upward, return to origins, sight, light

C. Square – pluralism, earth, firmness, stability, construction, material solidity, the number four

D. Rectangle – the most rational, most secure

E. Cross – the Tree of life, axis of the world, struggle, martyrdom, orientation in space

F. Circle – Heaven, intellect, thought, sun, the number two, unity, perfection, eternity, oneness, celestial realm, hearing, sound

G. Spiral – the evolution of the universe, orbit, growth, deepening, cosmic motion, relationship between unity and multiplicity, macrocosm, breath, spirit, water

10. Nature:

A. Air – activity, creativity, breath, light, freedom (liberty), movement

B. Ascent – height, transcendence, inward journey, increasing intensity

C. Center – thought, unity, timelessness, spacelessness, paradise, creator, infinity,

D. Descent – unconscious, potentialities of being, animal nature

E. Duality – Yin-Yang, opposites, complements, positive-negative, male-female, life-death

F. Earth – passive, feminine, receptive, solid

G. Fire – the ability to transform, love, life, health, control, sun, God, passion, spiritual energy, regeneration

H. Lake – mystery, depth, unconscious

I. Crescent moon – change, transition

J. Mountain – height, mass, loftiness, center of the world, ambition, goals

K. Valley – depression, low-points, evil, unknown

L. Sun – Hero, son of Heaven, knowledge, the Divine eye, fire, life force, creative-guiding force, brightness, splendor, active awakening, healing, resurrection, ultimate wholeness

M. Water – passive, feminine

N. Rivers/Streams – life force, life cycle

O. Stars – guidance

P. Wind – Holy Spirit, life, messenger

Q. Ice/Snow – coldness, barrenness

R. Clouds/Mist – mystery, sacred

S. Rain – life giver

T. Steam – transformation to the Holy Spirit

U. Cave – feminine

V. Lightning – intuition, inspiration

W. Tree – where we learn, tree of life, tree of knowledge

X. Forest – evil, lost, fear

11. Objects:

A. Feathers – lightness, speed

B. Shadow – our dark side, evil, devil

C. Masks – concealment

D. Boats/Rafts – safe passage

E. Bridge – change, transformation

F. Right hand – rectitude, correctness

G. Left hand – deviousness

H. Feet – stability, freedom

I. Skeleton – mortality

J. Heart – love, emotions

K. Hourglass – the passage of time

CHARACTER ARCHETYPES

1. The Hero – In its simplest form, this character is the one ultimately who may fulfill a necessary task and who will restore fertility, harmony, and/or justice to a community. The hero character is the one who typically experiences an initiation, who goes the community’s ritual (s), et cetera. Often he or she will embody characteristics of YOUNG PERSON FROM THE PROVINCES, INITIATE, INNATE WISDOM, PUPIL, and SON.

2. Young Person from the Provinces – This hero is taken away as an infant or youth and raised by strangers. He or she later returns home as a stranger and able to recognize new problems and new solutions.

3. The Initiates – These are young heroes who, prior to the quest, must endure some training and ritual. They are usually innocent at this stage.

4. Mentors – These individuals serve as teachers or counselors to the initiates. Sometimes they work as role models and often serve as father or mother figure. They teach by example the skills necessary to survive the journey and quest.

5. Hunting Group of Companions – These loyal companions are willing to face any number of perils in order to be together.

6. Loyal Retainers – These individuals are like the noble sidekicks to the hero. Their duty is to protect the hero. Often the retainer reflects the hero’s nobility.

7. Friendly Beast –These animals assist the hero and reflect that nature is on the hero’s side.

8. The Devil Figure – This character represents evil incarnate. He or she may offer worldly goods, fame, or knowledge to the protagonist in exchange for possession of the soul or integrity. This figure’s main aim is to oppose the hero in his or her quest.

9. The Evil Figure with the Ultimately Good Heart – This redeemable devil figure (or servant to the devil figure) is saved by the hero’s nobility or good heart.

10. The Scapegoat – An animal or more usually a human whose death, often in a public ceremony, excuses some taint or sin that has been visited upon the community. This death often makes theme more powerful force to the hero.

11. The Outcast – This figure is banished from a community for some crime (real or imagined). The outcast is usually destined to become a wanderer.

12. The Earth Mother – This character is symbolic of fulfillment, abundance, and fertility; offers spiritual and emotional nourishment to those who she contacts; often depicted in earth colors, with large breasts and hips.

13. The Temptress – Characterized by sensuous beauty, she is one whose physical attraction may bring about the hero’s downfall.

14. The Platonic Ideal – This source of inspiration often is a physical and spiritual ideal for whom the hero has an intellectual rather than physical attraction.

15. The Unfaithful Wife – This woman, married to a man she sees as dull or distant, is attracted to a more virile or interesting man.

16. The Damsel in Distress – This vulnerable woman must be rescued by the hero. She also may be used as a trap, by an evil figure, to ensnare the hero.

17. The Star-Crossed Lovers – These two characters are engaged in a love affair that is fated to end in tragedy for one or both due to the disapproval of society, friends, family, or the gods.

18. The Creature of Nightmare – This monster, physical or abstract, is summoned from the deepest, darkest parts of the human psyche to threaten the lives of the hero/heroine. Often it is a perversion or desecration of the human body.

RECOGNIZING PATTERNS

The following list of patterns comes from the book How to Read Literature Like a Professor by Thomas C. Foster who teaches at the University of Michigan. If you are serious about literary analysis, then it is highly recommended that you buy this book. It goes into detail what is just briefly mentioned and is written in such a lively, witty voice that it does not read like a textbook at all! It will be well worth your time and effort to read it.

Ø  Trips tend to become quests to discover self.

Ø  Meals together tend to be acts of communion/community or isolation.

Ø  Ghosts, vampires, monsters, and nasty people and sometimes simply the antagonists are not about supernatural brew-ha-ha; they tend to depict some sort of exploitation.

Ø  There’s only one story. Look for allusions and archetypes.

Ø  Weather matters.

Ø  Violence and be both literal and figurative.

Ø  Symbols can be objects, images, events, and actions.

Ø  Sometimes a story is meant to change us, the readers, and through us change society.

Ø  Keep an eye out for Christ-figures.

Ø  Flying tends to represent freedom. What do you think falling represents?

Ø  Getting dunked or just sprinkled in something wet tends to be a baptism.

Ø  Geography tends to be a metaphor for the psyche.

Ø  Seasons tend to be traditional symbols.

Ø  Disabilities, Scars, and Deformities show character and theme.

Ø  Heart disease tends to represent problems with character and society.

Ø  So do illness and disease.

Ø  Read with your imagination.

Ø  Irony trumps everything!

Ø  Remember the difference between public and private symbols.

MLA Citation (7th Edition)

Lawrence, Lisa. “Archetypes and Symbols.” West Morris Central High School. West Morris Regional High School District, n.d. Web. 23 Jan. 2013. <http://central.wmrhsd.org/FACULTY…/Archetypesandsymbols.pdf>.

Bughead in Season 2

From RAS: “They’re still very much together in season two but as we saw in the finale Jughead is setting off on a different path. He’s going to a different school, living in a different area of town. Perhaps most significantly, it seems like he’s joining the Southside Serpents. I think that will create obvious tension with Betty, assuming he tells her. There’s a chance Jughead will be trying to live a double life, one with Betty and one with the Serpents. That is absolutely a big story we’re telling with Betty and Jughead in season two.” Sounds like trouble, but something they’ll overcome.

ETA: The link! Sorry, guys, I was in a Bughead haze last night! http://www.hollywoodreporter.com/live-feed/riverdale-boss-finale-cliffhangers-season-2-1002422