we will be victorious

5

Our boss was indifferent, even three years ago
We’ve never had the dinner outing that everyone else has
Outside, it’s like a party
Us guys are bunched together as if we’re in the army
This year I’ll be either practicing or sitting alone in the corner
Nothing changes no matter how hard I try, I’m solo
But boss, we don’t want a solo victory
All we want is a dinner outing

- BTS 2012

  흔한 연습생의 크리스마스

feynites  asked:

Random Thought: What if Victory shape-shifted into something that was /completely unexpected/ for him (being, y'know, a peacekeeper and a warrior, or alternatively just a tough-looking soldier dude in general) but actually made perfect sense for his inner squishiness? Like a tamarin or an anteater or something. And Aelynthi was just like 'this is dumb this is NOT CUTE I am cuddling him on my lap because of PURELY PRACTICAL REASONS'.

I give you Victory’s alternate form…the Chinese Pika

meanwhile Aelynthi is just:

Originally posted by blackbootyler

We literally have nothing to fear from the evil one. Nothing. At all. Because we worship the One who utterly obliterated the evil one. 

Satan has nothing on Jesus. Satan was defeated long ago, when our King died on the cross and rose 3 days later. Death has no cards left. 

Our King is victorious, and we are heirs in His victory. 

2

There’s a minor on top of Us, We feel so uncomfortable.

Here are the screenshots showing Our disciple preying on the minor.

1, 2

Lord Pastel Lance has no more sermons for today. We must withdraw back into the heavens to contemplate Our new title. (Vocal apologist……how could this be? We never apologize for being Lord Pastel Lance, defender of the church of Klance & creator of memes!)

Disciples! Continue with your attempts to distress the Shaladins. Let neither age nor circumstances nor legality stop you from creeping after them!

BREAKING: Inkling researchers intercept top-secret report about the Squid Sisters

Nine months have passed since the final Splatfest came to an end, where we saw the showdown of Callie versus Marie ended in victory for Marie.

We heard that there was no ill will between the two as they left the studio arm in arm, smiling and laughing. That the bond between them would continue, unbroken, for years to come.

However, our researchers discovered that this may not have been completely true…

Learn more about what happened after the final Splatfest came to an end in the Squid Sisters Stories here, where we will post updates each week: http://splatoon.nintendo.com/squid-sisters-stories/

Me: *takes a deep breath*

Me, yelling at full volume: HOW DOES A RAGTAG VOLUNTEER ARMY IN NEED OF A SHOWER SOMEHOW DEFEAT A GLOBAL SUPERPOWER HOW DO WE EMERGE VICTORIOUS FROM THE QUAGMIRE LEAVE THE BATTLEFIELD WAVING BESTY ROSS’S FLAG HIGHER YO TURNS OUT WE HAVE A SECRET WEAPON AN IMMIGRANT YOU KNOW AND LOVE WHO’S UNAFRAID TO STEP IN HE’S CONSTANTLY CONFUSING CONFOUNDING THE BRITISH HENCHMEN EVERYONE GIVE IT UP FOR AMERICA’S FAVORITE FIGHTING FRENCHMAN LAFAYETTE IM TAKING THIS HORSE BY THE REINS MAKING RED COATS REDDER WITH BLOODSTAINS LAFAYETTE AND IM NEVER GONNA STOP TILL I MAKE EM DROP BURN EM UP AND SCATTER THEIR REMAINS IM LAFAYETTE WATCH ME ENGAGING EM ESCAPING EM ENRAGING EM IM LAFAYETTE I GO TO FRANCE FOR MORE FUNDS LAFAYETTE I COME BACK WITH MORE GUNS AND SHIPS AND SO THE BALANCE SHIFTS WE RENDEZVOUS WITH ROCHAMBEAU CONSOLIDATE THEIR GIFTS WE CAN END THIS WAR AT YORKTOWN CUT THEM OFF AT SEA BUT FOR THIS TO SUCCEED THERE IS SOMEONE ELSE WE NEED I KNOW HAMILTON SO HE KNOWS WHAT TO DO IN A TRENCH INGENUITIVE AND FLUENT IN FRENCH I MEAN HAMILTON SO YOU’RE GONNA HAVE TO USE HIM EVENTUALLY WHAT’S HE GONNA DO ON THE BENCH I MEAN HAMILTON NO ONE HAS MORE RESILIENCE OR MATCHES MY PRACTICAL TACTICAL BRILLIANCE HAMILTON YOU WANNA FIGHT FOR YOUR LAND BACK HAMILTON I NEED MY RIGHT HAND BACK YEAH UH GET YOUR RIGHT HAND MAN BACK YOU KNOW YOU GOTTA GET YOUR RIGHT HAND MAN BACK I MEAN YOU GOTTA PUT SOME THOUGHT IN THE LETTER BUT THE SOONER THE BETTER TO GET YOUR RIGHT HAND MAN BACK ALEXANDER HAMILTON TROOPS ARE WAITING IN THE FIELDS FOR YOU IF YOU JOIN US RIGHT NOW TOGETHER WE CAN TURN THE TIDES OH ALEXANDER HAMILTON I HAVE SOLDIERS THAT WILL YIELD FOR YOU IF WE MANAGE TO GET THIS RIGHT THEY’LL SURRENDER BY EARLY LIGHT THE WORLD WILL NEVER BE THE SAME ALEXANDERRR

theotherarmorer  asked:

Let me get this straight. You don't see an issue in using violence to counter an opposing viewpoint. You advocate people concealing their identities during your protests. And it's all deemed acceptable because you name your opposition fascists.

The only sentence you got right was “let me get this straight.”  Oh, wait, you didn’t use a colon to end that sentence, so that one wasn’t right, either!

1) Advocating for and organizing for racist genocide isn’t an “opposing viewpoint.”  It’s not even a valid opinion.  It’s a historically & scientifically-discredited belief that is common to the beginning of every genocide in human history.  

2) We don’t advocate for people concealing their identities during protests.  We advocate for people to take reasonable precautions to protect themselves and their families, which for some people includes concealing their identities. This is because we’re countering fascists - people whose belief system tells them that violence is the preferred way to do politics.  Otherwise, we know fascists will dox, harass, threaten, and murder us.  Just today, a 16-year-old Girl Scout who stood with an anti-racist banner has had to seek police protection because of the death/rape threats she’s received from the fascists she stood up to.

We’d be willing to bet cash money that you have never, ever written to the KKK to criticize them on the same point.  You’ll give an actual terrorist group that’s murdered thousands a free pass for concealing their identity, yet you get all apoplectic when people opposing violent, racist scum conceal their identities.   

3)  Yeah, it’s acceptable to oppose and confront fascists and fascism by any means necessary, because that’s what it takes to keep our communities safe.  We’ve have nearly a century of evidence to show what happens when you don’t oppose fascists.   

You know, theotherarmorer, it’s fucking hilarious that you’re writing to us on Victory Day - the day we mark the military victory over fascism in WW2.  Maybe you’ve heard about that war?  The fascist war that claimed the lives of over 50 million people?  This is the day you decide to claim that using violence to stop fascism isn’t acceptable?  Were you trying to be ironic or did you just get lucky with the date today?

If you think that fascism = “an opposing viewpoint” and shouldn’t be met with violence, go pick on some WW2 vets. Or Holocaust survivors.

so i was playing junkrat and there was this mercy that kept hanging out with me. my sister thought it looked like they were on a date, so she switched to roadhog and tried to separate us, but we ended up hanging out again. 

When the victory screen showed, all i saw was roadhog exiting in the distance in the most tragic manner.

also we found a very fitting song

Here’s Trump’s Actual Answer To A Question About Anti-Semitism In The US
  • Question: Mr. President, since your election campaign and even after your victory, we’ve seen a sharp rise in anti-Semitic incidents across the United States. And I wonder what you say to those among the Jewish community in the States and in Israel and maybe around the world, who believe and feel that your administration is playing with xenophobia and maybe racist tones?
  • Trump: Well, I just want to say that we are, you know, very honored by the victory that we had. 306 electoral college votes. We were not supposed to crack 220. You know that, right? There was no way to 221 but then they said there’s no way to 270. And there’s tremendous enthusiasm out there. I will say that we are going to have peace in this country. We are going to stop crime in this country. We are going to do everything within our power to stop long simmering racism and every other thing that’s going on. Because a lot of bad things have been taking place over a long period of time. I think one of the reasons I won the election is because we have a very, very divided nation. Very divided and hopefully, I’ll be able to do something about that. And I — you know, something that was very important to me.
  • As far as people, Jewish people — so many friends, a daughter who happens to be here right now. A son-in-law, and three beautiful grandchildren. I think that you’re going to see a lot of different United States of America over the next three, four, or eight years. I think a lot of good things are happening and you’re going to see a lot of love. You’re going to see a lot of love. Okay? Thank you.
The 15 PLOT POINTS of Story Structure

To all the writers who have ever been told they need to outline their story, and privately thought “Great. But how do you DO that? What exactly does that mean?! Is there a map? WHAT IS THE SPECIFIC DEFINITION OF THE VAGUE WORD ‘OUTLINE’?”

Good news. Stories have structure. Structure that can be learned. And a fantastic place to start learning structure? 

Save the Cat: The Last Book on Screenwriting You’ll Ever Need by Blake Snyder. This book gives a simple outline that most stories follow. And as an introduction to story structure, it can’t be beat. 

In Save the Cat, 15 plot points are spelled out in something called a beat sheet. During the outlining process, these “beats” or plot points can be used as an armature or skeleton that your story is built upon. 

So what are those 15 plot points?

Opening Image: A snapshot of the hero’s problematic ordinary world, right before the story starts and changes everything. 

Set-Up: Further establishing that ordinary world and what the hero does every day, impressing upon the audience or reader what’s wrong, and the idea that something needs to change.

Theme Stated:  The truth that the hero will learn by experiencing the story, the statement that will be proven to the audience. But upon first encountering this truth, in this story beat right in the beginning, the hero doesn’t understand or outright refuses to believe it. The theme stated is asking a question, a question which the story will answer.

Catalyst: The ordinary world is shattered. Something unexpected happens, and this event triggers all the conflict and change of the whole story. Life will never be the same after this moment. This is the Call to Adventure. 

Debate: But for a moment, the hero won’t be quite sure about answering that call. Leaving behind the ordinary world is difficult – even if the catalyst has come along and disrupted everything – because the ordinary means safety, it means not being challenged, it means avoiding conflict and heartache. Yes, that existence they’re stuck in might be stagnant and unpleasant, but it protects them from facing the intimidating task of growth, of becoming something better.

Break Into 2: And this is when the hero decides to answer the call and cross the threshold of act two, determined to pursue their goal. 

B Story: This is when the relationship – which usually carries and proves the theme – starts in earnest.

Fun & Games: This is just what it says: the premise promised a certain type of pure entertainment, and this beat is where we get to experience it fully. 

Midpoint: This is either a false victory or a false defeat. Something really really good happens. Or something the exact opposite.

Bad Guys Close In: Forces of opposition and conflict begin to converge on the hero and his goal. Everything begins to fall apart for the hero, the defeats piling up one after another, the main character punching back.  

All Is Lost: This is the sequence where absolutely everything falls apart for the hero. The plans fail, the goal is lost, the mentor dies, the villain wins. All is, quite literally, lost. 

Dark Night of the Soul: The hero’s bleakest moment is right here. In addition to all of the tangible things that have been lost, hope and the gumption to continue with the story have also vanished. There is usually a hint of death here, of some kind. An actual death, or an emotional or spiritual death. 

Break into 3: Ah, but there’s a light at the end of the tunnel. Inspiration occurs, hope is rekindled, courage to pursue the story returns. Usually, this is the moment where the main character learns what they NEED, the truth which will heal them, and allow them to fix their own lives. With this, they are able to snatch victory from defeat.

Finale: And in here, the story goal is pursued once more, but this time from the stronger version of the hero – the version that has learned the theme, and committed to act accordingly. 

Closing Image: The opposite of the opening image. This is a snapshot of life after the story, the problems of the ordinary world solved or banished, a new world opening up for the hero. If the opening is the equivalent of “once upon a time” this is saying “And every day after … “ 

So let’s see how that works! And to see it, let’s look at my favorite short film of all time – Paperman  (because this gave me an excuse to watch it several times and listen to the music while writing it.)

1) Opening Image

We see George, a twenty-something in a sixty-something’s suit and tie, obviously on his way to work, and not looking at all enthused about it. He stares straight ahead, expression bored, lifeless, right on the edge of depressed. Wind from a passing train pushes him slightly, and he lets it, demeanor unchanging. 

2) Set-Up

But then a sheet of paper, caught on the wind, hits his shoulder. The paper flies off again, and a young woman appears onscreen, chasing after the paper, as the surprised George watches.

 After catching it offscreen, the girl returns, tucking the paper into the stack she carries, smiling slightly. They both face forward, waiting for the train side-by-side, in silence. She’s glancing sideways at him, he’s smiling and fidgeting nervously, but still resolutely facing forward; they’re both aware of each other, seemingly hoping the other will be braver, but neither able to overcome their shyness and the unspoken rules of everyday life. 

3) Theme Stated 

As a train charges into the station, a paper from George’s stack is snatched by the wind and lands flat on the woman’s face. When he pulls the paper away, she laughs: her lipstick left a perfect kiss mark on the sheet. When George spots it, he laughs too … 

but when he opens his eyes, she’s gone. She’s boarded a different train. The kiss-mark paper flaps in the wind as the train begins to move, taking her away. He watches, crestfallen. She glances back. Looks of regret and disappointment are exchanged, both a little wistful. The paper, the symbol of their fleeting memorable meeting, waves goodbye. 

Through this little sequence of images, the question of the whole story is asked: Was there a connection between them? Will they find each other again? And on a wider level: What does it take to find love? 

Further Set-Up:

And cut to George behind a desk, in a gray office, dark file cabinets towering behind him, clocks on the wall ticking away his life. Miserable again, he stares at the lipsticked paper. A stack of documents slams onto the desk from on high. The grim-faced boss of the office scowls down at him. George frowns at the stack, then at his boss, who stomps away.   

4) Catalyst 

Breeze pulls the kissed paper off his desk and out the open window. He catches it just in time, breathing a sigh of relief. And then he sees something. The girl! She’s there! She’s right across the street! 

5) Debate 

He needs to get her attention! He dithers for a moment, then throws the window wide and enthusiastically waves his arms.

 An ominous "ahem” from the boss brings him back inside, and back to his desk. But his attention is still on the girl, and the need to get her attention. He folds a paper airplane, stands before the window, poises the airplane to fly … but he glances at his boss’s office before he throws it. Should he? 

6) Break Into Act 2

Yes. Yes, he should. He sends the little airplane messenger to bridge the distance between himself and the girl. 

7) B Story

What he should have done while waiting for the train, he’s committed to do now. Talk to her. The relationship of the story has started officially. 

8) Fun & Games

In this moment, he becomes the “paper man” of the title. He folds and throws paper airplane after paper airplane. The boss shows up, shoves him back and slams his window. George pauses until he’s gone, then just keeps sending airplanes. They sail over the street, but are intercepted or miss their mark every time. 

9) Midpoint

He reaches for more paper … and knocks an empty tray off the desk. He’s run out. Except for one paper, the kissed one, the only one he’s held onto. With a determined look, he folds it precisely into an airplane, stands before the window, breathes to steady himself … 

And the wind steals the airplane from his hand, sending it spiraling to the street below, George reaching out pointlessly. On top of this defeat, the girl leaves the office.  

10) Bad Guys Close In 

Immediately, the boss emerges from his lair. The other office workers hurriedly return to their scribbling, hunched to avoid drawing attention. The girl is leaving the building across the street! George turns from the window … and finds the boss looming above him, glowering, delivering another tall pile of meaningless work. 

George sinks into his chair, defeated. But something happens as he watches his boss walk away, as he sees the office workers in neat rows; all of them older versions of George, reflections of what he will become … if he doesn’t do something right now. 

He runs, sending paper from the perfect stacks flying in his wake. 

11) All Is Lost

But when he escapes the building, and attempts to cross the street, cars nearly kill him. And when he finally makes it to the opposite sidewalk, the girl is nowhere in sight. She’s lost again. 

And all he manages to find is the little traitorous paper airplane. The paper he’d believed might mean something, might have signified something important and maybe a little magical. Which it obviously never did. 

12) Dark Night of the Soul

Angry, he grabs the plane and throws it with all his strength.  He’s lost his job, he’s lost the girl, he’s lost all faith in the magic he’d just started to believe might be real. He stomps towards the train station, returning home. 

13) Break Into 3  

But fate has other plans. The airplane glides over the city, almost supernaturally graceful and purposeful. It dives between buildings, and lands in the middle of the alley where all the paper planes have collected. 

It sits immobile. Then it moves. Moves again. And jumps into flight. The airplane flies over the rest, stirring them into motion, into the air. In a place where not even a breath of wind could reach, there is now a whirlwind of George’s airplanes. 

Though the forces of mediocrity tried to keep them apart, something greater has recognized George’s efforts and is going to see things through. 

14) Finale

A parade of airplanes follows George down the street. 

The leader attaches to his leg. He brushes it off, mad. A flurry of them attach to him, then carry him down the street, unfazed by his fighting. 

The leader airplane rockets over the city purposefully, finds the girl, then lures her to follow.

 She chases after. 

Somewhere else in the city, George is being pushed wherever the paper airplanes want him to go. We switch back and forth between George and the girl, as the airplanes push him and beckon her. 

Until they’re both on different trains, which stop simultaneously, on opposite sides of the platform. The girl gets out. She fiddles with the airplane, like she’s trying to get it to work again. And just then, a breeze brings hundreds of paper planes skittering all around the platform.

 She looks up …

15) Closing Image

And there’s George, covered in paper planes. 

He lurches towards Meg, and the airplanes falls away, their work done. 

George and Meg face each other, smiling, the barriers of routine and shyness overcome. Exactly what should have happened, exactly what was meant to happen. Putting effort into connection and love prevailed in the end, defeating the allure of life spent in safety and mediocrity. The closing image is the opposite of the opening: he’s not alone, he’s not facing the train leading to his mundane job, he’s not looking miserable and hopeless. He’s facing the girl, his bright and meaningful new future.

***

So! Those are the 15 plot points. This is a fantastic way to begin learning what story structure is, why it works the way it does, and how to precisely pull it off. 

For a more in-depth explanation, I highly recommend picking up a copy of Save the Cat. (It holds a special place in my heart; it was the first screenwriting book I ever read, and started obsessive study of storytelling.)

Victory by technicality

We were playing a Star Wars RPG, and our party was trying to break into a building guarded by droids Everybody made stealth checks, and the DM rolled a notice check. I was playing a droid.

DM: *rolls a nat 1* Crap. Guess you all make it by.
*Everybody else rolls*
Me: *Rolls a nat 1* Uh… you might wanna hold off on that for a moment.
DM: *Chuckles* Alright, uh… let’s say you just walk right up to them. They kind of look at you then at each other over and over. Eventually one turns to you and says, “We have direct orders to keep all people out. But you’re not a person, so… I guess you are able to pass.”
Me: *Cracking up* Awesome. I’ll walk right on through.

10

Critical Role | Sam and Travis’s football feud fizzer [x][x][x][x]

“If it’s all about sacrifice, or something that means a lot, what’s one thing that Grog aka me, would never do?” 

“You spent so many times inspiring me, I’d like to take a page from your book.”