what's it like knowing that what you do is necessary but also seen as bad

somebodylost-chan  asked:

I'd like to ask, how do you know when fight/smut scenes are necessary? Or how to make them effective & not simply as fanservice or just for word count? Usually, I find myself skimming through fight scenes as a reader, bored. As a writer, I'm inclined to just 'fade to black' and imply stuff at the next chapters. I'm not really a fight/smut-scene writer, even though my characters know & need to fight. Thanks for keeping this blog. :D

A good fight scene (and a good smut scene for that matter) always works in the service of the narrative. It works toward the cohesive big picture.

From an entertainment standpoint, violence is boring.

You need your audience invested in the characters participating in the violence, in the actions and events leading up to the fight, in the aftermath and how this will effect the character’s overall goals.

In a narrative context, if you’re bored during a fight scene or a sex scene it’s because the build up to that moment failed. The scene itself may also have failed. However, your foundation is what makes your story sing.

Think of a story like building blocks. You’re playing Jenga with your reader on a homemade house, they’re slowly pulling out the pieces and you’re betting you built your blocks well enough to withstand scrutiny. You’ve got to keep them interested long enough to get to the end before the whole thing comes tumbling down.

A fight sequence which works in concert with it’s narrative is enjoyable, doesn’t overstay it’s welcome, and ultimately works to build up the story it’s telling. Fighting isn’t fighting, you see. Combat is a form of problem solving, the fight itself is an expression of the character’s individuality. Everything we’ve been learning about them, their goals, and their behaviors are being put in a pressure cooker and dialed up.

You should be learning about the character as the fight progresses, the fight working on multiple levels in concert with its narrative to get the story where it needs to go. Often, a first fight is like an establishing shot in film. You get a feel for who this character is when under pressure, who they are. Peril can be a great way to get the audience invested, but its up to the author to prove why they should.

Poor fight sequences don’t tell you anything. They’re there to establish the character as capable of fighting but don’t even do that because their concept of combat is generic.

The combatants aren’t individuals expressing themselves, the fight isn’t proving anything except fighting, it doesn’t have meaning except for its attempts to prove the narrative’s poor concept of badassery. This often happens with no regard for the setting’s rules, the aftermath consequences, what the character’s actions will effect in the long run.

It doesn’t mean anything and, while violence is shocking and terrifying in real life, in fiction violence has to mean more than just an exchange of blows.

How many times have you read a book where several mooks show up to get their ass kicked by the protagonist? They limp off at the end and while they’re often in a perfect position to be seen again due to their connections, we never do.

In even just a moderately competent narrative, those same mooks are characters. We’ll see them again in bit roles. They’ll play a role, either to help or hurt later as an aftermath consequence of the protagonist’s earlier actions. These are callback characters we can use to remind the audience of what happened previously in the narrative, and offer up some catharsis.

In a really well written scene, these mooks serve an important purpose when it comes to establishing the protagonist’s character in a quick snapshot. Like the moderately competent character, they come back later to the aid or the detriment of the protagonist. The mooks’ response actions are a direct result of their encounter with the character, often acting as an inciting incident. The protagonist suffers direct consequences as a result of their actions, whether its injury, loss, or the attention of the villain which causes them to lose something. In these fight scenes, you can see the story’s trajectory because it acts as another way to get to know the hero, the secondary characters, the tertiary characters, and whoever else is participating. It’s working on five different levels.

What you often see in a good fight sequence, whether it’s in a written medium or film, is the culmination of a great deal of hard work on the part of the author. A smut sequence is a reward, it’s a way to pay off on the reader’s investment in the relationship between these two characters and the narrative’s investment in them. It doesn’t matter if that’s hardcore sex, or a Victorian hand touch, or a knockout blow to the jaw, the end result is the same. It’s entertaining, satisfying, and even cathartic.

A poor sex scene is just dolls bumping bits. A poor fight scene is just dolls trading blows. Nothing occurs, nothing happens, there’s none of the underlying satisfaction or catharsis in the outcome. You don’t have any investment, no consequences, it overstays its welcome and tells you nothing about the characters.

You’ve no reason to care, so you don’t.

As a reader, you don’t owe a writer attention when reading their work. They’ve got to earn it. If they aren’t, then it may be that the story isn’t for you and that’s okay. Take into account your tastes,

It takes practice to choreograph a fun fight scene. Writing sex and violence is mostly about learning to find your limits (i.e. what you’re comfortable with writing), and overcoming embarrassment. Determine the difference between need and want.

Are you avoiding writing these scenes because you’re scared of being bad at them or because they just don’t interest you?

These are two very different issues, and it’s easy to hide from the first behind the second. Be honest with yourself. If it is fear, then don’t give into it. The easy solution if you’re afraid of being bad at something is to practice. Start looking critically at the media you consume, when you start to get bored during a fight scene or a sex scene, when you want to skip ahead, ask yourself, “why?”. Check out the sequences and stories where this doesn’t happen, and try to figure out the differences between the two.

When it comes to the mechanics of both violence and sex, the more you learn the better off you’ll be at writing it. The more you practice writing violence/sex/romance then the better you’ll be. Like with everything, it’ll probably be pretty terrible in the beginning but the more you practice, the better you get. Writing itself is a skill, but its also a lot of sub-skills built in underneath the surface. Being good at dialogue doesn’t mean you’ll be good at action, having a knack for great characterization doesn’t mean you’ll be good at writing setting description. Putting together great characters doesn’t mean you’ll automatically be good at worldbuilding.

Don’t be too hard on yourself.

All it takes to figure out whether or not the time to fight is right is by listening to your gut.

Remember, the best scenes are based in narrative cohesion and emotional investment. They’re a pay off in and of themselves for your audience, dessert after dinner. They aren’t the meat and potatoes. If you set out to just write a fight scene or write a smut scene then it’ll get gratuitous. Then the focus is on the fight or the sex itself, hangs entirely on their shoulders, and you’ve just upped the ante for how entertaining you need to be.

It’s not “how do I write a fight scene”, it’s “how did my characters get to this point and why are they fighting”. If you start from a character place, it gets easier. The same is true with romance. “How do my characters participate in a romance (sex or not)”.

Make it about the individuals, that’s when it really gets fun.

And, if you get too stuck, try writing fight scenes with characters who don’t know much about how to fight. Sometimes, it’s easier to get into it when you begin at the beginning. There’s a lot less pressure convincing an audience with a character who knows nothing than one at the top of their field.

There’s a lot less stress about “is this right?” when you’re trying to get a feel for the flow if you’re dealing with a character who doesn’t know jack shit. Fight scenes with characters who know nothing can also be really, really, really fun. They’re wild, improvisational frenzies where all you have is the character sorting through their alternative, non-fighting skills trying to figure out how to survive.

Believe it or not, this will help you because you don’t get to cheat with the idea that your character already knows what they’re doing when you don’t. It’ll help you tap into the character, seeing scenarios from their perspectives, and writing to that instead of “generic fight scene”. When you’re unsure, characters who know nothing about the subject matter they’re engaging in but still have to engage are great. They teach you how to write from the standpoint and perspective of the individual. You need those skills just as much when writing characters who are professionals or at the top of their field.

If you don’t think you can write an interesting fight sequence with a neophyte, then that might be a part of the problem. A character doesn’t need to be good at something to be entertaining. A smut sequence where everyone’s fumbling, knocking into each other, embarrassed, stuck in their clothing, cheesy, corny, and laughing can be just as fun (if not more so and more honest) than the ones that generally get envisioned.

For me, good is entertaining and the entertainment is based in humanity but you need to define “good” for yourself in your own writing. Be honest with yourself about your fears and you’ll find a way to bridge yourself to the kind of writing you want to be doing.

Freeing yourself of your own internalized preconceived notions will help a lot, and produce stories that are way more fun.

-Michi

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Describing Character Appearances

Anonymous asked: “Do you have any tips on how to describe characters effectively? I always find myself dumping a paragraph on their appearance the moment they appear which often really halts the action.”

Even in great manuscripts, character descriptions can come off pretty clunky. Some writers will get pretty creative to minimize that aspect of it, but it’s usually there to some degree no matter what. Though character descriptions might bog down the writing to some extent, I know they’re necessary. As a reader, I would feel that something is missing if a character wasn’t adequately described. With that said, descriptions do not have to be long, just long enough to help the reader picture him or her. 

There are a few ways strategies to describing characters that can help avoid that long description dump at the first sight of a new character:

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His || Jungkook || 0.17

Member: Jungkook x Reader

Type: Angst, Fluff, Smut.

Teaser | 0.1 | 0.2 | 0.3 | 0.4 | 0.5 | 0.6 | 0.7 | 0.8 | 0.9 | 0.10 | 0.11 | 0.12 | 0.13| 0.14 | 0.15 | 0.16 | 0.17 |

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Not so hypothetically, but actually, a date

aka, what could have happened if Chase’s minions had been so kind as to hold off on their kidnapping spree an extra 24 hours

for my friends on twitter who told me I should write this and know I can’t say no to them :) 

psa: this is unbeta-ed and it’s past my bedtime, so read at your own risk of grammatical errors lol


Felicity opened her refrigerator in search of the leftover takeout she could’ve sworn was still in there somewhere. To her dismay, all she was greeted with was mostly empty shelves. She was not a big grocery shopping person to begin with, and with everything they had been dealing with over the past couple of weeks, she couldn’t remember the last time she pushed a cart through those fluorescent lit aisles.

“How did Oliver manage to be the Green Arrow and keep our refrigerator stocked,” she muttered to herself as she checked a container of yogurt to discover it had expired months ago.

Her eyes caught the box from Oliver’s party the night before and she slid it out, remembering that there had been a few leftover slices of cake. They were on summer break after all, so cake was an acceptable dinner… right?

She was debating eating it straight from the box versus preserving some of her dignity and getting a plate when she remembered that she didn’t have to spend her evening sitting at her counter eating cake alone.

Setting the box down and reaching for her phone, she hit her first number on speed dial and waited while it rang. Which wasn’t a long wait since he picked up before the first ring had finished.

“Are you okay?”

“Yes… Am I only allowed to call when I’m in danger?” she teased.

There was a pause. “Well, no I just—“

“Do you want to come over tonight?” She needed to get the words out before he gave her enough time to talk herself out of it. She could practically see his eyebrow rise in that way it did when she said something that could have multiple interpretations and she hastily added, “There’s just leftover birthday cake and I was about to eat it but I realized that you should probably get dibs on it since it was for your birthday.” And also, I just really want to see you. “I promise this isn’t a ruse. But if you’re busy I understand and—”

“No,” he interrupted her. “No I’m not busy. I’m just finishing up at City Hall and then I can be right over.”

The corners of her mouth flicked up in a small smile at the eagerness he was trying so hard and yet failing to hide in his voice.

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anonymous asked:

Dude, requests are back up, awesome! How about DAI companions + Krem de la creme reacting to the inquisitor being one of the last avian folk?(Like, they have big ass wings, so they always wear an even bigger cloak to hide them, and during battle somehow, they end up losing the cloak? They can legit fly with them)

Cassandra: She stares and stares before angrily demanding to know why they hid this from her. They sheepishly explain their situation, and she calms down, but it doesn’t change the fact they hid it. When she eventually gets over it, she sometimes just sits and watches them fly around (which they do for fun; they’re actually sort of relieved to be revealed for this reason). It makes her nervous, at first, worrying they’ll suddenly drop, but she’s awed by how agile and graceful they are in the sky. Once or twice, they have to pick her up and drop her somewhere else, and it makes her nervous every time they pick her up, and she hates how helpless she feels suspended in the air. If Romanced: Sometimes he takes her flying for no reason other than a good time. She likes it significantly more than non-romanced flying. Eventually, they’ll land, and have a quiet, serene place to sit together while she listens to him recite poetry.

Blackwall: He stares. That’s all he can do as he gawks with a slack jaw for a long time. He has no words– trying for speech just results in helpless sputtering. The man stands aside as the others fuss and try to make sense of the situation, and speaks last. He gets over it, though, once he hears the story, and doesn’t mind at all. “They’re like a pair of griffon wings,” he admires, “powerful and fast.” If the Herald can lift him up, it makes him supremely uncomfortable the first time they take him into the sky, but he finds that he thinks it’s fun. If Romanced: He regularly compliments her on how beautiful her wings are, and he tries to help itch and clean the spots she can’t reach easily. He brings her flowers that grow all the way up on a mountainside, and she gently teases him and says she could just fly him up there. “No, my lady,” he refuses, “it’s not the same if all the work’s taken out of it. You shouldn’t waste your time helping me get you flowers; let me do the work.”

Iron Bull: After getting past the initial shock, he’s utterly green with envy. It looks like SO MUCH FUN, taking off like a dragon to the skies. The Herald tries to pick him up (to no avail, he’s too heavy) to give him the experience of flying, so he takes it upon himself to make them stronger and faster, so they can. Push-ups with wings, laps around Skyhold, timing their speed of flight, you name it. “Just wait. You’ll go back to your people and fly circles around them! When you can finally lift me up, you can air-drop me on the enemies for an attack from above! It’s gonna be great!” If romanced: Hot. He’s 100% into this. He snickers if any feathers get ruffled or fall off after sex. “Did I ruffle your feathers, Kadan?” he teases, and he just laughs as they slap him with a wing. He ties one of the feathers that fall off to the dragontooth necklace, as long as they don’t mind.

Sera: She’s freaked out and utterly shocked. She has no idea how to react, so she just stares for a long time, sputtering helplessly. She feels bad later at how upset they seemed at her facial expression. “Aw, shite… well, your feathery ass is welcome here, alright?” she reassures. She likes tossing things at them when they’re flying to see if they can catch it, and it becomes a sort of game/exercise routine. She also talks them into using their wings to prank others. She screams the first time they pick her up and take her into the sky, but soon she realizes she likes it, so long as she trusts the Herald. Sometimes she’ll ask to be taken with them, because she thinks it’s exhilarating– and a few times, shoots arrows at people from above while the Herald carries her. “Death from above! Arrows from the sky! I even have a source of feathers for fletching at any moment! Hah!” A few times, if she needs them, she’ll just pluck a feather clean off if there’s none lying around, and sticks her tongue out as the Herald protests. “What? You still got a lot of ‘em. Your wings are huge!” Also jokingly refers to wings/feathers sticking out as “wingboners.” If Romanced: She likes tickling her wings and playing with her feathers, and sleeping under a wing when they’re in bed together. “They’re soft. And fuzzy. And cute.” she gushes. She also learns how to preen the feathers, and takes to doing so regularly out of affection, at least in the areas her girlfriend can’t reach with ease. She typically finishes it off by taking a feather or two that falls off to keep for herself.

Varric: “Holy Mother of Andraste’s ass.” he breathes, taking it all in. He comes around quickly, though, and asks a lot of questions– though few on anatomy, unlike Dorian, and more on who they are, where they come from, and about their people. He’s fascinated, and taking notes. Sometimes when he’s out of writing quills, he wryly asks them if he can take one of theirs– or may just take one if they drop off from time-to-time. He’s not a fan of going into the sky, at all. “You know, I like the idea of getting as far away from the Stone as possible,” he says nervously as he looks down at the world below, “but this is a bit too far. Dwarves don’t fly.”

Cole: He knew, and he doesn’t mind in the least. “I am sorry. The others know, and they want to help. They don’t mind the wings.” He also comments that the others are happy while watching the Herald fly, and the Inquisitor takes to doing small shows on a regular basis for the crowd at Skyhold, which always draws large numbers. Everyone is cheered by the amazing sight of them in the sky, and morale goes up. People start sitting and waiting for hours before the show starts. Cole smiles– they helped.

Dorian: About five million questions start flying from his lips as soon as he’s out of the initial shock. How fast can you fly? How many feathers do you have? What’s the bone structure of your wings? Can you stick one straight out so I can measure how long it is? Where are your people from? Why are you the only one out here? It makes them more than a little uncomfortable, and he feels bad when he realizes how uncomfortable they are. “Oh.” he says, suddenly quiet. “I… I’m sorry. I didn’t mean to… if you need to talk, let me know?” He loves watching them soar through the sky, and he takes notes as he watches. He considers them and their wings utterly beautiful, and he feels honored to know them and witness their flight. He does not particularly care for going in the air, though, citing a sudden fear of extreme heights as he clings to the Herald, trying desperately to not look down. If Romanced: He loves preening his lover’s feathers, because it’s hard for them to reach behind and get them clean. He finishes it all with a kiss. He feels so safe under his boyfriend’s wings as they lay together, and he silently smirks as he imagines his father’s reaction to seeing his boyfriend.

Vivienne: She has to work to hide her complete and utter shock, and briefly scolds the Herald for not telling her before. When they’re comfortable, she examines their wings in detail. She figures out a grooming regimen. “Darling, everyone knows what you are now– there’s no point in hiding your wings any longer.” She smiles. “So use them. Preen them. Take the time and effort to make them presentable. You will be imposing, awe-inspiring, beautiful, majestic, and everyone will know it with a single glance.” She introduces them to her tailor, who manages to make them outfits that accommodate the wings– even accentuate them. Vivienne does not like being taken into the sky, but tolerates it if necessary in combat.

Solas: Their people were known to the ancient Elvhen, but their numbers were in slow decline– he’s honestly surprised that there’s any still around at all. He’s sympathetic to them, and surprises them by being the least shocked of any of the party members. He claims that he has seen their people before in the Fade, and suddenly the other party members are coming to him, asking for information. When he shakes them off, he mentions to the Herald that they shouldn’t hide their wings, for they are beautiful and proof of their ancient people. He asks them a lot of questions about the current state of their race, about their society, which befuddles the Herald. He doesn’t seem to mind being lifted into the air, if need be, and may even ask the Herald to carry him to places inaccessible by walking alone. If Romanced: They spend dates just finding places that only winged creatures can reach, and they look over the world together. They slumber and see memories previous unexplored by the remote location, and Solas feels genuine happiness that someone can understand the value of unexplored dreams. “Thank you, ma vhenan. Thank you…”

Cullen: He just sighs. Somehow this doesn’t even shock him. Maybe he’s seen too much. He’s a bit frustrated that they didn’t tell him to begin with, but lets it go readily. He asks if they know any others of their kind who would be interested in joining the Inquisition– flying soldiers would be excellent– and finds himself bewildered as they tell him that the vast majority of their people are shy and mistrustful of land-dwellers. He apologizes, and does not press the matter further. He enjoys watching them fly, and compliments them on their ability, but absolutely hates being taken off the ground and into the sky in any circumstances. If Romanced: He’s somewhat more tolerant of being taken into the sky, but he still doesn’t like it. Sometimes when he’s having bad dreams, he awakens as one of her wings gently folds over him, covering him softly, affectionately, and his heart rate slows. He’s safe, and she loves him, and he feels it. He goes back to sleep in peace, happy with what he has and who he loves.

Leliana: She’s just envious, if anything; she wouldn’t mind being able to fly. She was wondering what they were hiding, and found several stray feathers (which may or may not be in unusual colors) from time-to-time, and this explains it. She takes it pretty calmly, and asks if they know any others of their kind that might be willing to join as agents, or even airborne couriers. If the Herald ever takes her into the sky, she acts totally calm, but she LOVES it, even though she doesn’t say so.

Josephine: She’s at a loss. She tries to quickly compose herself and awkwardly make sense of the situation, but once the shock wears off, she’s endlessly curious about being able to fly. She watches them zip through the sky with grace and speed and is utterly mesmerized. Like Vivienne, she encourages a strict preening regimen– if they’re going to have wings, they might as well make them presentable. Eventually, the Herald offers to take her flying, and she squeals with a mix of delight and a bit of fright. Her hair blows loosely, and the wind’s on her face, and by the time the Herald brings her back down, she’s dazed and eager for the next time they fly together. If Romanced: They take her flying with them all the time, and it makes for interesting dates. She giggles and squeals (and on one occasion, screams as they do a loop with her in their arms) and has the time of her life. They always end it by landing somewhere picturesque, and they sit together, cuddling and admiring the world around them.

Krem: “Your… your Worship?” he asks, shocked, not sure if he’s seeing correctly, or if Bull’s pulling a prank like that time they all covered themselves with feathers– but no, it’s really them. If they don’t mind, he asks them questions about flying, and remarks that the Chargers would love having one of their kind on the team, if they know anyone looking for work. Sometimes he tosses his stuffed winged nug plushies at them from the ground, and they catch, not unlike the game played with Sera. He really likes flying, and admires the view of the world below.

How Do You Transformers Anatomy: A Guide By A Fan

Also titled “Grey’s Anatomy Transformers Style”

OKAY SO I HEAR A LOT OF PEOPLE GET CONFUSED ABOUT ALL THESE WORDS AND TERMS FOR TRANSFORMERS (because we, as a fandom, like to use fancy words for our robots, we have literally reached subculture status guys we have our own dialect congratulations) AND DON’T KNOW WHAT TO USE FOR WHAT SO BECAUSE I TOO SUFFER I WILL HELP YOU

IF YOU KNOW OTHERS THAT ARE NOT LISTED HERE FEEL FREE TO ADD THEM.

WHY YOU SHOULD LISTEN TO ME

  • Been here since I was 12
  • Fanfic writer
  • I’m smart
  • “I was here before TF was cool” hipster status
  • Transformers consumed my life

THAT’S MY QUALIFICATIONS OK HERE WE GO

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Fig chatter! (Q/A)
First off, i just wanna say thank you so much to everyone for all the super nice and encouraging notes! It always makes me to happy to see that my work is making people happy and your notes really help to motivate me to do my best at this comic!

Yep!!! That manga is one of my favorite things in the whole world so it really really influenced my comic.


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Edible Arrangements

(Hilly knows a couple things as a tadpole. He knows there’s probably a lax bro hitting on him, and that Bitty’s super-secret boyfriend may or may not be a middle-age lumberjack sugar daddy.)


Hilly knows a few things about Samwell’s hockey dynamics. He knows he is a tadpole; he initially expects to be hazed to the ground and forced to eat dog food or something like his roommate, who is currently rushing a frat. He expects the Haus to be dirty and filled to the brim with red cups and sticky floorboards. He also knows not to hang out with the lax team because Ransom and Holster said so, even though a cute boy who he thinks is from the lax team winked at him in his Intro to Anthropology class. He knows that NHL’s very own Jack Zimmermann, son of ‘Bad Bob’ Zimmermann and legendary hockey extraordinaire, is a Samwell alumni, and had slept in the very room which Chowder, their goalie, currently inhabits.  

But Hazeapalooza turns out to be nothing as bad as he expects (he even gets homemade pie out of it, even if Holster gives him the side-eye). And the Haus is cleaner than a sports frat house should be. The hockey team is nice (and surprisingly socially aware) and Hilly likes Samwell fair enough, but he misses home sometimes.

But Bitty makes things better. Hilly likes Bitty a lot. He likes hanging around the Haus and watching Bitty roll pastry dough with a practiced, methodical hand because it reminds him of how his mom used to bake cookies for him and his sister. Bitty doesn’t mind too much (he thinks) that Hilly may want to go on a date with a lax bro. Bitty bakes him peach cobbler with crumbles toasted a golden brown and talks about his family’s jam recipes. Bitty is open and warm and welcoming. However, the one thing Bitty doesn’t talk much about is his boyfriend.

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INFERIOR FUNCTIONS APPRECIATION

I’ve seen too many posts about how inferior the inferior functions are! They’re usually measured against higher positions in the functional stack, and, while this doesn’t necessarily lead to inaccurate assessments (and they may be quite worth it to make), I would like to look at them through another perspective - because, sometimes, less is more.

So here’s what I appreciate about all the inferior functions when they are acting in healthy integration and moderation.

Inferior Se in INJs.
I can be in silence with you and enjoy it. I can take pleasure in the smaller things, such as a delicious meal or a pleasant scenery. I don’t have to worry about how I look like most of the time or even if I have much material success - because even when these things matter to you, they’re not your top priority. I know you won’t force me into rushed and overwhelming situations if you can help it and will have more patience than you’re normally given credit for. When you do engage the physical world as fully as you can, it is imbued with rich symbolism and meaning, unlocking and revealing universal truths in the simplest of things.

Inferior Si in ENPs.
You take bits from here and there and elevate them into wonderful and fascinating webs of information. As long as you can tell reality from fiction, I can greatly enjoy your fabrications and even your comical and dramatic exaggerations. You’re hard to pin down and keep a hold of, but you can also be incredibly sentimental and treasure significant moments with others for many years to come. Doing things the way they’ve been done isn’t your thing, and this can get you in trouble, but it can also give way to memorable adventures. Your life is, figuratively or literally speaking, a collection of souvenirs from all over the globe.

Inferior Ne in ISJs.
I love your brand of theorization and creativity - it’s well-founded and substantiated. You know better than to jump at every possibility and would rather evaluate more thoroughly. You’re not as close-minded as you seem. Often, you’re just more concerned with the implications and ramifications of choices than others are or can be. You have talent to read between the lines, but you’d rather not assume and jump to conclusions so you prefer to have things made clear instead. Your sense of humor is delightful and usually of good taste (although you would also mock both deserving and undeserving targets every now and then).

Inferior Ni in ESPs.
You realize that there’s more than meets the eye but don’t get caught up in that. Spirituality (or whatever you would call it) is important to you in a down-to-earth manner - you try to live it and unfold your answers as you go. There’s no point in worrying too much about the future when, obviously, it’s the present that manifests it. And in any case, what you envision is adaptable and can generally roll with what comes your way. You don’t need to have a purpose or end goal for everything you do, and as a result, life doesn’t pass you by and you grow with every new experience.

Inferior Te in IFPs.
You’re not in the business of telling people what to do, except sometimes. And even then, you’re more endearing than bossy. You make sense of the world with incredible depth and are easily both inspiring and motivating because of it. You have a way with words that is smooth and swift (or, at times, fiery). You can be feisty and stand your ground when necessary. And while many wouldn’t take you very seriously, you are quite capable of making valid points on issues you’re well-informed in that contradict what the majority thinks. You’re smarter than you appear, which is eventually a slap on the face to those that underestimated you.

Inferior Ti in EFJs.
Your half-baked hypotheses are doorways to exploration. There are many subjects I wouldn’t have considered if it wasn’t for your willingness to examine them despite how crazy-sounding they were. There’s a bit of truth in everything and we can learn from everyone. Maybe you make quick judgments about people and this can be off-putting, but there are often reasons for them even when the rest of us don’t see them. You know what makes people tick better than most - so let us hope you’re on our side and use this for good.

Inferior Fe in ITPs.
You know what it’s like to be awkward and not fit in, so you don’t hold others to unreasonable social standards. It’s okay to be off-beat and weird with you and you welcome it unless it is indeed unjustifiably harmful. You know how to comfort others with the truth and by distracting them with something more interesting. You would do a lot of kind and loving things for those you care about even when it takes a huge amount of effort on your part. Being adorkable is part of your charm and I can’t hate you for it unless you abuse it.

Inferior Fi in ETJs.
You may not be the most morally correct in the room, but you try to do what’s right. And to you, that often means cutting the bullshit, being practical and tackling problems as they arise to ease the load on others and lead them into a more fulfilling state. You’re rarely self-righteous or shocked and indignant at others’ sins (unless they’re beyond gross and absurd), as chances are we’re all rotten in one way or another to some extent. This makes you more accepting of others, which, seemingly paradoxically, allows them to come to terms with themselves and break out of bad habits to make better decisions next time.

eastofthemoon  asked:

Here's a thought for you, when Shiro comes back from wherever he vanished to, for him it's only been like an hour but for everyone else it's been like five years or maybe even a decade?

:3   I like a decade.


Immediately after stepping out of the Black Lion, something felt wrong.

Something was different.

Shiro stood in place, helmet on his lip until it clicked.  The hangar was rearranged.

Not that it had a lot of things in it already, but there was some equipment on the walls and shelving, and it was either switched out or moved around.

An odd thing to do, while he was flying around Zarkon.  Shiro found himself a little irritated at the idea - he was the one who used those tools most, after all, and someone else messing with it made him antsy.  But he shook that off.  It wasn’t like Shiro owned any of it, and Allura and Coran had every right to move it around as they pleased.

That settled, Shiro walked back out, head tilted.  Was he the first one back, somehow?  He didn’t remember anything after passing out during that battle until he woke up in the Black Lion, hungry and cold but otherwise intact.  Maybe Black had flown him back and he had just woken quickly?  

Shiro put his helmet back on, listening for the inevitable post-battle chatter, at least from Allura and Coran.

Nothing.

(read more below)

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Who owns me? (part two)

Bucky x reader

Notes: mentions of past trauma, violence, past torture/brainwashing, fluff, smut, discovery of past self.  

Summary: when Bucky’s in hiding in Romania, he finds a girl he’s sure needs his protection. He doesn’t remember who gave him the mission; but he’s so sure some one gave it to him. After setting it all up, he notices that there’s more to this girl than meets the eye. She might need him watching over her more than he initially thought.

(This takes place after TWS and before CW)

A/N: Hi guys! second part! might do more, might not. I’ll have to think about it ;) Enjoy! x

Originally posted by caps-bucky

Bucky wakes in Vienna, Y/N gently rouses his shoulder to wake him and smiles when he instantly opens his eyes and sits up.

“We’re here” she says softly, and he feels a strange tingling sensation in his belly and chest at the sound of her voice.

Before she’s able to pull away, he grabs her hand the way she did his the day before, unwilling to break the connection he feels when she touches him. Y/N only smiles and squeezes his fingers before she pulls away to grab her backpack.

The loss he feels when they disconnect is imminent and he rushes to grab his own backpack from the floor, just to be able to be closer to her and get off this train and just hold her hand again.

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Confession: Arrow 5x17 Review (Kapiushon)

Episodes like “Kapiushon” are the reason I love Arrow.  Taunt, dramatic and emotional storytelling that is driving towards some larger truth.  We kid about Oliver’s manpain sometimes. Sometimes out of frustration for the things he does. Sometimes for Arrow’s laser focus on the central character, occasionally at the cost of a supporting character’s story. But Oliver Queen is the center of this story for a reason.  

Man or a Monster by Sam Tinnesz and Zayde Wolf

When you close your eyes, what do you see?

Do you hold the light, or is darkness underneath?

In your hands, there’s a touch that can heal

But in those same hands, is the power to kill

Are you a man, or a monster?

Are you a man, or a monster?

Are you a man, or a monster?

When you look at yourself, are you a man

Or a monster?

It’s so hard to tell which side you’re on

One day is Hell, the next day is the dawn

The lines are blurred, you keep rubbing your eyes

The tables turn, now it’s time to survive

Are you a man, or a monster?

Are you a man, or a monster?

Are you a man, or a monster?

When you look at yourself, are you a man

Or a monster? 

You can’t take back the damage you’ve done

Oh, you can hide, but you can’t run

No, you can’t take back the damage you’ve done

Afraid of what you might become

A man or a monster

Arrow is driving towards bigger questions with this character.  Who is Oliver Queen? Is he a hero? Is he a man at all? Or is he something much worse? This deep examination should force us to reflect on our own humanity, compassion and moral compass. It’s a lofty goal for a television show that’s “just on the CW” or “just a comic book show” but these are questions most shows are too afraid to ask. Arrow isn’t about Oliver’s manpain. It’s about his trauma. Real, excruciatingly painful, trauma and Oliver has to deal with it or he’ll never truly be free. 

Arrow is pushing Oliver, and us, towards these questions because they require answers. Since Oliver is the only one who can provide those answers, Arrow forced him to face the darkness tonight. So he can find his way to the light. Real, lasting, life sustaining, light. This show was never just about a man becoming a hero. This show is about saving a man’s soul… but first we have to start with confession.

Let’s dig in…

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Spirit Working Cycles

[Disclaimer: This is my personal upg of your body’s natural cycle. Some people have reported either not having a hyperactivity period or having them so subdued that it isn’t an issue, so just use my post as a guideline for discovering your own needs. And natural fallow periods aren’t the cause for every downtime out there, some will be caused by blocks such as past trauma, energetic blockages, spirit influence, sickness and more. Some of those do require some sort of intervention and are good to get rid of!]

One of the biggest things I’ve seen you guys distressed over are the times where you are not working with your spirits! You’re not communicating (if you can communicate at all during this time), you aren’t really aware of their presence, you go ages without wearing their vessels, you just don’t have the strength to keep up with the work you want to do!

And then you grow frantic and anxious over what the spirits are thinking about you. You’re afraid of them hating you and leaving for how long you’ve been ignoring them. Or maybe they could be depressed by your sudden lack of interest, like you’re their best friend who suddenly cut contact and is ignoring their texts and calls. You may be worried about all this during your period of inactivity and can’t fix things despite being aware of them. Maybe the stress is even making it worse than before and now you can’t feel them no matter how hard you try!

So when you start to get in a better spirit working state, you’re afraid of speaking to them now, afraid of what they’ll say and if they hate you and if they’ll ever accept you back as a friend…

Guys, this is totally normal. This is a natural body cycle (well, psychic body cycle!) just like menstruation! I haven’t heard nearly as many people talking about it as I would expect, so let me break down your spiritual fallow periods!

(yes, it’s a lazily drawn graph)

The graph is divided into three horizontal sections: Hyperactivity, Normal State, and Fallow Period. The colored vertical sections are parts I want to pay particular attention to. And finally the curving black line represents your spiritual state.

Area 1: Here, you’re in a state of growth. This is fantastic! You’re learning and improving!

Area 2: You are neither growing nor declining, but there is nothing wrong with this. Many people spend the majority of their time in stasis, their growth periods coming in sudden, sharp increases. Others will almost constantly be in a state of growth too gradual to see. Any way is okay as long as it is your way!

Area 3: This is your decline stage. It isn’t quite a fallow period, but you may notice that you are not quite as sharp as usual or have trouble concentrating on spirit activity. This is fine, it is your body preparing itself for a state of growth, recovering from large energy use, or just focusing on other things. You can also enter a period of stasis before your new growth period as your body recharges. If you feel you are in a stasis period after declining, take some time for both spiritual and mundane self care!

Area 4: Here you have peaked into a time of hyperactivity.. Your senses are better than ever before and your spirit working skills are on fire. This is not necessarily a good thing! Many people don’t know how to manage themselves during this time and end up burning out into area 5. When I was in high school and attended band camp (which wasn’t really camp as much as it was all day summer practices), most parents gave their kids twenty dollars for the entire week’s lunch. As one might expect, the kid spent the entire twenty dollars on day one and spent every other day either hungry or bringing whatever scraps they could find at home. This lack of saving is similar to what you might do during your hyperactivity stage! I’ll speak more later on how to manage this stage.

Area 5: This is a sharp decline after the hyperactivity stage due to burning out. It is possible to exit the hyperactivity stage without going into such a decline, but it cannot be avoided every time. This type of decline typically happens in a very short period of time, even overnight.

Area 6: Here is the moment you’ve been waiting for: your fallow period! This is not a bad thing! Essentially this is your body’s way of resting and recharging so that it can stabilize itself to go back into spiritual matters. Your senses may be distant or nonexistent, your communication may be difficult even with the use of tools, and you may feel a disconnect from spirit work in general. Do not panic and push yourself to do spirit work; you will only damage yourself and spend more time in this state! Strive for self care right and grounding right now. It is perfectly fine to separate from spirit work right now and even recommended for some people. Dive back into the mundane world!

Area 7: Finally, you’ve exited your fallow period! Many people go through growth after their fallow periods because their bodies are so fresh from recharging. Don’t burn yourself out, but feel free to have some celebratory communication with your spirit friends!

So you’re saying my fallow periods aren’t abnormal? They’re good?

ABSOLUTELY! Not only are they good, but they are necessary for you to maintain your abilities! Going without fallow periods would be like going without sleeping. You would eventually crash and burn from the lack of rest, and then your fallow period would be more akin to being knocked unconscious than a good night’s sleep. Don’t try to push them away.

And my spirits really don’t care?

Your spirits are more attuned to spiritual needs than humans. Not only are they going to be aware of this cycle, but they may go through it too. Almost everything goes through it. If you’ve been with a spirit for a long time, you may have noticed times where they don’t communicate much or fade into the background. They also go through periods where they have difficulty communicating with physical creatures. Some will hide this very well, while others will be very upfront on the subject.

How often should I be getting these? How long should they be?

This depends entirely on yourself. Everyone has a different natural cycle. Some people will have cycles of sharp increases and decreases, with every stage lasting in bursts. Others will have almost constant growth, but it is so gradual that they feel as if they are in permanent stasis. Your fallow periods are going to be whatever your body needs. If you need longer periods to recharge then it will be longer, and perhaps lessened in intensity. Others will have shorter periods, but they are more intense because your body has to dip so far down to recharge so quickly. It is not always even, either! Most people have fairly even patterns within their cycles, but it is possible to be everchanging. As for your hyperactivity, this is usually a sharp, albeit short-lived, spike.

Now onto how to manage your cycle!

Signs of entering a hyperactivity period:

  • Pressure, vibrations, buzzing, or other unusual sensations in your third eye and other energy centers
  • Psychic senses are suddenly intensified, possibly to the point of discomfort
  • Feeling as if you are not grounded
  • Difficulty grounding
  • Floating sensation
  • Headaches
  • Disconnection from reality; disassociation
  • More attuned to the astral and physical planes than your physical body
  • Others notice that your energy is bold and even chaotic, much louder than usual
  • You attract spirits more than in your normal energy state
  • Seemingly endless energy for spirit work and other related activities
  • Sudden motivation for spirit work, you may feel an exaggeration of your skill level
  • A disregard for discernment

How to manage a hyperactivity period:

  • Ground frequently! While it may feel useless, it will help to stabilize you in the long run
  • Discharge your energy into crystals and other storage units. It will give an outlet for excess energy and give you boosts when in need
  • Attempt meditations focused around peace, calm, and stability
  • Spend time in a garden or otherwise surrounded by nature, and ground by extending your energy like roots into the earth. Doing this will help to connect yourself to the energy system around you, the plants aiding in keeping you stable
  • This is a good time to look at the big pictures of vast energy systems. Try looking at the energetic connections within a forest, or between houses in a neighborhood.
  • Do not go overboard with spirit work, energy work, magic, etc! You will not start to feel the effects of burning out until it has happened. Work on grounding and stabilizing and try to not overwork yourself.
  • Consistency is the key! Instead of spending your energy all at once, try to use this time to be consistent with your spirit senses and communication. Consistency takes much more energy than you may realize!
  • Although you shouldn’t do everything all at once, that doesn’t mean you can’t get things done right now! Feel free to work on that big project, just pay extra attention to your spiritual health and go easy.
  • Don’t get arrogant or stupid! While confidence is good and important, don’t let your abundance of energy convince you to summon a nuclear doom spirit of death without protection. You will regret power trips.
  • Practice discernment! You may feel concrete in your senses right now but it is just as important as ever
  • PROTECTION!! Some people become larger beacons for spirits during this time, so up your protection and be wary of strange spirits. Even if you do not become more attractive than normal, energy siphoning spirits will still be drawn to the excess of food in you
  • Be extra polite to local spirits. Perhaps put up a ward to quiet your energy to others or if possible avoid going into particularly active locations. Even if they have no wish to snack on you, the loud energy can be obnoxious.

Signs of entering a fallow period:

  • Disinterest and lack of motivation for spirit work, energy work, and magic
  • Psychic senses are distant or nonexistent
  • Tools seem to fail or are difficult to understand
  • You do not naturally notice telepathic speech from spirits
  • Discernment is difficult, or you may feel that nothing is real
  • Attempting spirit work, energy work, or magic exhausts you
  • You are constantly distracted when attempting to meditate or astral travel
  • You think less of your spirits throughout the day
  • You are more drawn to mundane activities, such as watching tv, and feel the need to skip or pay less attention to daily exercises
  • If you feel guilt over ignoring your spirits, you are still unable to communicate well
  • Sudden frustration with your lack of ability and progress, feeling as if you have retrograded
  • Sadness or other negative emotions at the sudden sense of disconnect from your spirits, as if your bonds have disappeared

How to manage a fallow period:

  • Focus on the mundane world! Your body is not meant to be overworking itself on the nonphysical right now
  • Work on gentle physical self care
  • As you breathe in, visualize energy in your body like liquid streams of light collecting and brightening in your third eye and any other places you use as psychic energy organs. As you breathe out, it gently diffuses outwards back throughout your body, dimming as it is once again returned to its regular density. This helps to keep your psychic energy points in shape.
  • Visualize your energy like before, but when you breathe in it flows in a steady, circular cycle upwards from the tip of your toes through your chest. Let it pass through your third eye, and as you breathe out it completes the second half of the cycle by curving downwards, flowing through and cleansing that side’s energy centers as it does so. Rather than being in a single ball, the energy is in a constant, equal flow like the blood in your veins. This helps to keep your energy clean and flowing and cuts down the risk of stagnation during your fallow period.
  • If you must do any sort of spirit or energy work, make sure it is very slow and gentle like the two exercises above. It must not conflict with your body’s rest. If you wish to practice meditation, don’t do anything requiring long periods of focus or that demands energy. Try doing meditations for sleep or calm which do not involve any spirit contact, but only focus on relaxing your body.
  • Spiritual protection based in the physical plane is very good to have for when your fallow periods occur! These are things such as witch jars and large scale crystal grids. It is easier to keep these clean and working, since you may not be able to sense purely nonphysical protection like wards at all.
  • If you wish to remind your spirits that you have them in your thoughts, include them in a daily meal by offering its energy as you eat. Simply thinking this will most likely be enough for them to hear, but if you want to be certain, say it aloud or whisper it if with company!
  • Before you go to bed, invite your spirits to sit with you as you tell them about your day, no matter how mundane. Even if you can’t sense them around you, this will show them that you are still keeping them in your thoughts and taking the time to include them in your day!
  • However, it’s also okay to simply push spirit work to the back of your mind and focus on pressing mundane matters. They will understand.
  • Above all, remember that your spiritual self is resting and recharging. Do what your own body needs to encourage this rest. Don’t try to rush past it or forcibly stuff energy into yourself, most likely you’ll end up hurt and elongating this period.

So hopefully this guide will help on the stress everyone seems to get during their fallow periods! It’s always important for us to understand the natural workings of our bodies, whether physical or nonphysical. Start including your daily thoughts on your current location in your body’s cycle to start recognizing your patterns, and maybe to even predict when your natural downtimes will occur!

JB Homophobia Analysis

Okay so there’s been a lot of bickering within the got7 fandom over what JB said during his celebrity bromance with Youngjae. Firstly, I’m disappointed in JB but I’m more dissapointed in people defending his actions. It wasn’t just one mistranslation, it was literally throughout the entire video. This is gonna be long but I took screenshots and I’m going to break it down for people who still can’t see why what he said was wrong.

But before that I just want to say this does not mean I think we should be sending him hate. In fact, we should be educating him on why what he said isn’t okay and a simple apology isn’t the end of the world. Idols aren’t perfect, they make mistakes and have flaws. JB’s homophobia is one of them. There’s nothing wrong with correcting ignorant behavior, but ignoring it just means it can happen again. Alright, I will now go in depth about the screenshots I took. 

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"HANNAH FUCKED CLAY'S LIFE AND OF EVERYONE ON THE TAPES"

Okay. I just want to say what i think about this. I’ve seeing a lot of people hating on hannah because she “ ruined clay’s and Alex, Zach, etc…lifes.”

Clay didn’t deserve to be on the tapes but he MUST be because as Hannah said was her story and if she was going to tell it Clay couldn’t stay outside.
Tony did not deserve the burden that Hannah left him but I also understand Hannah a lot and because she did the things she did. 
Also, we have only some of the reasons. Not all. For which Hannah killed herself, because the list said more.
Besides that, is true that Clay suffered a lot and if Hannah had been clearer with him surely she would have saved.
But Hannah was very hurted and got tired of asking for help from the wrong people and Clay really liked her so I understand why she felt afraid and was embarrassed to tell Clay what was wrong. (Removing the fact that she thought it was only going to ruin him, I think it went beyond that)
She didn’t want to lose him but she losed him anyway because he ended up going.

The point here is not Hannah.
Unfortunately, the point here is Clay. And Tony. And all who could do something but did not.
The point of the story is that, it makes everyone stand up and think ‘I should have listened, I should have said this, I should have insisted’
When Tony said he ignored the tapes until half an hour later because he thought Hannah was a bit dramatic. When Clay got scared and left the room because he did not know how to react. All those are things that they know were wrong. They could have changed everything from having been a bit braver or not to have judged.
So I’m not judging Hannah or thinking that she was wrong for put Clay in the tapes, Clay already suffered from panic and anxiety before the tapes.
This just hit him more and did all that because he suffered those things and Hannah didn’t knew but still, Clay needed to know the truth.
And Tony told to him this several times.
If Clay did not listen to the tapes, there would be no story.
Besides, was needed that clay to be brave to make everyone recognize their mistakes and do justice. If Hannah never made the tapes, what happened to her was going to keep happening.
And that’s what the show want to teach and that’s what Clay tries to prevent.

Yesterday I read that a girl put “I hate Hannah because of her Clay’s going to spend his whole life trying to save everyone”
I think not just Clay, everyone on the tapes are going to think twice before doing things and I think that’s not bad.
Sometimes the truth hurts. Sometimes people prefer to ignore things to do something because it’s very painful to face it or take justice. But sometimes ignoring it is worse. And that’s what Clay learns. That it is necessary to speak when one has to speak and do something, that one has to be courageous.
That’s why Clay also continues passing the tapes at the end to Porter because everyone needs to take responsibility for what they did. ( also that jessica asked him for do it) And if you can not live with it, you try to live to repair it. And If what you did has no way of being fixed you have to live with it in the way you can.
But you can’t live like nothing if you made someone kill himself.
No matter how few intentions you had or how little you did compared to others, you did it, and anyway, none of those who did Hannah things had good intentions.
Not even Zach.
Just Clay.
That’s why, although for clay it was very painful to listen to the tapes and this almost did killed himself ( i cried a lot in that part) I think he had to listen to them and it’s like Tony said “you’re not God, you can’t stop everything”
Clay only feels guilty because he couldn’t save Hannah but none of they could, they all failed even if Clay loved her.
Tony is very sensible about what he said to Clay, because he needed to know about the tapes but he also had to know that he should not be there, that he didn’t do anything wrong, and that he was the only reason Hannah could have had to stay.
But I think guilt sometimes causes people to react.
And even if to Alex made him kill himself, if the tapes did not exist they would all have continued to live their lives quiet while Hannah killed herself.
And Bryce and all those who fucked up his life would never stop hurting others.
What is being said behind the scenes “if Bryce or any of them don’t get a cost for what they did, they will keep doing it over and over again.”
So I think everything had to be in that way. If Clay wasn’t on the tapes, nothing would have happened and no one would have done justice. Jessica would have believed Justin just as long as who knows and when she knew, she would not have the courage to talk about it or face anyone. Justin would never have considered the things he did or would never have had to tell Jessica the truth or face Bryce and break their false friendship. Bryce would never have confessed and would continue raping girls because no one of who are in the tapes faced bryce. They just left it that way. They kept their mouths shut for their own protection.
The only one who did something is Clay. And Alex would have continued to do things to be part of the bryce group and the idiots. Alex would have continued to do lists or who knows other things.
Marcus would have continued to play girls whenever he felt like it.
(And although many believe that zach is innocent and what he did was minimal or not important, I do not think so) maybe what Zach did was minimal compared to others in the tapes. But it matters. In the end, everything matters.
As hannah said is a snowball that is getting bigger.
So Zach stole the only source of happiness that Hannah had at that time (besides he being very childish making this lmao) and not only that, Hannah wrote to him a letter telling him how much she was suffering and that she needed those compliments.
And Zach ignored the letter. Maybe he did not throw it. Maybe he saved it. A point for Zach.
But he ignored her. He did not do anything. And sometimes don’t do anything is worse than doing it. That’s what the series is all about.
Maybe Zach was scared but I refuse to have compassion on him and minimize what he did, because minimizing what Zach did would be minimize the pain of hannah, and I think we’ve all learned that’s a BIG mistake. Minimizing the pain of others is not good. Zach might have a good heart … or not.
I’ve seen the series already three times and I could not help think: why do y'all overlook the scenes where Zach is a bully? LITERALLY. Zach laughs and encourages Bryce to send the picture of hannah from Justin’s phone, Zach makes obscene gestures along with marcus and the others to Hannah in the hallways after Alex’s list, Zach pushes Clay down the hallway and mocks on him. Zach stoled clay’s bike with Alex and Justin. ZACH AS THE OTHERS KEEP SILENCE ON A RAPIST. Zach continued to be friends with this rapist. Was Zach scared to help Hannah? But not scared enough to bullied others?
Maybe Zach wanted to be a marine biologist and maybe he’s allergic to strawberries. But I’m not interested. Because Zach is no different from the rest. And if Clay had not scratched his car, and if he had not faced Zach, maybe Zach would have done worse things in the future, he would have never felt guilty at all.
If Hannah did not make the tapes or did not include Clay in them, maybe Mr. Porter would never know the truth and ignore other people asking for help or advised them wrong again, and Hannah’s story would be repeated.
Maybe Courtney would continue to pretend to be friends with everyone and use people to cover her homosexuality. And Tyler would continue to spy on people and stalking people through his windows and would continue to take photos and violating the privacy of others if Clay had not faced him and the tapes did not exist, because he would never understand what hannah felt if clay did not make him feels it too.
And Ryan would continue stealing things that do not belong to him and leaving others in ridicule for his own arrogance.
And Clay would never know that it is better to say things when you should and when you have the opportunity because you could save a life.
And nobody would know the importance of what they did and said. And sheri would continue to do bad things and leave them that way that could lead to the death of more people and not just Jeff. And there would be more than one Jeff.
The only one different on the tapes is Clay. So clay had to be in the tapes because otherwise, they would all have continued to live and who knows if the tapes had kept going, maybe Bryce would have burned them and no one would ever know the truth more than they. And maybe he would have even looked for Tony to get rid of the copies or who knows.
Because not even Tony was encouraged to do something when he knew the whole truth Even Tony did not know what to do, just Clay.  
Because it’s easy to stand up and say “Hannah is a bitch she ruined everyone’s life with the tapes”
But what about her life? Who would pay anything for ruined Hannah’s life?
Were all the others supposed to keep living peacefully because Hannah was dramatic and crazy according to them? No.
 Hannah and Clay are the ones who didn’t deserve so much pain throughout history. Then maybe a little bit Alex and Jessica.
But everyone else deserved to be on the tapes and deserved to take responsibility for what they did. And I think Hannah was not dramatic. That’s all. Thank you if you read this mess until the end.

The nephilim and Team Free Will: future and determinism

This is a post that started out as an analysis of the scenes where Kelly’s and Cas’ eyes glow golden with the power of the nephilim, and ended up a long longer than I planned. My argument is that the nephilim is the new agent of determinism in the show, and somehow I accidentally ended up drawing the conclusion of romantic Destiel. I never do it on purpose but it always happens. (It’s not a post about Destiel. It’s a post about free will and destiny. Go figure.)

Please read this, it took hours to write and I should be writing my thesis instead.

The starting point of my reflection is: is the nephilim exercising a form of mind control over Kelly and Cas? My answer is yes and no. I mean - in the substance, it’s something like that. But I think it comes from a different place than ‘mind control’, and has larger implications in the context of the show.

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Ash vs Evil Dead [sentence starters]

[feel free to change pronouns as necessary!]

“So, does this mean I don’t have to pay back the 20 bucks I owe you?”
“It was 200 bucks.”
“Brand spanking new hand, or brand new ‘spanking’ hand!”
“I’m not dead, you dumb bastard.”
“Oh wow, that was weird. You were really still for a minute.”
“You mind telling me what the Flying Dutchman is going on?”
“We’re course correcting. Rebuilding the family you tore apart.”
“Oh here’s a question, if we had sex right now would it still be a threesome, cause technically you’re both the same person?”
“No one escapes their destiny, ____.”
“Don’t you worry my little burrito, you’re safe in this trunk.”
“Nothing helps, does it?”
“Of course you don’t answer. Because you’re DEAD.”
“You’re both dirty birds, and I’m gonna hurt you, real, real bad.”
“Yes, I’m upset. Yes, I’m behind the wheel. Yes I’m drunk, and maybe my license isn’t the fancy kind from the DMV, but at least I’m drunk!”
“Okay, I’ve seen some seriously disturbing stuff recently, but you are adorable.”
“Sorry ____, you played right into my hand.”
“Sorry ____. Sorry you got caught up in this bullshit.”
“Keeping my end of the deal is boring. It’s more fun to change things up at the last minute. Keeps Everyone on their toes!”
“What the Fraggle Rock is THAT thing?!”
“My children stole my immortality.”
“I’m gonna find him, take my chain saw, shove it right up his ass.”
“Yeah, that’s like a felony.”
“That is horrible, and also awesome.”
“Holy pickle dicks!”
“You’ve got some huge balls showing yourself in this town.”
“You! You ruined my life!”
“I’ve ruined a lot of peoples’ lives.”
“Oh, _____. Do you really think I want you and your little friends to die?”
“Man, making decisions is hard.”
“You say one more dumb thing… “
“I’m gonna say a lot of dumb things!”
“Everybody dies here, it’s just the rules.”
“What’s out there knows you’re alive, and it wants you to be un-alive.”
“You think THIS is the right time to be hitting on me?!”
“Shoot first, think later. Or don’t think at all. Yeah! Shoot first think never!’
“Oh, I’ll be polite. Right up until I’m rude.”

anonymous asked:

would you write a fic/headcanon about isak looking after a hungover even and even looking after a hungover isak? seeing the differences with what they both like and need when they're hungover and the comfort that soothes them <3 your work is incredible!

when Even is hungover:

  • Even doesn’t actually really get hangovers he’s that asshole who hangovers just don’t happen to
  • in fairness he isn’t a massive drinker, even if he wasn’t drinking in moderate because of meds and his health alcohol wouldn’t be his substance of choice (that substance would be a little more, ahem, green)
  • he usually gets a bit of a headache if he was drinking the night before and he’ll play it up like he’s going to die if Isak doesn’t get him a glass of water immediately, but he’s actually fine. Even usually wakes first too so he gets his own water and has a couple painkillers and he’s all good but he likes to make out to Isak that he almost died because Isak couldn’t be bothered to get out of bed to get his favourite boyfriend some water
  • Even doesn’t really get the love of alcohol if he’s honest???? like yeah some of it tastes nice but most of it tastes like shit and it feels bad to drink and he’s seen what a bad hangover looks like and he doesn’t get why people would do that to themselves. nah. not really his scene. too loud and too messy and too much.

when Isak is hungover:

  • now Isak is a different story
  • if Isak drinks he always ends up drinking harder than he probably should and he ends up with hellish hangovers and can hardly move for the next 24 hours
  • Even discovers pretty early on that Isak’s solution to hangovers (and most other things tbh) is to sleep it off. it’s not exactly a solution though????? because it doesn’t cure the hangover it just means Isak waits the thing out?????
  • Even’s had his fair share of big nights out and friends who do get hangovers so he knows some tricks and if Isak has plans to go out Even makes sure he has necessary ingredients in for his magical hangover cure drink
  • he also makes sure there’s a big glass of water next to the bed for when Isak gets in (he always leaves a cute doodle with it reminding Isak to drink all the water before he goes to sleep)
  • hungover Isak is the most pitiful and needy thing Even has ever experienced, right up there with sick Isak
  • Isak demands to be cuddled so he can press his face in Even’s chest and block out the sunlight
  • but he’ll also make sad tired eyes up at Even and pout asking for fried food (he swears it always help a hangover pass) but if Even tries to get up to make something Isak just about throws a fit so it always ends up with Even awkwardly phoning the take out place while Isak is using him as a life sized teddy bear
  • the main thing Isak gets with a hangover is more thirst than he feels should be physically possible, so Even makes sure they have a lot of juice in (he tries not to let Isak live off fizzy drinks, which Isak would if he could)
  • thankfully Isak isn’t one for vomiting everywhere when hungover, but there have been a couple of nights when Isak stumbled straight to the bathroom to empty his stomach before he does anything else (those are usually the nights that someone convinces him to do shots, he just isn’t meant to drink like that RIP)
  • but if he’s been sick the night before Isak will feel even more sorry for himself than usual and needs a lot of cuddling and kisses (only after he’s brushed his teeth, even Even’s love has limits he’s discovered)
  • when Isak gets the spins (this usually happens if he comes home drunk out of his skull) he’ll clutch onto Even like he’s the only thing anchoring him to this world. Even kinda loves it, though he doesn’t love the sound of Isak’s anxious breathing as he tries to regain his sense of equilibrium
  • Even’s magical hangover drink usually works pretty fast though and it doesn’t taste half bad so Isak doesn’t protest necking the concoction back the next morning
  • he does protest that Even won’t tell him what’s in it though. Even insists that it has to remain a secret otherwise what will Isak need him for???? Isak usually rolls his eyes and gives Even some sass, because he’s hungover not dead and death is the only thing that will stop Isak Valtersen’s sass
  • like I said, Even’s concoction works pretty quickly so Isak only really suffers for about an hour after he’s drained the glass, but he still feels kinda gross and sluggish after a night out so those days are always reserved for cuddles in bed and quiet activities like watching Netflix
  • Isak always whines and swears he’ll never drink again, and Even can’t help but laugh because he knows they’ll be in this exact same position in a couple weeks if not sooner
  • but that’s alright
  • because he’ll always be there to make his magical hangover cure and cuddle Isak back to full health
Mikasa Ackerman and Historia Reiss

This review will be somewhat extensive, reading various analyzes of different people and my own 

Is obvious that Isayama has placed a few parallels between characters that are very different and shows in various panels.

example


Historia is similar to Ymir and Eren, but there is a symmetry in situations with Mikasa that separates them from the other two respectively and I think Mikasa is aware of this similarity, you could say that “they are like two sides of the same coin” ..

The whole life of Historia and Mikasa is about the basic cruelty of humanity.
But even the way to lose their mothers is so similar and contradictory at the same time.


In the case of Mikasa his mother died in front of his eyes trying to protect her, this was a fortuitous event by bandits.

In the second case Historia mother denied it with all her strength and before death I wish her death, this fact was something planned by the government.

Having listened to Historia story, I am sure that Mikasa is the one that more than any other person shown, would be familiar with that concept, human cruelty and obviously,

 I think that already felt something connected to Historia, because like She, she also had a special person in her life, this brings us to the next point:


Relations with your special person


Well as you know Historia is the girl who is always with Ymir (Mikasa herself mentioned it in 37).
Like Mikasa is the girl who is always with Eren.

Mikasa learned from Eren something that served him all his life “If you do not fight you do not win”, this would allow him to survive even without Eren as seen in Tross

Historia learned from Ymir something that would also serve him for his whole life “Living with pride every day” this allowed him to rise even without Ymir as seen in the Reiss Saga.

Even the scene in which Mikasa clings to Eren and when Historia clings to Ymir it is rather strange.

Are different in everything but at the same time that parallelism that was seen in the childhoods of Mikasa and Historia  persists, just watch

“When Mikasa sees him, he runs with a stunned expression, unable to believe it and instead opens without Titans.

"When Historia  sees Ymir dying she runs to her and starts to cry, not caring about the Titans.

"When Mikasa has him in her arms, she breaks down and burst into tears.


"When they manage to rescue Ymir, the queen holds her in her arms and holds her tears, and they take a sweet look.

At that moment Ymir was aware and Eren knocked out, and for the freckle that moment was everything for her and for Eren that moment did not mean anything for being knocked out.

If you came to this point you will see that this parallelism is something fascinating and I do not think it is coincidence

The truth is that this reflects many things and the nature of the two relationships.

Being honest, it is difficult to think that someone as wicked as Isayama wrote something so "Poetic”

Something that until recently I had not noticed is that Mikasa has sympathy for people who like her have a special person in their life.

For example a small thing that is seen in the manga and in the anime is not reflected well, is when Mikasa sees to Franks and Hanna and he listens to him when this one says to him “tranquilízate I will protect you” (this part of the review takes it from Another truth I saw it a few days ago I think)


In the manga it is more than clear that I wanted to do this with Eren and he does it but it did not go as she expected

The greatest example of this we can see in the Saga of “Clash of Titans”
.
As you know Mikasa is an extreme girl when it comes to Eren always protects what she loves and even though she dislikes killing she does it to those who oppose, without hesitation.

But none of her other opponents had ever found herself in a situation like Christa was at that moment, with which Mikasa herself could be identified.

Jean himself told him (not everyone is willing to die for Eren), but Historia was willing to do everything for Ymir and the freckle felt the same is something that Mikasa could realize even the moment in Udtgar will have reminded her when she herself I cling to Eren when he was reborn, for that kind of connection with a loved one is not something “easy” to find.


I remember when Ymir ate “Christa” all his comrades treated her as a traitor right there, Armin also but Mikasa looked more confused than the others by the action of Ymir 

The confrontation with Historia, is very well written and the truth reflects enough, their feelings of both and that so far are willing to arrive but in spite of the threats it was noticed that he was hesitating and did not have a real honor to harm them and I leave them Free.


Now let’s explore their relationship in the Reiss Arc

Now the development between Historia and Mikasa in this saga was very satisfactory, although to the beginnings of the sleeve they had no contact, since it is obvious that it was not seen around Historia because the future queen was a surprise character that the Much development In the arc of the insurrection

We can appreciate how Isayama to them two in the first chapters of the Arc Reiss put them in several panels together despite being centered in Eren and the royal family
.
In this arc there are things that happened were screen and is very easy to explain.

For example in that Arch it is obvious that Sasha will have asked his friends what happened to Reiner, Berthold, Annie, what happened to the people of Connie and Historia what happened to Ymir is obvious that they talked about this, but they are things that They are not necessary to show since you can deduce it after analyzing,

Now Mikasa and Historia is obvious that they also talked about what happened before (just when they are going to raise firewood and come back together)

It is obvious that Mikasa apologized for what happened and has an idea of what Historia is going through in those moments.

Mikasa in the last mission despite the dead was able to bring his beloved and his family alive, but the other could not and instead lived the worst nightmare of Mikasa, to be abandoned by his special person, to lose his “home”

Even Eren himself spoke of Ymir because he saw Historia very sad and downcast (knowing that he is very insensitive).

Another example of what I am talking about is in 52 When Eren and Connie are peeling potatoes while Historia and Mikasa are cooking

Connie starts to speak badly of Ymir and the little blonde intervenes defending her, saying at the end “I know her” before this Eren and Connie looks at strangers, but Mikasa looks at Historia, I think it’s impossible for her not to feel identified with this.

His reaction when Levi mistreated Historia is funny

The good thing about writing Isayama is that there are things that one has to interpret from the perspective of our characters and Mikasa is one of the deepest characters

Mikasa’s reaction to the news that Eren will die is very similar to when Historia is abandoned, even that emptiness in the eyes is so similar the way Isayama showed him his expressions and the feeling of loneliness.

Also if we think well both are suffering in the same way and that contradictory parallelism in their lives and relationships is present back, since Eren is with Mikasa for good or bad but at the same time is far away and away, while Ymir is Very far from Historia but at the same time this with her giving him strength is pure poetry xD

Historia can understand Eren and Ymir very well, as has been demonstrated in the manga but in spite of everything Isayama did something much more impressive with Mikasa, although the two have opposite personalities in the course of the 2 Months the queen was seen closer With Eren, Mikasa, Armin


Also with so many things that have happened including Ymir (his death announced in the letter although I do not think he is dead yet) and now with the future death of Eren by deterioration, you can deduce how your relationship in Time sky is obvious That they are going to talk about this since it is something that you can only talk to someone who has suffered the same as you and come to understand your feelings, this is one of the great reasons why I really think that between all of them have become More close and will be closer in the future by this connection

Well repeat something in a previous post

Although if they asked me if those two girls are alike, despite all my more sensible answer would be:

They do not look alike

Since one of the girls decided to live by herself for the only desire of his person appreciated and the other girl decided to hold on to that person he appreciated.

But both girls were the same, the two shared a look full of sadness.

This was a long review I hope you have enjoyed until the next

Shocking Your Reader without Undermining Character

I think there is an important lesson that can be learned by examining a particular part of ACOWAR through the lens of a writer and exploring how, if it was approached from a different angle, it could solve some of the issues readers are having with characterization while still fulfilling what I believe Maas was hoping for. 

Spoilers ahead. I’ve written this in a way that I hope will be clear even to those who have not read the book (or have no interest in doing so) for the sake of communicating my point. Cause in the end, this is less about the story and more about writing as a craft.

We’re going to talk about the Eris reveal.

The goal of that moment was pretty clear, based on how it was structured - Maas wanted to end the scene on the sudden, shocking revelation that Eris was the missing member of the Court of Nightmares meeting. She wanted a moment where you would gasp, go “wtf, what is he doing there?!” and then feel compelled to dive into the next chapter. It’s a very commonly used tool implemented by many writers.

For those unfamiliar - Eris is a man known for his cruelty. He has been established as taking part in the abuse of two characters that are both written as sympathetic and people that the protagonist cares about (Lucien and Mor). Mor is present at this meeting. It is instantly made clear that she was not informed that he was invited. The sight of him is extremely triggering and her emotional turmoil throughout the scene reinforces to the reader that Eris is a Really Bad Guy. Not exactly something we needed reinforced, given that he tried to hunt down and capture/kill the protagonist earlier in that same book, but… ok.

So the goals of that moment were:

  1. Surprise us with the reveal of Eris.
  2. Make Mor’s reaction reinforce the sense that they are making a deal with the devil.

The thing is, this could have been achieved without having Rhys blindside Mor with Eris’s sudden appearance into the scene.

As these books are written from a first person POV - if Maas wants to surprise the reader, she has to make certain that it’s with something that Feyre either doesn’t know or carefully does not mention to the reader (the second one is a bit of a gamble, because if it isn’t done perfectly, it feels like a cop out). Having Eris’s entrance be a surprise is dependent on Feyre not knowing about it ahead of time - not Mor. There is no reason in terms of story structure to surprise Mor with that. 

And if Maas had made it so that Mor learned off-screen that this was going to happen, then she could have used that to increase the tension before the reveal happens. Feyre can notice how stony-faced Mor looks, how straight-backed and mostly silent. Feyre thinks it’s just because she’s having to face her father (another one of her abusers) and yet something feels different. She’s seen Mor with her father before - seen her glare the man down, holding her composure. But Feyre notices there’s a slight tremble to her now. She’s rattled. She’s not only angry but frightened. And her eyes keep darting to the empty chair at the table, her lips pursed tightly, her brow furrowing as she’s clearly trying to school her features into not revealing what she’s thinking/feeling. And seeing this, even tiny little moments like this, would instantly get the reader wondering who will fill that empty seat. It will increase their anticipation for the reveal that they now know is coming. Mor is a warrior - she is not a woman who scares easily - so something that gets that reaction out of her must be terrifying. The Court of Nightmares is full of monsters - perhaps we’re about to meet one of them. Given the setting, you’d still never assume that it would be Eris - so the surprise would still hit the right mark.

So by choosing not to let Mor know - Maas not only made Rhys seem incredibly heartless concerning his friend’s feelings, she also passed up on a really good opportunity to play with the reader’s expectations. 

And if Feyre was upset at being left in the dark (which is necessary in order to surprise the reader), Rhys and/or Mor could explain that Mor did not want anyone else to know. It would be made clear that Rhys came to her with the proposal to use Eris as an asset, explaining why it was so important, and even though every part of her is repulsed by the idea - she ultimately chose to agree - to protect Feyre’s secret and to gain an ally for the coming war. Because if Maas really wants to keep hammering on this idea that Rhys is all about choice - this would have been a perfect opportunity to do so. He gave Mor the choice whether or not they work with her abuser and it was her choice whether or not to tell the others. 

I think the takeaway here is that when you’re editing a draft, it’s not just a matter of fixing typos or changing a few words around here and there. One should really examine the text to see if there are potential moments there that you didn’t see before in your outlining or first draft stage. Maas gave herself a really powerful tool - the ability to raise the stakes with a subtle detail that would not detract from the main action of the scene - and she failed to use it. Either this was a conscious choice (because she really wanted to feature retraumatizing Mor) or she simply did not see that she’d set herself up for something much more powerful that would have kept Rhys more in-character (or at least, more fitting with the sort of character she keeps telling us he is).