which was actually acceptable

The interesting thing about the Hogwarts Houses personality theory, from where I’m standing, is that it seems to be based on motivation, rather than what’s strictly considered by the academic world to be personality traits. (It’s interesting because motivation is considered fairly changeable by personality researchers, while traits are more fundamental/biologically based and hard to change. Makes Dumbledore’s I sometimes think we sort too soon that more plausible. And painful.)

Anyway, let me give this a go:

Gryffindors are motivated by what they believe is Right. They’ve got a very clear idea of justice, of the way things should be, and if that isn’t the case they are willing to fight for it. Gryffindors have principles. They will go to war over the things they believe in. But this also means they might just as well become fundamentalists. As someone put it, a gryffindor will happily fuck you up if they believe they’re doing the Right Thing.

Huffepuffs are motivated by loyalty. They put personal relationships above abstract ideas. Huffelpuffs will follow you into battle not because they believe in what you’re saying, but because they are your friend. On the other hand, this may also lead to a my master right or wrong kind of situations, where they stop thinking about moral principles and just trust the person they’ve chosen as a friend. 

Ravenclaws are motivated by rationality. They value cold logic and hard facts, and are unlikely to be swept along by passionate speeches or emotional pleas. They’re the type to consider the benefits and disadvantages for all when making decisions. Again, this can be potentially scary, because -for example- Ravenclaws would kill you without any hesitation if they believed it could prevent the death of others.

And finally, Slytherins are motivated by self-interest and ambition. They’re moral relativists, who don’t believe in the great Right or Wrong (the way Gryffindors very strongly do) and wouldn’t hesitate to do things others would consider morally wrong as long as it’s in their advantage. Sounds evil, but it isn’t necessarily so: it means just as much that a Slytherin can be charming and loyal - being hated and despised isn’t exactly a good thing, is it? It all depends on what kind of ambitions they have - and how smart they are, of course.

Seen like that, Ravenclaws and Slytherin are quite close to each other, both being cold rationalists, with the difference that Ravenclaws think firstly of the good of all, while Slytherins think firstly of the good for themselves. And Hufflepuff and Gryffindor are quite close too, both led by their emotions, but while Gryffindors are loyal to ideas of right and wrong, Hufflepuffs pledge their allegiance to people they believe to be worth following.

Put shortly: Gryffindor: belief in ideas; Hufflepuffs: belief in people; Ravenclaw: belief in rationality; Slytherin: belief in themselves.

i guess the thing that draws me to persona so much is how the themes of the games are very much tailored to humanity’s shared issues

persona 3 is a game about death, about hardship, and how you crawl out of it with bleeding hands and exhausted bones, but you still do it. its about finding the strength to continue to live even after severe hardship, and overcoming the desire to simply give up. every social link surrounds a character going through a hard time, the most extreme probably being akinari coming to terms with his own inevitable death. each character feels hopeless and wants nothing more than to give up and cease trying, but all overcome it with help from the protagonist. the end of the game sees you fight nyx, the effective personification of this desire of humanity to succumb to hardship and simply end it and die, and you overcome it with the equal of humanities desire to overcome and survive. 

persona 4, comparatively, is a game about acceptance, about recognizing your own flaws and accepting that they are as much a part of you as your skills, and coming to peace with that, and learning to not worry about what others WANT you to be, and simply be happy with who you ARE, showed best by kanjis complex about his reputation as a thug, and his actual interests being traditionally female, which he learns to just accept and embrace as himself regardless of what others think. you fight izanami, a goddess trying to enact what she believes humanity wants, influencing them to be something theyre not, when the protagonist allows humanity to choose their own fate by fighting her off. 

persona 5, however, is a game about rebellion and denial. its about seeing the hand youre dealt, and deciding, fuck this, flipping the table in the dealers face and telling him to fuck off. every character is in a situation they resent, but accept, as they feel they have no other choice. the game follows them learning that they DONT have to simply accept it, and to find the strength and drive to reject how things are, and change their own situation. in the end you literally shoot god in the face with satan, the ultimate rebel, cause god wants to kill humanity and fuck that noise son. 

idk where i was going with this but i just…. love the themes of the persona games.

once you comprehend the whole thing of slavery being illegal in the US except as punishment for a crime, all it takes is the merest shred of cynicism to realize at least the potential abuses of that condition, which pretty quickly jump to awareness of the actual abuses.

And if we accept the probability or fact of local governments and businesses unjustly incarcerating people in order to profit from forced, unpaid labor… paired with the understanding that there is a significant portion of the population who have historically profited from the enslavement of people of color, whose inherited wealth originated from slavery and who have demonstrable connections to deeply racist culture? 

it should be the logical conclusion that “slavery as punishment for a crime” cannot be just and supports institutionalized racism simply by virtue of humans being incapable of complete impartiality, and the historic facts of race relation in this country.

or, put another way: white people are so fucking racist and it is so deeply ingrained in American culture, that even without evidence on hand, i have to just draw the rational conclusion that there are frequent cases of people of color being charged unjustly simply so white people can profit from slavery-as-punishment.

even if one were to say, oh, but it can’t happen with more than a very small minority of judges, that maybe one out of a hundred is corrupt and racist enough to do this (and really, with all the shit that goes down, you can’t imagine more corrupt, deeply biased judges than that?) then it would still follow that there are many, many instances of people of color being charged with crimes for the sole reason of enslaving them.

we need a new amendment to modify the Thirteenth. There must be no slavery, whatsoever. The very moment you set up a system where one person may be legally forced to provide profit for another, you create incentive for someone to take advantage of that.

One of the most satisfying/cathartic things about black sails is the way it completely spits in the face of this idea of being a “good victim”. I’m sick of stories where lgbt characters have to be sad, saintly, pure martyrs in order to be sympathetic and palatable to audiences, as if homophobia is only awful when its directed at soft nice people. Stories that clearly exist so that straight people can sit there feeling sorry for us and be like, “those poor gays, life is so hard for them” and pat themselves on the back for being so open minded. 

Flint isn’t a saintly martyr, he’s not a “nice gay”, he’s angry and violent and complicated and shockingly awful at times, but it’s never like those things make his reasons for being that way any less significant. He gets to be sympathetic and horrifying at the same time, one doesn’t negate the other.

And I just really love the way this show deals with anger and trauma. There’s no false cheerful message that a person can just will away their rage. It’s there and you can either acknowledge it and try to understand it or you can ignore it and pretend its not there, but it is there and it will still effect you, just in ways you won’t understand. This show really helped me in a lot of ways, but one of those ways was helping me allow myself room to be angry. Not even necessarily “be angry”, but to look at and accept the anger that was already there, which actually has helped me start to be more calm and open.

And its not like the story is without kindness or optimism as well. There’s this sort of subtle, quietly compassionate core at the heart of black sails that compliments all that angry gay revenge in a way that’s incredibly beautiful and complicated. I think flints “freedom in the darkness” speech encapsulates that perfectly.


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INTJs I’ve Met (by an INFJ)

What I noticed and observed about them: (TWO FEMALES & TWO MALES)

  1. They aren’t aware of their surroundings. When they’re walking in the halls, they will NOT look around and will just continue looking and walking straight. Their friends are usually the ones who snap them out of their mind. (It’s an Ni thing. They are in their own heads if they don’t give effort to notice what’s going around them). You just gotta say hi to them first most of the time. (Unless they’re comfortable around you–then you’ll be lucky enough to receive a greeting from them).
  2. Eye contact is difficult for them. Most of them stare at the ground or just focus on something else in the background when they talk to you.
  3. It takes awhile for them to learn dance moves. (Well, this applies to the ones who clearly aren’t dancers). We’d have these school dances and they’re the ones who needed help the most in remembering the steps. (I’m guessing it takes awhile for them to be fully “in sync” with their bodies…?)
  4. They dislike loudness and chaos. Also known as the classroom. And school itself. It’s a jungle out there.
  5. They are so informational and are easily Teacher’s Pets because of how much they raise their hands in class and pay attention to them. I don’t think they listen because they’re interested though–they listen to find flaws in their teachings. It’s their past time.
  6. They’re in school just to graduate. Making friends is just a bonus. (Or well, that’s what they want you to think, at least).
  7. They claim that they’re okay being alone. And well, they’re actually okay with being by themselves. But I know that deep down they’d like a close friend or two with the same intellect and interests.
  8. They are the nerdiest and dorkiest people with their friends. They suddenly become loud or just seem out-of-character. If you’re part of their friend-group, you will definitely see another side of them. Next thing you know they’re making bird-calls, mocking their teachers, and just bluntly voicing out their opinions.
  9. They are passionate about their interests, hobbies and talents. What they’re into keeps them sane. One of them is a varsity chess player who loves playing the bass and writing poetry, another one is a ballerina (she studied in a professional studio and all that) who does a ton of other stuff as well (her parents encouraged her to do a lot), another one is into hypnotism (he went to several conventions for it) and dances hip-hop extremely well, while the other one I know is obsessed with anime (porn).
  10. They may seem aloof and cold but are actually innocent people who aren’t aware of how they act. Which is why outgoing and talkative people get along with them well and manage to open them up. Opposites do attract (As long as they’re the complementing kind of opposites).
  11. They’re actually not as serious as they seem. They have a sense of humor. Either dark or corny humor. And they aren’t serious about their grades either; they’re already blessed with intelligence.
  12. Their words are sharp and can cut you, but they mean no harm. They just don’t really know which words are appropriate when talking to another human being. And which tone to use. And which facial expression to present.
  13. They get possessive. They research things about their close friends and feel super uncomfortable when they aren’t there anymore; since they have grown attached to them already. This will hurt them because had chosen them over being fully independent and it’ll just make them go internally crazy. Which is why they like keeping their friends close. Really close. (Speaking for the unhealthier INTJs)
  14. They like to “get a feel of people” before they truly open up. Typical introvert thing–but INTJs are extremely cautious when trusting people.
  15. They almost seem helpless when their close friends aren’t around. Even desperate. This is why it’s easier for them to just be alone. No expectations–and they only have themselves to blame–which is actually much easier to accept than feeling betrayed by their friends. Again, trust issues.
  16. They don’t mind talking about their opinions all day. (Fi thing) They would if they could. And they will, if they consider you as a close friend of theirs.
  17. They just want to get things done and over with. Which is why they rather finish their homework and projects in advance. And do all the group work. They don’t want others slowing them down.
  18. They are misunderstood. They are actually sensitive people who care and have feelings. Looks can definitely be deceiving.

Well, fellow INTJs, what can you say? :) Do you relate? Or do these statements fit the INTJs you know? :)

Again, these are about the INTJs I’ve met. So if it doesn’t apply to you–then it goes to show that despite sharing the same type, people still have their differences.

I realized I missed TDOV. Its something that’s still quite important to me, as everyday is a little step of me to leaning to accept myself and my body.

I used to be very, very self conscious and ashamed about growing facial hair. As several people pointed out to me, it was “unnatural” and “disgusting” for someone assigned female at birth. Even though I never really felt “feminine”, I was ashamed about it for years. I used to pluck or shave everyday, always being in fear someone would notice my stubble and call me “disgusting”.
When I found out about my identity, I came more to accept my facial hair… And, as a paradox, it also made me accept my more “feminine” side.

Nowadays, I don’t feel the need to shave every day. I’m not scared of people finding it disgusting any longer. I let my facial hair grow from times to times, and I nearly regret I don’t have more of it.

Also, meet my cat, lovingly nicknamed: Utsuki pattes de beurre dans la baignoire (Utsuki butterpaws in the bathtub).

anonymous asked:

i just saw the guy that said why'd you gotta target outertale it was error's nice place and my first thought was, "well it was only one outertale" because of course multiverse so i'm sure error can find another nice place

Absolutely! That’s totally true - who knows how many versions of Outertale there are out there in the multiverse! Also, who’s to say Error only picks one specific OT to go to? Maybe he goes to other OT AUs too. He’s probably not patient enough to find the exact same OT each time. Or maybe he is and we just don’t know it XD

Ultimate Fangirl

Summary: My Marvel, inner fangirl gets exposed during my DC press tour, and now that’s all I talk about during my interviews. When going onto Ellen DeGeneres’ show, she not only has questions in store for me but a surprise as well. 

Author’s Note: THROWBACK THURSDAY! I wrote this a long time ago and decided to share it with you guys. I wrote this in first-person, because it’s a bit personalized. It’s based off of my interaction with Sebastian Stan during WWC Sacramento with @pleasecallmecaptain. AND based on Graham Norton’s Spice Girls Prank on Emma Stone.

Pairing: Chris Evans x Sebastian Stan x Anthony Mackie x Reader (Platonic)

Words: 1,648

Originally posted by food-oriented

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anonymous asked:

If you are still doing the request thing can you draw Ezra in A4 or C1, please? And BTW I love your art!

Thanks a bunch man! also I hope you’re talking about that outfit challenge from a while ago cus Taylor almost has that exact jacket and I thought this was fitting

Madoka Chara Story Ch1: The Lonely Magical Girl

Madoka: The Mizumei Shrine neighbors the Mizumei district, and it really does have miracles.

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anonymous asked:

When do you think is the best place to stop worldbuilding and start writing? How do you fit a new plot into a world that's already (mostly) made? Anything helps, thanks

This similar question was answered a couple of days ago [HERE] which deals with the matter of working on the beginning of a plot and developing conflict.

World building is important, it’s the foundation of the story that you’re going to tell, and it’s a major source of information on how your characters are going to behave and what will happen. Strong world building leads to immersive experiences in fiction, and enables you to take the reader along on a journey that feels real even when it’s utterly fantastical.

However, during the writing process, it can be tempting to be waylaid by world building as a form of procrastination: I have to finish world building before I write, but the world is so big and wonderful and complex that I can’t just stop until I’ve written down everything about it! Right?

The thing is, the amount of world building that you need to do depends on how much of it you’re going to use. It’s a good idea to know more than you’re going to put on the page, because having a deeper understanding of your setting and world than what is explicitly put on the page will inform the way that you write about things, and it enables you to work with suggestion and implicit details to entice the reader into digging for more clues about the world.

But if your story is set, for example, in a single remote mountain village, then you don’t really need to have to hand the history of all the surrounding nations and their conflicts and interests, except as it pertains to the understanding of the people in your remote mountain village.

Your villagers, of course, will know of the rest of the world, and you as the writer need to know what they know, and a little more than that, but if the story never leaves the remote mountain village, and the characters are caught up in their own affairs rather than being interested in what’s going on outside the village, then there’s not much use in you writing up an encyclopaedia of stuff that’s happening elsewhere but won’t make it into the actual story.

I’d suggest that there are a couple of different levels of information that you’ll want to have sorted out when you start your writing, exactly the amount of detail you’ll need is going to depend on your personal preferences and writing style and the focus of the story, but I conceptualise it in the following way:

Primary world building:

  • The sensory life of your protagonist. What do they see, feel, taste, touch, hear every day? What is their personal experience of the world they live in?
  • The intellectual life of your protagonist. What do they think about the world they live in? What are their assumptions and superstitions? How do they believe the world works and where do they think they fit in it?
  • The functional reality of the protagonist’s locale (where they are). What is this place like, who lives here and what do they do? What kind of a place is this setting, and how does it fit into the scheme of the rest of the world?
  • Primary elements are the things that you’re going to be dealing with in detail, and which are going to be the material facts as you present them to the reader.

Secondary world building:

  • The wider setting, outside of what the reader will be seeing directly.
  • What is the reality of the wider world? Consider politics, religion, tradition, history, war, geography … All the things that sit in the back of a nation’s collective mind, not really at the forefront of many people’s thoughts, but the general knowledge, and the general concepts that people accept as given.
  • What is the true reality of the wider world? Are there any ways in which the ‘actual’ history of the world differs to that which is accepted as true by the people living there? Was there a great deception at some point? Have they simply yet to make a discovery about their world? Are they working on incorrect assumptions about their world in some way?
  • Secondary elements act as the background process of the world, these are things that may or may not emerge through the interactions of characters and world, and things that readers may be able to glean from the way that the character processes the primary elements/ the way that the narrative positions those elements.

These two levels of world building provide you the basis of what is happening and being experienced within the narrative, and also the basis of why it is happening (or why the characters believe it is happening).

Now, another note, but this ask and the previous world building ask have had a similar tone to them that I want to address. The plot isn’t something that fits neatly into the world, generally. The plot happens to the world, in the world, the nature of plots is that they change things. This can feel very difficult and painful when you’ve spent a long time crafting the world, but it is one of, if not the key element of story.

No matter the world you’ve built, no matter how beautiful and real seeming it is, it will not be a static artefact, in fact, if you want your story to have any sort of traction, resonance, and depth, the plot will mean that things change a lot. The real world is ever-changing and developing, for better or for worse, and sometimes for both. The fictional world cannot be static, or it is lifeless.

Consider some big stories; A Song of Ice and Fire is driven hugely by change, the balance of power shifts wildly from one book to the next. The Lord of the Rings ends with the end of an age, the Shire has been ravaged and much of Middle Earth will never be the same again. In Harry Potter, a whole culture is swept up into a war, even Hogwarts itself is damaged by the conflict.

It’s a mistake to think of the world as ‘complete’. That’s the danger and the lure of world building, it can continue forever if you let it, because the world is infinitely complex. Don’t be afraid of changing the world, don’t be afraid of consequences of the plot happening. Those things are the fuel for the story.

Texting || Youngbin

Group: Sf9
Member: Youngbin
Genre: smut, Bj , some intense grinding, kissing, daddy kink, he’s daddy af, dom,This post contains so crappy smut

Word Count: 1.4K

Request:Can I request a Youngbin smut scenario with grinding he’s so hot I dieeeee

Summary: Sending Youngbin dirty pictures is always so rewarding :)

A/n: I’m literally sinning rn omg someone help me!! I was going to delete this because I was like this doesn’t fit Youngbin but oh yes it does. my little bean is a man I have to accept that. So I hoped you like this I think this is shit so sorry if it is :/. I felt like Youngbin can be a daddy for a fic you know. Also lots of cussing. I’m working on my smut skills so please bare with me.-Admin Tae

Originally posted by yngbin

Biting your lip you posed for the camera clad in a lacy lingerie set with a lusty gaze to match. Grinning you snapped a few pictures your fingers clicking on your boyfriend icon and letting only him see you like this.

You licked your lips typing in a playful message “Do I look good Daddy?” You smiled as you typed it out. Throwing your head back in just imagining Youngbin reaction.

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Attack On Titan Chapter 95 Thoughts

I haven’t gotten access to the Crunchyroll version this month yet, but I’ll just do my full thought post anyway.

So, this chapter is a little low on substance when it comes to talking about it: a lot of what I’d like to say would be repeating what I’ve said in my thought posts for chapters 91-94.

However, it did have a few interesting points to address, one being connected to this parallel:

…which I’ll get to a little later.

1) The plot stuff or the Tyber family mention. I have a feeling it’s supposed to be Tieber family, “Tieber” meaning “thieves” in German, which might give us a clue why they actually would be accepted by the Marleyans - perhaps they stole the power from another family and have used it to assist the Marleyans? Perhaps it’s thanks to the help of this family that the Eldian empire was taken down, but sadly only for the cycle to repeat and not end?

Whether their name actually is meant to mean something/means I think it means is unclear, but I’m sure they’ll eventually be important somehow.

2) Pieck is fun. She’s another one of the likeable minor characters. She’s smart and an oddball in the strange Kenny/Sasha/Zeke way. She and the others of the Marleyan group are likely going to have very little focus with perhaps only getting small character arcs the minor characters of the story are known for (Hannes and the first Levi squad), but I continue to appreciate how the story is able to create these likeable dynamics and minor characters in perhaps just a few pages of screentime. (This for me also includes Gabi because she’s an reflection of Eren, as he was in the beginning of the story, Galliard for his dickishness and Zeke for actually having a family and genuinely caring for his subordinates, they all care for their people).

3) Everything else is pretty much repeating the themes set up in the previous few chapters, but in a more minor way - the center of the chapter seems to be setting the ducks in a row - this chapter mostly seemed to serve as connective tissue for getting to the next part of the story. I said it in my initial impressions, but because the new info is so minor, it is probably one of the weakest chapters in a while.

The main repeating points lie in Reiner’s father being scared of what happens to him, but also still caring for his son and the further denial of human rights to the Eldians within the walls. It’s once again shown that the Marleyan Eldians don’t see the real enemy because they just don’t *know* any better and that the enemy is simply the corrupt system everyone lives under. These ideas are great: I love the thematic and character substance in particular when it comes to this arc, but just like the first training flashback, it’s a massive pace-breaker. Looking at the volume covers for those arcs (which are above at the start of the post), the comparisons are even supposed to be delibrate.

A central idea in that flashback was understanding the flaws of the system the soldiers in training were living under. This is one thing Annie went ahead to call Eren out on and now with much more context to what’s going on, it’s a great parallel. Eren was just as clueless of the real enemy as all the Marleyan Eldians are right now. Reiner is the only one who knows better among them, but he’s only one person who is broken and almost dead and trying his best to push his feelings and perspective aside.

Just to add something new to the mix in this post (and something to think about): the very basics of philosophy come down to the idea of Plato’s cave (check out the video - it explains it in deeper detail). If people are born in a cave, what they see as shadows on the cave walls is the reality to them. If someone ventures outside the cave and starts to see the world in a different light, and then comes back inside to inform the others, they will be hostile, deny them or maybe even try to kill that person because what they’ve known so long is being challenged. This is the principle at play here in the story (and honestly, a lot of stories, it’s basics of philosophy). Isayama went into it in a new interview, too, but the current purpose for his story is to work through this process of realization. The base topic in this case is obviously war.

“I had already seen it, but I always looked the other way.” says Mikasa in chapter 6/episode 6. Changing someone’s perspective, especially one that’s deeply ingrained in someone, takes patience and a lot of time. So while Reiner’s mother or any of the young warrior children might seem maybe one-note or ridiculous in their loyalty (no doubt part of it being exgaggeration for the sake of a fictional story because an author chooses what part of human behaviour to put emphasis on), this kind of behaviour is also very realistic. We, as readers, see what’s wrong, just like we see “wrongs” (and sometimes things that aren’t wrong at all, just different) in cultures we are not a part of, but the characters and the people inside different cultures, don’t.

AoT makes the differences between character perspective very important, at this point probably one of the most important elements thematically. So yeah, AoT is great and super interesting in many ways.

On fictionless vacuums and oversimplification

“Fiction affects reality–”

Absolutely! The tools it gives us to grapple with complicated issues and explore responses to some of the thorniest situations humans could imagine facing, the empathy and imagination it cultivates, the solace and emotional release it provides, its power to persuade and inspire–none of that disappears once the story is over. It’s one of the many inputs we evaluate to form opinions and decide on courses of action, and… uh… wait, sorry, you weren’t done, were you?

“Fiction always affects reality in the exact, arbitrary, painfully literal, simplistic way I’m about to condemn at high volume!”

That is… well, to be charitable, that is anything but obvious.

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