you have your own sets of morals

Fever*

Pairing: Steve Rogers x Reader
Featuring: Vision, Tony, Bucky, Thor, Clint and Natasha, Wanda, Rhodey (all three mentioned).
Rating: Explicit - 18+ only
Summary: Reader surprises Steve, throwing a 40’s themed party to celebrate his 99th birthday at the compound with the other Avengers’ complicity.
Word Count: 3.8k
Genre: NSFW/SMUT
Warnings: mild swearing, some fluff, mentions of alcohol/hangover, lingerie fetish [?], slight Dom!Steve, light dirty talking, oral sex (male receiving), uniform kink - (clothed sex), exhibitionism/outdoor sex, neck holding and semi-protected sex. - This fic assumes Reader is on the pill. [No glove, no love!]
Author’s Note: Happy birthday to the first successful - and our all time favorite - super soldier who turns 99 this year! xxx The title is a reference to Fever covered by Peggy Lee, which inspired me a lot when I wrote this. Enjoy.

   New Avengers Facility

Placing a hand on your hip, you stared at the ballroom decorations inspired from the forties. With the help of every Avenger, you’d spent the past couple days, working on the hall of the Avengers compound as your grandparents had also gladly gotten involved in your surprise for Steve’s birthday.

They’d told you everything they could remember about their time in that era and gave you the best indications on what you had to do to bring that famous portion of the twentieth century back into our modern times.

They remembered a lot and their help made everything look perfect. You were beyond grateful. From the improvised ballroom and the private quarters, everything was subtly decked out, and it looked like as though it was straight out of a movie set. The guests arrived in appropriate forties attire.

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anonymous asked:

hey there! thanks for answering all our questions on this blog + how possible would it for someone to crack ribs with a solid kick? there's a character i have in mind that's escaping captivity, but they're also young, so i'm not quite sure how easily they'd be able to hurt the (adult) antagonist in such a manner, especially lacking any fighting experience to begin with?

Well, you can break someone’s ribs with a kick. That’s the entire purpose of the roundhouse, especially the version where you strike with the ball of the foot rather than the top of the foot. (And… aren’t like me when I was seven or eight, when I was new to sparring and totally stubbed my toe in another kid’s side at a tournament after my brain/body got confused between the two. I didn’t break my toe, but I could’ve.)

That story above is important, by the way. If you’ve got a character who doesn’t know how to fight then they’re not even going to get that far. If you don’t know how to kick then that’s a great way to get your leg caught by someone who knows what they’re doing. They catch the foot by the ankle, and then drag you wherever they want. That’s assuming the character can get their leg up and out without falling over. Even if they do manage that, say because they’ve watched a lot of martial arts flicks, they won’t know how to generate power and will be very slow. A, B, and C occur anyway. Your protagonist is going to end up back wherever they were being kept, this time in a much less comfortable position.

Even for an experienced martial artist, kicks require fairly constant bodily upkeep in order to be able to do them cold (much less perform them at all). That’s not a combat scenario, that’s just in general. You’ve got a great chance of pulling all the leg muscles you need to get away, including ones you didn’t realize you had and that’s if you don’t break your toes. Board breaks with the roundhouse kick are the most terrifying of them all because you’ve got to remember to curl your toes just right in order to carry your foot through the board.

Kicks are off the table.

More importantly, this is an exact rendition of the “Feel Good Violence” trope: My Instincts Performed A Wheel Kick.

The protagonist is suddenly and randomly enough good at fighting to not only fight, but win when making their first attempt at a violent altercation. They use techniques which require a fairly high level of dedication and aptitude out of “natural ability” and “instinct”.

Unless you’ve got an ironclad reason for invoking the trope (past lives/ immortality/memory loss/the matrix) it will undercut your narrative credibility in ways the story cannot recover from.

When you’ve cracked your foundation, you’re done.

“The only difference between reality and fiction is that fiction needs to be credible,” - Mark Twain

Narrative integrity is based on the rules or limitations we’ve set for ourselves, those limitations are the ironclad rules by which the narrative functions. They exist on two levels: in behavior and actions of characters within the world, and on a secondary level the setting’s behavior around them. Everything in your story must be working to uphold the fiction. When it doesn’t the audience’s “suspension of disbelief” starts to crack. You are beholden to the rules and limitations set down by your setting. Without them, you have no story.

When you’re setting out to create a character, there are four questions you should ask yourself:

1) What can the character do?

2) What can’t the character do?

3) What is the character willing to do but can’t?

4) What can the character do, but is unwilling to?

Within these four circles you have your character, their ethics/morals, and their limitations. That is the box you’ve created for yourself. It is important to own it and abide by it. When dealing with a protagonist, those limitations are not just the foundations of a character but the entire narrative.

Your character cannot fight your antagonist in a one on one and come away with any victory because you have established they don’t know how to. That is a limitation you set for yourself. That the audience knows and understands, so they will expect this character to act in accordance with it. They may want to walk up to the antagonist and kick them in the ribs so hard those ribs break, but they can’t. That desire could be a driving force behind them learning to fight later. As of now, though, their powerlessness in active violent conflict serves to reinforce the antagonist’s position. Reinforcing the antagonist’s position is for the narrative good.

They should be making choices based on the Venn diagram’s center: when what they can do meets what they are willing to do.

If what they can’t do conflicts with what they’re willing to do and they go with it anyway then the result is a failed escape attempt. A captive’s survival is based on their value. If they’re valuable enough for the antagonist to go through the trouble of capturing them in the first place, then they’re probably not going to be killed. At least, not until their value runs through. They lose and wind up back in captivity under more scrutiny, more security, and with fewer exit options. This reminds us why they were captured in the first place, and reinforces our villain’s position.

A protagonist can fail and retain their legitimacy many more times than an antagonist can. While this is a perfectly legitimate narrative outcome, I don’t think its the one you’re looking for.

This is the second issue with your question:

A narrative’s antagonist is its backbone.

Your antagonist is one of the most important pieces of your story, if not the most. They are the lingering threat, the shadow hovering over the story, and the knife at your protagonist’s throat. They are seventy percent threat, and the last thirty relies on their ability to make good on it.

One of the biggest mistakes an author can make is assuming their antagonist’s position in their narrative and the threat they provide are impervious to harm.

Unlike your protagonist, your antagonist is always in a precarious position. They must constantly re-affirm themselves and the threat they represent through their actions. That threat is all consuming and when challenged, it must either be defeated or confirmed.

If defeated, then the threat is gone.

If confirmed, then the threat level is heightened because now we imagine what they might do next.

An antagonist can re-affirm themselves after a defeat, but they’ve got to double down on their effort and create a new threat rather than relying on their old one. You as the author must work harder to make up for what you lost, and even then you’ll never have the initial fear ever again.

The first rule of the antagonist is: your capital is limited, so spend it wisely.

When you undercut an antagonist in favor of the protagonist before its necessary, you damage the antagonist’s credibility and, subsequently, their position in the story. When you lose your antagonist, you lose most of your narrative tension.

A character who doesn’t know how to do something is applying a limitation to the character. You are applying a restriction to what they can and can’t do. If you’re character doesn’t know how to fight, then fighting will be off the table. More importantly, having your character succeed at a skill set they have no experience in doesn’t make them “awesome” or “cool”, it means instead that the other characters who put time and effort into honing these skills suck.

When those characters are your antagonists… that hurts.

If you’ve got a protagonist with no hacking experience who manages to overcome a supposedly great hacker on their first or second go round with no time spent learning how to hack, then who looks bad? The second hacker. They’re the ones who are supposed to be good at hacking. If the narrative hinges on them being a major antagonist, then the author just shot their narrative in the foot.

Combat skills are the same way. They’re a skill set, not an instinct. They don’t come naturally, and take a great deal of time and effort to hone.

If your goal is to show your dangerous antagonist is a bumbling moron when an untrained teenager gets a lucky shot so miraculous they manage to lay them up for the rest of the story, then that’s a job well done.

If your goal is for the antagonist to maintain their credibility within the narrative? Don’t use them for a punching bag.

Violent confrontation is based just as much on threat of force as it is on the follow through. The threat is usually more frightening than what follows, and your protagonist is already challenging the fear by trying to escape. From a narrative perspective, if they get over their fear enough to challenge their antagonist directly then it’s game over. You spent your all capital either at the beginning or midway through the story, and you’re not getting it back.

Remember, your antagonist has to do just as much work to earn their street cred as your protagonist. Their position is a delicate balance of power management and threat of force. They rely on show over tell. They need to live up to whatever it is you’ve been saying about them. They need to be as dangerous as they’ve been puffed up to be, unless their reputation itself is the real antagonist. Never forget, your antagonist (whoever they are/whatever it is) is the backbone of your story. They are often the driving force of action, the reason why the protagonist is struggling, and the focal point. In some ways, they are more important than your protagonist because without them the protagonist’s got a whole lot of nothing.

When you undercut your antagonist, you also hurt your protagonist’s development. You cheat them of their chance for growth, and deny them their ability to show off whatever it is that they’re actually good at i.e. using their bravery, intelligence, and cleverness to sneak out.

If your protagonist beats down their Goliath at the beginning of (or even the middle) of the story then there’s no reason for them to go to the mountain master and learn to throw rocks.

-Michi

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Most civilized put down I have ever read!
Sherwin Dillar really put Virginia’s Governor in his place

Subject: A letter to the Virginia Governor

An Open Letter to Virginia Governor Terry McAuliffe

I was born in Los Angeles, California and raised in Ohio. I have taught Political Science at the collegiate level in Cincinnati, been published in The Wall Street Journal and am in my 12th year of research for a forthcoming book on Columbine.
For the past seven years I have made Rockbridge County, Virginia, my home.
The one and only reason I live in Lexington, Virginia is, because it is the final resting place of Robert E. Lee and Thomas J. Jackson. Their lives, character, faith, integrity, honor and testimony shone so brightly a century and a half after their decease, that there is no other place on the Earth I want to be, but where they lived and served.
There is something deeply and morally wrong with anyone, who objects to these two great Virginians—great Americans being honored by the native State, for which they gave their lives, limbs and blood in selfless patriotic service.
President Dwight D. Eisenhower kept Lee’s portrait in his executive office, while president. Churchill extolled him as the greatest American. Ulysses S. Grant threatened to resign from the U.S. Army, if Lee were tried for treason.
The statue that marks the grave of “Stonewall” Jackson was paid for not only by the veterans, who served under him, but by financial contributions from former slaves, whom he had taught to read in violation of Virginia law.
When a Lexington local assailed Jackson for breaking the law to “teach those people”, Jackson uncharacteristically lost his temper and shouted, “If you were a Christian you would not say so!”
After the war, it was Lee who broke social convention at St. Paul’s Episcopal Church, by kneeling beside a former slave, who had mortified the White congregation by kneeling at the altar.
Asked afterward by a bigot why a man like himself would kneel beside a former slave, Lee simply chastised him, “The ground is always level at the foot of the cross.”
The anniversary of the deaths of Lee and of Jackson were long commemorated in this Commonwealth by veterans of the North, who were often the honored keynote speakers invited to praise the virtues of their once-foes.
Every monument to a Confederate Virginian is a war memorial to an American veteran.
It has been the mark of manhood and civility and longstanding American tradition to leave politics out of the way we honor our veterans. They fought the battles; we did not. They shed the blood; we did not. They reconciled with their enemies; we did not.
End of subject. It is not for children born a hundred and fifty years later to re-adjudicate the past and expose to double jeopardy men their own contemporaries exonerated.
It is the height of arrogance to suppose that you know more about these men and their times than their even contemporaries. The command of God remains, “Remove not the ancient landmark, which thy fathers have set.”
It is to God you will assuredly answer for its violation.
If you find it impossible to respect your elders, attempt at least to revere your betters.
The destruction of Virginia’s monuments to her war dead is sacrilege and those, who urge and execute it, are nothing more than cemetery vandals. There is no honor in this course of wanton destruction and, morally, you equate yourself with ISIS, which shares your contempt for actual culture, something you both so manifestly lack. It is more than history, more than art.

No matter. No one will remember you in any 150 years. Nothing you do can make anything like the mark these great Virginians made on history’s ledger. Just being you another day is your own punishment and yet you still face God for what you propose to do as well. Something is deeply, horribly wrong with your soul, Sir. And you know it. So does all Virginia.
I have strived to be civil, but you do not make it easy. Smearing reputations, slandering saints and tearing down what better men raised has zero to do with love, unity, tolerance, acceptance, diversity and coexistence. It’s just the usual political spoils game, playing one race/class/group against another to score a win at any cost. The mean, petty loathing of Virginia’s first string heroes outs you as a raging hypocrite just as you were trying to pass for intelligent. What a piece of work.
Just leave the statues, graves, monuments and memorials right where the grown-ups put them, Terry. Just fool around doing nothing, you know, like back at Georgetown. Easy.
That’s all I ask. And about the most anybody expects of you. Aren’t you tired yet of just being the same old failure and lurching from bungled debacle to bungled debacle?

Why not shock the world: open a book, educate yourself and do something less horrible than usual. Resign, even, and leave Virginians to govern Virginia. What a concept.
Shouldn’t you be ruining Syracuse instead of Richmond?

With all due respect,
Sherwin W. Dillar

anonymous asked:

Hey could you please explain why youre not an anti? Im not trying to be rude or anything its just that as a teenager the same age as the paladins i dont see how a seven/eight year difference can be good

Short version: It doesn’t matter.

Long version: Sigh. Without getting into a whole long diatribe on this whole age discourse thing, I’ll just sum it up by saying that no, a gap of 7-8 years is not a big deal. There are plenty of RL couples with gaps that big that are perfectly healthy and happy. The difference between a teenager and an adult can be a bit of a maturity issue, sure. The power dynamic between a leader and a subordinate can also make relationships tricky to navigate. But this is fiction. It’s easy to fix. Just age one character up or the other down. Or assume that they are all ACTUALLY teenagers, as multiple “official” sources have stated. (No, the Guidebook is not especially reliable. The show writers had nothing to do with it.)

Even if it WAS a problem, it still doesn’t matter. This is fandom. People are allowed to have unhealthy ships, not that I’m saying that any ship with Shiro and another paladin is unhealthy. It’s fiction. It doesn’t matter. This is not a moral issue. You are allowed to be squicked by ships you don’t like, for any reason, but that doesn’t mean that you have a moral mandate to oppose them, vocally or otherwise. Nor does anyone else. That is not your job.

If you don’t like what someone is doing, unfollow them. Download xkit and block the tag. If me NOT being an anti makes you uncomfortable, even though I don’t reblog or create fanwork with ships, unfollow me. It’s okay. I won’t be upset. Do whatever you need to do to protect yourself and make sure you’re comfortable. You are in charge of your own experience, especially in a fandom setting where lots of people make an effort to tag and add trigger warnings all over the place so you don’t have to be exposed to anything you don’t like.

What you can’t do is police the fandom. You can’t convict other fans of thoughtcrimes because they don’t feel the same way you do about a ship. Not only is it a very unhealthy and unproductive road for you to go down, it’s literally impossible. There will always be people out there who ship things that you don’t like and find problematic. The sooner you learn to accept that fact, the better off you’ll be.

Redeeming Your Villains

I recently received an anonymous question about redeeming a character’s bad behavior. This is a great thing to discuss especially when it enters into a moral gray area. This is where an author’s ethics really start to matter. When writing in a morally gray area, remember, you are not your characters. Your characters have their own set of beliefs that may not align with yours. If your character is going to do something that you do not agree with, consider the tone of the scene. You can write about bad behavior that the character relishes without endorsing their actions. Focus on word choice. Show how other characters feel about these actions - that can provide another voice to fight against the other character’s.

Keep reading

excerpts from what i call my “yikes” file:

-“things are going to get worse before they get better.” the depression of realizing you are not in survival mode any more. the depression of the baroque. the depression not of things being in pieces, but of things being halfway put together and still not done.

-horror movie about the process of realizing that people’s extreme personas are not fake and no set of magical words will unlock a “real” person underneath

-brutality of “these people mean the most to me in the world and they’re not even that great”

-embarrassing sexual overconfidence of the newly sexually initiated

-inability to predict whether you will even like your own children as people

-slow despair of knowing you have no way to behave in a chronic situation that is both joyful and moral

-the knowledge that you are missing out on fundamental emotional experiences and have no way of acquiring them. 

Your ENFP Care and Handling User Guide and Manual

This manual is part of a series of guides originated by @intpboard

Congratulations! You have found yourself in possession of your own unique ENFP unit. There is a high likelihood that your ENFP found you, but regardless of how you got to this point, you are now responsible for your very own ENFP to love and enjoy! Since ENFPs are notoriously difficult to handle, your SJ overlords have issued this guide to hopefully help along the way.

Your ENFP will come with the following accessories:

  • One (1) Starter pack of moral convictions
  • One (1) Unique starter outfit chosen specifically for your unit
  • One (1) Normal socially acceptable outfit (use only if necessary)
  • One (1) Set of puppy-dog eyes for use when your unit senses an emotional disturbance in another unit that is resistant to sharing
  • Three (3) Companion Introvert Units for emotional tending and deep conversation
  • Infinite (∞) Ideas and Possibilities
  • One (1) Internet accessible device for research binging
  • One (1) self replenishing coffee cup
  • One (1) Starter pack of idiosyncratic behaviors

Software

Your ENFP comes pre-programmed with the following traits;

Ne: Your ENFP is a functional walking idea generator. While this trait does make your ENFP susceptible to distraction and excitement, this programming accounts for the exceptionally high levels of optimism included with your unit. Your ENFP will have constantly changing hobbies, interests and ideas. This function can only be disabled through sensory hyper stimulation (see Si).

Fi: While seemingly constantly happy and excited, your ENFP has many deeply held values and feelings. This function can be activated my asking your ENFP unit how they are feeling and silently listening to what follows.

Te: Your ENFP will not only seek new ideas, but will also seek to be deeply informed about those ideas. When this function is activated via the Fi function, an bitch slap mode may be activated

Si: Your ENFP is prone to random bouts of sentimentality and a preference for familiar sensory experiences. When directly activated this function can overwhelm Ne resulting in uncharacteristic stubbornness.

Getting Started

Your ENFP unit should arrive pre-activated and highly animated. In case your ENFP has not been activated please complete the following;

  1. Place ENFP in social setting
  2. Place 1-3 included introverts within visible distance
  3. Wait 30 seconds
  4. If after 30 seconds your ENFP unit has not activated causing an introvert to cry will immediately activate ENFP’s caring mode.

Modes

Manic Pixie (default) - Attention span disabled and energy levels maximum. In this mode your ENFP will be rapidly seeking out new ideas, opportunities, concepts and possibilities while simultaneously trying to understand and participate. This mode does have a limited use, but no way to know when it is nearly depleted.

Existential Teddybear (default) - Speaking function reduced to existential lines of questioning. When Manic Pixie mode has depleted, this mode automatically activates. Primary mode in small groups of introverts.

Caring - Activated by the presence of another unit with feelings that need to be processed. Difficult to deactivate unless activating unit has been emotionally supported and/or helped. Often involves invasive and insightful and accurate statements articulating what other units are feeling.

Bitch Slap - Activated by both obvious social injustices and direct violation of a personal value. Detailed, irrefutable, empirical evidence articulated to show that another unit has acted objectively immoral. When this mode is active your ENFP will painfully spell out exactly why you are wrong.

Emo - Activated seemingly randomly by a large influx of emotion that your ENFP unit must withdraw and analyze in order to understand and integrate. occurs approximately one (1) out of every fifteen (15) days. Completion of this mode is often signaled by your ENFP unit announcing it has learned something new about itself.

Productive (locked) - Only unlocks under intensely high interest levels or stress. Produces a staggering amount of material in a short amount of time.

Relationship With Other Units

In general, your ENFP unit will be liked by most other units it comes into contact with.

NF: Often activates Existential Teddybear mode. Can come into conflict if values conflict.

NT: Activates both Existential Teddybear and Bitch Slap mode. Also activates caring mode, but covertly.

SJ: Generally well accepted in Manic Pixie mode and viewed with amusement. SJ units will naturally remind your ENFP unit to tend to their physical well being, which they often forget.

SP: Compatible primarily in Manic Pixie mode. Warning: Leaving your ENFP unit alone with one or more SP units will likely result in trying really bad ideas.

Feeding

Your ENFP unit will need to be fed regularly. Your ENFP unit is capable of constant snacking as well as completely forgetting to eat. Your ENFP unit will not die if left to fend for it’s own food, but the consistency and healthiness of that diet would likely not be good. Your ENFP simply needs to be reminded to eat on a regular basis and provided with a few healthy options to choose from.

Grooming

Your ENFP will also need to be reminded to groom on a regular basis. Your ENFP will automatically groom if trying to present a good impression, but regular maintenance requires outside diligence. 

Sleeping

Your ENFP will try to argue that sleep is unnecessary. Do not give in no matter how convincing the argument is. Just repeat that sleep is good until ENFP begins to slow down and tiredness sets in. If ENFP continues to resist, take away all entertainment sources.

Frequently Asked Questions

Why doesn’t my ENFP ever finish anything?

Your ENFP unit comes equipped with dominant Ne. As with all things, this requires a trade off. In the case of your ENFP unit, Ne allows it to produce many ideas and start many projects, but does not extend to completion. Upgraded ENFP units with integrated Si are more capable of completion, but even then your unit will always start more than they finish. 

Help! I turned around for a second and now I’ve lost my ENFP!

Your ENFP is most likely not lost, simply distracted. It is common for ENFP units to be easily distracted and immediately pursue that distraction. Just keep doing whatever you were doing and your ENFP unit will find it’s way back to you eventually and will have an exciting story to tell you when it does. If your ENFP goes missing for an extended period of time it is possible that you have accidentally activated ENFP’s fear of commitment. In this case, provide your ENFP with a heartfelt communication via phone or email. Your ENFP will at that point most likely return to at least discuss what caused them to leave.

How do I turn this thing off?

You don’t. There is no off switch on your ENFP unit. If you find your ENFP overwhelming, simply tell them you need some time to yourself and your ENFP unit will happily find someone else to annoy in the mean time.

Can I keep my ENFP?

Yes. ENFP units frequently form companion bonds for life, but any attempts to limit your ENFP unit’s freedom to explore and pursue what interest them will result in resistance and likely resentment from your ENFP. ENFP units must be shared freely otherwise they are likely to rebel against their captors owners.

Again, Congratulations on your new ENFP unit! Go have fun and explore!

|ISTJ| |ESTJ| |INFP| |INTJ| |INTP| |ENTJ| |ENTP| |ENFJ| |INFJ| |ESFJ| |ISFJ| |ISTP| |ESTP| |ISFP| |ESFP|

ISFP Care and Handling User Guide and Manual

This manual is part of a series of MBTI user guides initiated by @intpboard

Congratulations! You’ve managed to coax an ISFP out of their favorite hiding spot! Here’s a handy guide for taking care of and getting to know your quirky and mysterious new friend.

Your ISFP comes with:

  • Ten unique and interesting clothing items
  • Two sets of worn and comfy clothes
  • One animal friend
  • One collection of inspiring photos and/or random objects that are meaningful to your ISFP.
  • One set of closely held moral beliefs and values

Custom upgrades: Your ISFP will have multiple creative interests. Books, sports equipment, musical instruments, camping gear, cameras, various art supplies, and random junk may also be included.

Software

Your ISFP comes preprogrammed with the following traits:

Fi: Makes your ISFP unit independent and sensitive. They may appear aloof or distant, preferring to process their emotions on their own. They’re actually very warm, loyal, and supportive when you get to know them. Your unit also has a strong moral compass will refuse to do anything that conflicts with their values. Contrary to popular belief, your ISFP is capable of changing their views, but forget trying to force them into doing it!

Important note: Each ISFP will have Fi values, morals, and beliefs that are unique to them. You will need to adapt this general user guide to your specific ISFP Unit.

Se: Your ISFP is very in touch with their physical world and enjoys using their five senses to explore and express themselves. They can be impulsive and adventurous, preferring to live in the moment rather than plan too far ahead. Se also makes them witty and charming and surprisingly cute.

Ni: Your unit will have the need to search for deeper meaning in their life. They will frequently “have a feeling” about a plan or a person that they will feel compelled to act upon, but not be able to explain. Also makes them incredibly self-critical and may induce occasional bouts of self-doubt.

Te: Your unit may have many dreams, but probably won’t get around to actually accomplishing most of them (without help, anyway). They can also be stubborn at the inopportune times and unintentionally (and hilariously) blunt when asked to give their opinion.   

Getting Started

  1. Sit your ISFP in a quiet room, preferably near a window.
  2. Set the animal friend in ISFP’s lap.
  3. Leave ISFP alone for several hours to adjust to their surroundings and bond with the animal friend.
  4. Offer ISFP cookies and initiate conversation about the animal friend.
  5. If ISFP doesn’t start, take them to a nearby park and let them wander for a while.  

Modes

Cinnamon Roll Mode (default): Soft, sweet, and bashful. Prefers to listen to you talk and observe you quietly. Notices everything and knows your favorite food, what kind of car you drive, and probably where you live even though they never asked. (No, it’s not creepy! They just overheard you giving directions to someone else and didn’t want to bother you needlessly.) Will make you quirky, adorable (and sometimes baffling) gifts to demonstrate their affection.  

Creative Mode (default): Your ISFP has a nearly unmatched creative brain and will often find beauty in their environment. If you don’t really understand (Yes I’m talking to you NT types) just voice your support and point out one or two things about their art (or song, or sport, or hobby, or project, or handmade gift/peace offering) that you like. Your ISFP will be flattered and happy that you appreciate their talents and are involved.

Adventure Mode: Your ISFP unit will live for meaningful adventures, and often express longing for the freedom or ability to try new experiences and visit new cultures or sights. Actual chance of them acting on these desires is 50/50, but your ISFP will spend a lot of time daydreaming about it nonetheless.

Sensory Recharge Mode:  Your ISFP unit may go dormant after a large social event or adventure. While they enjoy sensory activities, they easily become overstimulated and need time to themselves to process everything they’re taking in. Forget trying to have conversations with your unit while they’re in this mode; they’ll quickly excuse themselves and hide.

Angry Toddler Mode: Activated under stress. Your ISFP has become so emotionally overwhelmed (usually due to feeling they are not Good Enough™) that they just can’t handle any more. Symptoms include grouchiness, outright refusal to eat or engage in normal activities, and uncharacteristic outbursts of anger. Gently relieve your ISFP of any pressing responsibilities and give them space to express their feelings without judgement.  

Relationships with Other Units

NF: ISFP enjoys relationships with NF types, drawn to their emotional depth and idealism. In friendships with these types, ISFP is free to discuss creative ideas and dream big.  ISFP will also go to these types for emotional support in times of need.

NT: Your ISFP may not initially gravitate towards NT individuals, as they often don’t understand their rational nature. However, they are intrigued by the intellect and personality quirks of NT types.

SJ: Your ISFP will want to ride through the glen on their mighty steed, firing arrows into the sunset while the SJ in question will probably want them to calm down, organize, and behave themselves. If not handled carefully, this can result in conflicting goals and thus, stressful relationships.  

SP: Your ISFP unit will be most at ease with fellow SPs. They can go on spontaneous adventures together and your ISFP unit is guaranteed to have a couple in their social circle. (Also the #1 culprit when your ISFP randomly disappears.)

Feeding

Your ISFP unit will have an unusual diet and eating schedule.  Mealtimes and snacks tend to happen when ISFP finds it convenient.  Don’t worry about regular meals, your ISFP likes and appreciates food and will make sure that they are eating when they need it.

Grooming

ISFP is very particular about their appearance. When it comes to hygiene, they tend to stick to the basics, but can be relied upon to take care of themselves. However, If you want them to be on time for something important, remind them to prepare beforehand​.

Sleeping

Your ISFP will flip-flop between intensely creative periods where they will forego sleep to work on projects (or go adventuring), and “catch-up” periods where they will sleep through the day to recharge. Don’t interrupt your unit’s sleep times, as this may activate Angry Toddler Mode.

Frequently Asked Questions

My ISFP won’t activate (talk), now what??

Stop trying so hard! You can’t force an ISFP to be your friend. Chances are excellent that ISFP picked up on your efforts to connect from the beginning and is well aware of your intentions. Give them time to observe you and gently coax them out with non-aggressive, non-threatening communication (or fun. Or cookies. Or compliments. Or kittens).

Also, keep in mind that silence isn’t necessarily an indicator that your ISFP doesn’t like you. Often it just means that they’re thinking; either processing what you have to say or coming up with something to contribute the conversation. Look for these signs instead: does your ISFP go out of their way to spend time with you or do things for you? Do they make eye contact when you’re talking? If so, they like you.  

How do I know if my ISFP is doing okay emotionally?

Ask them. They rarely open voluntarily, as they don’t want to be a bother. Keep in mind that it may take some time before they’ll be comfortable sharing with you. When they do talk, listen and validate their feelings. Avoid jumping in and attempting to fix their problems for them or giving your own opinion too quickly. Your ISFP will keep their mouth shut rather than risk subjecting their precious thoughts to unsolicited criticism.

My ISFP has disappeared, help!

Relax. ISFPs are prone to going AWOL without warning. This doesn’t mean that they’re in trouble. They will probably reappear within a day or two with an interesting story about how they went on a last minute road trip with friends and met a eccentric biologist who studies Bigfoot in Tennessee. Resist the urge to check on them too frequently.  This will lead to more disappearances (your ISFP is trying to escape from you). If you’re really worried, casually invite them to get food or do something fun.

Again, congratulations on your new ISFP unit! Have fun!

anonymous asked:

(rape tw) Can you explain why you don't think HIV+ people have a moral responsibility to tell potential partners their status, if that is indeed your position? I understand that if they have an undetectable viral load and they practice safer sex, the risk of transmission is very low, but it still exists, no? I'm just trying to understand. I have HPV and I feel guilty for not telling the man who raped me beforehand, and that's not even a potentially fatal illness, just an inconvenience. (1/2)

(2/2) I want to support HIV+ people and not make their lives harder, but I’m having a really hard time with this perspective from an ethical standpoint.

(anon sorry, i answered this but forgot it in my drafts)

anon, i’m not really sure where this is coming from since i haven’t posted about this in a while [since this came in before my other post got resurrected] but i’ll try to explain (and forgive me, this got so damn long but i’m quite swamped lately and have no time to edit)

i don’t think i’ve said that there’s no responsibility to disclose, and i wonder what made you think i did, but the main point i want to get across is that it doesn’t really matter what i think about the morality of nondisclosure in any given situation — what matters is whether i think it should be a serious crime. this is a separate question because the law isn’t about morality, in this case it should be about public health.

and these laws are a resounding failure from a public health perspective, especially since as written they penalize testing and usually completely fail to take into account the risk level of the activity (including condom use) or even whether transmission actually occurred (even when the charge is “criminal transmission”!). these laws were born out of stigma, not science or real ethics. but you don’t have to take my word for it; this is the accepted position among HIV/AIDS and sexual health advocacy organizations, and even the CDC is recommending that they be reviewed. i really recommend reading what these organizations have to say about it. from a quick search UNAIDS’s policy brief (pdf) seems pretty good and clear but there is much more out there.

i’m so sorry about what happened to you and i want to know that you’re not at fault at all. no rape survivor is at fault for their rape or for the consequences of the rape for the rapist. he chose to do that to you, and he accepted the risks that came with that. that is entirely on him!

i think a major problem with the debate about disclosure is that, as the UNAIDS brief says, it “places […] responsibility for HIV prevention exclusively on those already living with HIV and dilutes the public health message of shared responsibility for sexual health between sexual partners.” this applies to other STIs as well. we all have to take responsibility for our own sexual health, at least when it comes to acts we consented to.

even if it may seem to make sense on a moral level, placing the entire responsibility on people who know they’re positive for HIV or any other infection just doesn’t work. there will always be people who don’t know their status or can’t know their status for sure because they were exposed too recently. these people can’t disclose, yet if they are HIV+ they pose a much greater transmission risk than people who know they’re positive because they can’t possibly be accessing treatment, because transmission risk is highest in the acute infection stage when they’ve first contracted HIV, and because they’re less likely to be taking the additional safer sex precautions that they’d take if they knew.

there is still a profound stigma against people living with HIV and other STIs. when we’re influenced by this stigma, we’re likely to focus on finding someone to blame for transmission (or even the possibility of transmission). when we reject the stigma, we can focus on effective methods of prevention which involve helping everyone accurately judge their risk level and make informed choices to protect themselves.

you mention that safer sex with someone with an undetectable viral load is very low-risk (so low-risk, in fact, that i don’t think there’s ever been a documented case of transmission under these circumstances) but that any risk is too much. it’s fine if you feel that way; you set your own boundaries. but sex with someone who doesn’t know their status is much riskier. so is it morally permissible not to disclose to your partners that you don’t know your status? and should not disclosing that be a crime?

i don’t think most people think so, or they haven’t thought about it. to a lot of people, not knowing their status is normal, because their sexual choices are governed by assumptions: they assume that they are negative, for HIV, HSV, etc., and they assume that everyone they have sex with is negative, unless they say otherwise. they assume this partly because of lack of education, and partly because of stigma. we think of people with STIs as dirty, reckless, less than virtuous. we don’t want to think of ourselves or the people we’re intimate with that way. but of course, people with STIs are not those things — having an STI is an entirely morally neutral characteristic of a person. and these assumptions about ourselves and others aren’t sound. they are actually an obstacle to STI prevention.

so these debates trouble me because they obscure the fact that the best practice for everyone is to get tested regularly, disclose what you know about your status (including whether you know it!), and ask about your partner’s status, making it clear that it’s safe for them to be honest. and when we place all responsibility on people who know they’re positive, we validate our assumptions that everyone is negative, but we have to challenge those assumptions if we want to protect ourselves and each other. we have to acknowledge that when we decide to have sex based on the assumption that our partner must be negative, we are taking a risk. even in a world where everyone who knows they’re positive disclosed — and i believe most do — this would be a risk.

the sooner we can accept this and reject stigma, the sooner we can take steps toward more honest and open communication in our sexual lives and make healthy, fully informed choices, the sooner we can stop the spread of HIV.

anonymous asked:

why? what are the actual possible repercussions of the ice cream trick? what is the morally reprehensible aspect?

•It will melt before you could eat the whole thing
•it will most likely fall off before you leave prompting you to want a new cone and force me to clean up your old one
•I always got told by the customers I was making my scoops too big to begin with (privately owned so not set guide to scoop size) and after I put the scoop away hand you your cone and then you decide I have to throw out that first cone and start over as it’s against the law to take food back and reserve it.

Shall I go on?

-Rodney

Edit: the morally reprehensible part is you making us do more/extra work unnecessarily. It wastes more time and effort to save .03¢ and makes you look like a cheap dick.
3

Hey @forthepalette ! It’s been quite a while. I purposely tried to avoid reading your posts just to avoid any more conflict with you, but to no avail, I still see some of your posts because you still kept using the Sprousehart tag and you seem to continually spur some anger from various Sprousehart accounts. Despite that, I still tried to look past whatever you post since I personally see no point in confronting you. You have your mind pretty much set on things. Whatever I say won’t go through you so I thought, what’s the point? 

Unfortunately, I stumbled upon some of your posts again this morning and I couldn’t find it in my own morals to just let it slide. 

I saw people calling you out and letting you know how offended they are by your statement but you tried to escape their judgment by claiming that it was done out of innocence not of spite. I’m sorry but I really don’t buy this.

When people replied with much anger (which is understandable- I’ll get to this later), your initial defense was that you were merely just asking a question and that you genuinely didn’t know.

Now, here are my comments regarding the whole thing. 

First, the statement you made was not a question at all. It was an imperative or permissive sentence demanding us to prove what you think of us wrong. The mere fact that it has a question mark in the end doesn’t make it a question. I’m very particular with syntax and grammar. I was sort of a nerd for diagraming sentences back in High School so I can say with full conviction that what you said wasn’t a question.

Second, the post itself bore an accusation or an assumption that Sprouseharts are homophobic and racist. You can argue with me on this and claim that is not true but technically, that’s how you formulated your post. You made a claim that we, Sprouseharts, are homophobic and racist. Then you made a further assumption that it’s the reason why we ship Sprousehart. To be clear here’s the premise you made:

1. SPROUSEHARTS ARE HOMOPHOBIC AND RACIST

2. BECAUSE WE’RE HOMOPHOBIC AND RACIST, WE SHIP SPROUSEHART

You can argue again that it’s not what you meant, but I’m just merely rewriting your statement in bulleted form. I just removed that “please tell me you aren’t” part because that’s the part asking for a counter argument. Again, the premise is those two points written above, then you asked us to counter those two points. I’m sure any person with some proficiency in the English language would agree with how I deconstructed your sentence. If you claim that it is not what you meant, I suggest that you brush up with your writing skills and be very careful with what you post because you aren’t getting your message across properly.

Lastly, I got the impression based on your replies that either you’re feigning innocence or you really have no idea as to why this post has spurred some anger from various Sprousehart fans. I’m, personally, leaning towards the former but I’ll give you the benefit of the doubt by explaining to you why your post gained some anger. 

Sexuality and race have been volatile topics for quite some time now. Volatile in the sense that a lot of debates and judgments have been exchanged as to various stands and views on certain issues involving the said topics. The current trend (trend as in the line of thought) we’re on now is more inclusive in the sense that we recognize the issues and push for more acceptance of all types of sexual orientation and race. This is reflective on political landmark events such as the USA having the first black president and your Supreme Court deciding the Obergefell v. Hodges favoring same-sex marriage. I personally love this shift in the ideals of the people and hope that this continues, but alongside this trend of thinking, another train of thought which I perceive as equally damaging as the evils we hope to curtail is emerging. This is the hyper-judgement or categorizing of other people.

Because of the sudden shift in ideals, which can be rather overbearing, some people tried to oversimplify the issues by creating a false dichotomy. This, essentially, tramples upon the goal of having an inclusive society. This line of thought categorizes people into something bad just because they don’t agree with everything.That’s what I’m getting from your argument.

You’ve made this false dichotomy that because we Sprouseharts don’t ship a homosexual ship, we are therefore against all homosexuals, which is terribly wrong to assume.

The argument is overgeneralizing and a slippery slope. It is also very hateful.

You’ve automatically excluded us from being part of a community that supports LGBTQ rights and anti-racism just because we love a straight white couple. You’re making it seem that loving a straight white couple is tantamount to going against the ideals of supporting LGBTQ rights and anti-racism. As far as I know, fighting for LGBTQ rights and anti-racism is fighting for equality and against discrimination. It’s recognizing that all races and all sexual orientations are equal and should be respected. It doesn’t mean that straight white couples cannot co-exist with LGBTQ couples with different races.

Now, your statement basically asks us to disprove your unfair assumption of us by declaring that we aren’t homophobes and racist. To be frank, who are you to ask that of us?

I’m actually troubled whether I should give you the benefit of giving you my answer but just to settle your “confused” mind, I am a firm supporter of LGBTQ rights and I hope for a world where race will no longer be an issue. I’m a person who particularly dislikes labels. I believe you are not defined by a single act or a single decision, but your collective actions and decisions throughout your life, so for me no one can judge you, label you, or characterize you as something until you are dead.

HOW TO: Be a Theatre Student

1. ATTITUDE

The most common negative quality in Theatre Students is a lack of appreciation. There are so many individuals in this world who feel forced into career paths that have nothing to do with their true passion. We are so lucky to be allowed to follow such a unique dream, and to bring joy to so many audiences. Remember even when completing difficult assessments, or doing back to back late nights, we are working towards something bigger. Being appreciative and passionate is an inspiring quality. Embody this. 

2. TUTORS

We are extremely lucky in my course to be taught by a group of working Professionals, not Lecturers. Although you will spend every day with them, remember they are Professionals who deserve respect. They will be your most valuable resource. Do not waste their time. Ask questions. Drink in all that you can. They will know you better than you know yourself. Theatre Professionals in the Industry do not have time to stop mid-show and explain their decision making. Working with such people is an amazing privilege. Use it. 

3. OBSERVE

As well as observing the Tutors methods, also observe the other students around you. Before screaming about how much potential you have, take time to watch other students succeed and fail. Take from their methods the aspects you want to incorporate into your own practice. Never ignore the potential of those sitting next to you to have incredible ideas. 

4. OPPORTUNITIES

Theatre School will immerse you in an environment of external opportunities. My school offers a variety of non-assessed events that we can volunteer to work on. We are also able to be hired as Venue Technicians for weekend work. I would highly recommend using these as platforms to practice your craft and keep you fresh. This will make you a known face around campus, and give you extra experience your peers may not have. It’s easy to get stuck in the classroom. Remember you are here for live art! 

5. EVERY DAY IS AN INTERVIEW

Every day we are surrounded by current and future industry professionals. Although you should feel safe to make mistakes, know that the way you act now is being constantly monitored and will be remembered. Try to handle stressful situations with grace, and always have an air of professionalism about you. People in theatre are good judges of character. Think quickly, and be respectful.

6. STAGE MANAGERS ARE TIME KEEPERS

You are completing a Stage Management course. A Stage Manager’s first job is to be a time keeper… So meet your goddamn deadlines. Seriously. There is nothing that makes Tutors cringe more than seeing Students getting extension after extension when they are training to be a professional organiser. Your ability to stay on top of work, even that unrelated to productions, is being judged as part of your work ethic. Although sometimes it is overwhelming, remember this time of your life will end and you DO have the ability to complete the work in good time. Write the essay. Read the play. It will get you one step closer to theatre.  

7. TEACHING OTHERS TEACHES YOU

Although Theatre School can sometimes be a competitive atmosphere, it is important to remember that teaching others actually teaches you. I do my best learning when I have to explain concepts or procedures to someone who doesn’t understand them. Although sometimes you want to keep your knowledge close to your chest, be generous with your learning. It will consolidate the knowledge in your mind, and doing favours for others does not go unnoticed.

8. LET OTHERS FAIL

You also need to find your own moral ground on when to stop pulling friends across the line. As with any Degree, at the end of the day you need to all individually be capable enough to walk into a theatre and create a Prompt Copy, or set up a console. Don’t do all the work for people who aren’t interested in learning for themselves. Sometimes it takes a blown system or poor grade or yelling Director to wake a Student up. Ensure your work is always  high quality, but it is not your responsibility to manage any other work load. Do not get walked all over. This education is yours.

9. STOCK UP

Use this time to Stock Up! Create useful templates and file them nicely for you to use once you’re in the Industry. Buy a Stage Management Kit, and begin slowly stocking up throughout your time at University. Invest in the Tools you deem most useful. Buy the Stage Management book you keep reading from the Library. Collect the elements you want to be a part of your professional practice. This is the perfect time to gather resources. Do not waste it.

10. DON’T GIVE UP YOUR LIFE

The best advice I received at the commencement of my First Year was to not give up your personal life for a 9.00AM-6.00PM Monday to Friday course. I was ready to give everything away. I moved out of home to be closer to the city, worked through my weekends, and over the year stopped caring about my friends, family and other interests (including this blog!). Let me tell you, this does not get you ahead in your career. It left me lonely, and vulnerable to toxic relationships that I didn’t need. You need a well balanced life and support system to be good at your job. You need to be healthy and happy to inspire passion in those working for you. My best work of the year was during my November production, once I had realised this the hard way. Make an effort with your friends, stay with your family, have other hobbies that make you happy. Don’t throw your life away just because you got an acceptance letter. If this career is going to sustain your whole life, it needs to fit into your whole life. Theatre is not the only beautiful thing in this world. Just look around. You might surprise yourself. 

Best of luck to the 2017 First Years in all the kickass Theatre Courses around the world. I’m here for every single one of you! 

Ella X

anonymous asked:

For the prompts, "I will slap you with this pizza," any characters

Thank you for the prompt!


“You’re doing it wrong.”

“No, I’m not. Leave me alone”

“Yes, you are, you’re not adding enough cheese.”

“Stop it, get off of me!”

“Just let me help!”

“I will slap you with this pizza, Princey.”

Deciding that things were getting a bit too heated, Morality turned from the counter where he had been setting out the ingredients for garlic bread.

“Now Anxiety,” he scolded, “That isn’t very nice.”

“I don’t care if it’s nice,” the darker trait snapped, still glaring at Prince. “I want him to go away and work on his own pizza.”

“Anxiety,” Morality told him warningly, “I mean it, I’m watching you. Be nice.”

“As if he could manage that,” Prince muttered under his breath, causing Morality’s disapproving gaze to turn to him.

“You too,” he warned, “Be nice. And he’s right, you have your own pizza. let Anxiety make his the way he wants to.”

“Fine,” Prince sighed dramatically. “But I still say, if you just sprinkle on a bit more cheese-”

He reached out as if to demonstrate, and that was when Anxiety snapped.

In an instant, Prince’s formerly white outfit had been splattered with tomato sauce, a lone pepperoni sliding down his cheek. He spluttered a bit, before his gaze hardened.

“Oh, you are on” he proclaimed, grabbing his own pizza and flinging it Anxiety.

“Wait, now kids” Morality tried to interject, but it was too late. It had become a full fledged food fight.

Deciding that if you couldn’t beat ‘em, join ‘em. Morality grabbed a handful of flour, and chucked it at Anxiety, watching it settle into his hair. Soon all three sides were fully immersed in the fight, laughing, flinging food, and trying not slip on various food items now covering the floor. But then, all of a sudden-

“What is going on here?”

The voice rang out in the room, causing all three of the sides to pause, looking to see Logan standing in the doorway, frowning at all of them.

“I thought you were supposed to be making dinner,” he said, looking unimpressed. “This hardly seems conducive to that.”

“Anxiety started it,” Prince was quick to interject.

“No, you’re the one who wouldn’t leave me alone” Anxiety snapped back.

“Yes, but I’m not the one who started flinging food like a savage, now am I?”

“Oh, I’m the savage? As if you weren’t perfectly happy to start throwing it back”

Wanting to stop the argument before it got anymore heated, Morality did the first thing that came to mind. He tossed a handful of cheese at Logan.

“Got you,” he chuckled.

Anxiety and Prince were now staring at the sight. Prince was the first one to crack.

“I’m sorry, Logan,” he said between giggles, “It’s just a funny sight that’s all”

Next to him, Anxiety had a hand raised over his mouth, but the slight shaking of his shoulders gave away his laughter.

Logic sighed, reaching up to shake the cheese off his glasses. 

“Just clean this up,” he ordered, stalking out of the room.

Morality smiled as he went to fetch the cleaning supplies. They now had quite a bit of work ahead of them before they could start dinner, but he couldn’t say he hadn’t enjoyed the food fight all the same.

anonymous asked:

^-^ Hey there. Since you're a writer I really respect, do you think that every piece of fiction HAS to have some kind of LGBT aspect in it, even if it doesn't affect the story?

((I know I finished the wall of answers but I want to answer this one.))

Hi darling =)

LGBTQ+ is EXTREMELY important to support. As a straight, cis-female, I have to recognize my place in the world as someone who is unfortunately more socially accepted than someone who is not cis/heterosexual and I understand that people who do not have the same rights/privileges as I do need support and representation in everyday life. 

That Being Said (and I know a lot of people are clenching their butts or holding their breath as they read on)

As a Writer: Focus on what YOU as a creative individual want to write. If you desire to write a prince and princess fairy-tale, then write it. If you want to write that heart-warming drama story about someone’s struggles with transition and acceptance, then write it. If you want to write about a war of respect and freedom for the scarred and punished, then write it.

But do not force pandering into your creativity. People who are LGBTQ+ are NOT thrown in stereotype characters to say “LOOK, I AM OPEN-MINDED TEEHEE I ADDED A GAY COUPLE WHO DOESN’T DO ANYTHING TO THE STORY BUT BE GAY” That is WRONG and that is an INCORRECT way to support the LGBTQ+ community.

People who are part of the LGBTQ+ community are regular people like you and me. They can appear in our everyday lives as friends, enemies, loves, support, rivals, etc. Hell, they can be the main characters of many countless stories and any of them could end happily or tragically. Don’t set them on a pedestal unless their divine/social/personal ascension is what your story is about. 

Characters have their own lives, their own behaviors, their own sets of morals and standards and views on your world, whether it be based around modern day or represented in a fictional setting you built in your mind. Each person is different, whether it be the people they like or the mentality of their own body. As you build your story and focus on what is going on in your plot, recognize who is crucial to moving that plot forward, who is passing by to watch and observe, and who does not affect the story.

If a character in your story isn’t cis/heterosexual and they are a main/side/support/minor character who contributes SOMETHING to your plot, then they absolutely belong there and deserve their spot of fame.

Otherwise, don’t force it because your story will not be as focused as it should be (because you’ll end up focused on pandering instead of telling a story) and stories without focus do not read well, no matter who reads it.

Perspectives on Experiences ∞The Hathors

“So, because there is no beginning and no end to this journey that you are on, you should not expect for there to be a completion of any kind in matters regarding your life, regarding the challenges and themes that you have set up for yourselves. It would be wise for you to not expect that once you have had a certain kind of experience that you then will be done forever and ever more with that type of experience.
We suggest instead that you realize and recognize that what you are actually doing here is seeing all of these themes and ideas and topics and experiences from every possible angle. That is really what you want to do to. That is really how you have a Source Energy-like experience of your world. Source Energy gets to see it from all the different angles and all the different perspectives all at once, whereas your experience is to have one perspective at a time and to fully embrace and embody that one perspective until you decide that you would like to have a different perspective, or until that different perspective is thrust upon you.
No matter how you go about it, you are going to have every possible experience and every possible perspective on every possible experience. And that is how you will know yourselves truly and fully as All That Is, because All That Is contains all that is and that includes all perspectives. We would like to encourage you to begin to see things from other perspectives, even if those perspectives go against your current sets of beliefs and morals and values, because you are not here attempting to perfect your unique perspective. You are here to experience all and to know all as equal and valid.
So if you want to do that consciously, you may save yourself from having to create experiences that will force you to take on certain perspectives. And as you step outside of your comfort zone, you will ultimately be able to feel more compassion for those around you whose perspectives and beliefs and morals and values differ greatly from your own. You will be able then to truly live the motto, ‘to each his own.’ And when you can embrace that perspective, you will enjoy freedom beyond what you have experienced thus far.
We are The Hathors. We thank you. And we wish you a fond good day.”

merlin-girl-lexi  asked:

What troupes do you feel are just overused?

I mean, the point of a trope is that they are often overused, but there are a few that annoy me personally!

I really can’t stand the trope of the “sassy, independent teenage protag” that sweeps YA literature. While there’s nothing wrong with the traits above, more often than not, the character is simply rude to adults or other characters in the story. (Especially other girls. But that is a feminist spiel I won’t get into on this blog) Not to mention, I personally feel like it makes people who read them go out of their way to try to say something rude to people they dislike to seem cool or entertaining. I would like more politeness within main characters for people to model. You can still be a badass and have manners.

I also dislike love triangles as a whole, but especially when the cast is in the middle of some war or impending doom. If you have the maturity to lead a rebellion, I imagine you also have the maturity to set aside your feelings and leave romance out of place. Besides, more often than not it’s between a long time friend and a new introduction. It’s simply just not my cup of tea.

The last thing I’ll mention here is the trope of vengeance killings. My own morals don’t really fit the Hammurabi-type retribution, and more often than not, ends in one of two ways: MC kills villain and now has to deal with little to no consequence, or MC decides not to and lives to regret it. I’m just personally not into it, cuz I feel that it doesn’t teach healthy coping mechanisms.

YYH Asks!

Yusuke: Any near death experiences or witnessed death?

Kuwabara: Do people underestimate you?

Kurama: What is your biggest regret?

Hiei: Would you say you have your own rigid set of morals/honor system?

Botan: Do you often make other people smile?

Keiko: Do you stress over a lot of things?

Shizuru: What are your bad habits?

Koenma: Do you find yourself often burdened with tremendous responsibility?

Genkai: Any skill that you have worked hard at gaining?

Sensui: Do you have any mental health issues?

Itsuki: Have you ever loved someone who you could never have?

Mitari: Have you ever been bullied?

Amanuma: Would you say you often feel alone and misunderstood?

Kaname:  Do you ever want to administer justice to people who have done you and others wrong?

Makihara: Have you ever been betrayed?

Kamiya: Has there ever been a time where you lost faith or hope in what you do?

Toguro: Would you sacrifice something important to you to gain more strength or security?

Karasu: Are you capable of being cruel?

Yomi: Have you ever had to make do without something you thought was very important?

Raizen: Would you change your lifestyle for someone you loved?

Mukuro: Have you ever been abused?

Jin: Are you a light-hearted person?

Touya: Are you loyal to your group of friends?

Chuu: Are you a hedonistic person?

Rinku:  Has anyone ever defended you when no one else would?

Youko: Do you have a big reputation?

Writing Characters Who Self-Harm: (WARNINGS FOR BLOOD, ABUSE, AND GRAPHIC SUBJECT MATTER)

So, self-harm has a pretty shameful spotlight in general society, and perhaps because of that it seems difficult to find many first-hand accounts on the details of how it works. That said, I’ve come across a few stories that go about the topic… Somewhat crudely? So if it helps, here’s a little breakdown.
Keep in mind that it’s different for everybody, so this isn’t intended to be Holy Law From On High, just a handy reference for any writers who aren’t familiar with SH looking to go about touching this subject.

TRIGGER WARNINGS
General warnings for blood, self-harm, descriptions of violence, etc.

1. BLOOD: Lots of scene imagery after a self-harm episode tends to focus on, “oh god, blood everywhere!” But the thing is, it’s really difficult to get a significant amount of body juice out, (depending on the method), and it’s not incredibly common for a self-harm problem to get that extreme. Usually, if there’s an alarming quantity o’ people ketchup present, than (MORE LIKELY) either
1. The person involved was under an unusually high amount of stress and didn’t mean to go that hard, and it was accidental and they may be freaking out a little themselves;
2. Blood is the catharsis, not pain, in which case it *might* be produced from multiple small wounds as opposed to one big one,
3. O shit they didn’t know there was an artery there, and
4. They might have pulled off a scab from an earlier wound- when this happens, the scab comes off with an amount of healing skin and tissue, creating a wound deeper than the original. Sometimes this bleeds more than the original damage, too,
And
5. If the damage involves water or saliva, it can look like there’s a lot more blood than there actually is.
(This all being said, I have no personal experience with wounds located on forearms, and as such I’m personally uncertain how much blood is normal and expected.)

2. MOTIVE: I see a lot of stuff about knives and razors. Which, yeah, fair, but people can get damned creative when they’re desperate. (See #3). That being said, not all self-harm involves cutting, or even breaking skin- self-harm is a coping mechanism where the individual needs to focus on something to either heighten or numb mental stimulus- the urge could be to do something meditative and methodical to distract from unmanageable thoughts and emotions, (or the absence thereof), or it could stem from a sense that they deserve punishment for a misdeed or failure. With punishment, the focus is likely to be on pain, both mental and physical. The end goal is relief from guilt, failure, and depression. With overload or numbness, the urge could simply be to see blood or get that rush of adrenaline that makes everything more manageable. Even aftercare can be soothing to someone who practices self-harm: the act of cleaning and treating and bandaging a damaged area can feel like self-care, like fixing something internally that can’t otherwise be controlled. Even the act of self-harm itself can be an act of seizing control, of defying a sense of helplessness, of finally being able to change something. Again, everyone who SHs is different, but very common motives are shame, guilt, and helplessness.

Triggers for episodes can include for each:

SHAME: Shame is public by nature. Shame is guilt that is revealed to an audience, and as such it is triggered by social conflict. For example, an authority figure telling you you did something wrong, a parental figure expressing disappointment, a teacher calling you out on missing homework or skipping a deadline. Even a peer or peers saying something perceived as hurtful, like, ‘your joke wasn’t funny’. Non-verbal shame can come from botching a public presentation in front of a crowd, or forgetting something in a group task. Shame can result in numbness, overstimulation, or a need for retribution that is coped with using unpredictable forms of SH that are often kept hidden out of fear of further shame.

GUILT: Guilt is private. Where shame is a socially motivated emotion, guilt is personally motivated. A good majority of human beings have a personal set of morals and ethics we adhere to: “Don’t lie” could be one. Or, “Elderly persons deserve priority seating on the subway”. A personal rule is something you believe is right, that you do your best to adhere to.
Guilt happens when you are unable or unwilling to follow your own rules. Guilt comes from giving in to the temptation to do that 'wrong’ thing, or from being physically unable to do the 'right’ thing. Guilt is a roundabout plethora of 'I could have done this’, 'but I didn’t’, 'therefore I am a bad person’, 'but it’s okay because of this’, 'except making excuses is also against my personal rules’, 'now I’m a worse person’, 'I don’t deserve to feel good’, and again, it’s different for everybody, but this can also spiral into self-destructive behaviour.

HELPLESSNESS: This one in particular is incredibly common among people who have experienced abuse. People who have been restricted from making personal choices, people who are forced into looking a certain way, who are in difficult situations that seem impossible to change. These things are overwhelming and numbing and smothering, and self-harm can be a way of feeling like you have control. 'I can’t overcome this situation, but I can overcome pain’. 'I’m not weak because I can handle this’. 'I can’t cut my hair or change my appearance but I can change my skin’. Even having a lasting mark or bruise can be a reminder that 'there are things I can control’.

3. TOOLS: As mentioned in point 2, it’s not always knives and razors. Those are the best-known, sure, but not all self-harm is cutting. It’s true that once someone who self-harms becomes comfortable with a particular method or instrument, they often tend to stick to the familiar routine- either because the ritual itself is calming, or because they’ve become familiar with their personal limits, or for purely hygienic reasons. Many who practice SH make sure to sterilize puncture tools with soap, a lighter, antiseptic, etc. in order to avoid infection.
Self-harm, in addition to cutting, can also manifest as:
-Punctures or insertion, as with pins,
-Abrasion, with pumice stone or sandpaper,
-Scalding with too-hot water,
-Burning with cigarettes or lighters, matches, candles, etc.
-Elastic bands- repetitive snapping can cause bruises and flashes of pain,
-Biting
-Pinching
-Bruising with fists or blunt objects
-Kicking or punching hard objects
-Fingernails
-Interfering with wound healing- peeling scabs, poking, deepening bruises
-Consuming substances that cause physical pain and discomfort
-Freezing- sticking hands in ice or frigid water
-Banging head or arms against solid objects, walls, furniture
-Hitting and slapping
-Poisoning
-etc.

Self-harm is dangerous, but it’s normal. It is a coping mechanism that people use when they see no other options. It can be addictive. It can slowly escalate. It can end tragically, but in most cases death is not the goal. Coping mechanisms are used be people trying to live.

People who self-harm are often secretive or ashamed. Our society is not kind to things it doesn’t understand, and it’s difficult to open dialogue when you know what people are thinking. 'Emo’, 'attention whore’, 'psycho’. That shit doesn’t help. And frankly? It’s not your tragedy porn. Try to be understanding. Try to keep an open mind. Don’t try it yourself, because trust me, there’s nothing beautiful or romantic about it and it’s a long dark rabbit hole, but try and respect it as something that real people live with.

Redeeming Your Villains.

I recently received an anonymous question about redeeming a character’s bad behavior. This is a great thing to discuss especially when it enters into a moral gray area. This is where an author’s ethics really start to matter. When writing in a morally gray area, remember, you are not your characters. Your characters have their own set of beliefs that may not align with yours. If your character is going to do something that you do not agree with, consider the tone of the scene. You can write about bad behavior that the character relishes without endorsing their actions. Focus on word choice. Show how other characters feel about these actions - that can provide another voice to fight against the other character’s. 

When it comes to redeeming a villain, you want to consider a few things: 

  • Are they remorseful? If a character is seeking forgiveness for their actions (and is looking to change their ways), some characters may forgive them. Depending on the crime, not everyone may be so forgiving. Seeking forgiveness or showing remorse is a good step towards redemption. 
  • How do they justify their actions? Some characters only commit terrible acts as a “means to an end.” They may seem more redeemable because they do not intend to continue this behavior beyond what they have already committed. 
  • Consider what’s realistic for forgiveness. Some crimes are easier to forgive than others. There is a big difference between petty theft and murder. While you might want a neat and tied up happy ending, think about what is realistic for your characters to forgive. 
  • What about punishment? Big crimes may come with jail time or even, depending on a setting and time period, capital punishment. How does this effect the way the characters view the villain? They may be more willing to forgive if they feel that justice has been carried out. 

There are a few other things to consider when trying to redeem a villain. Not all villains need to be redeemed (for example, if the villain is a hoard of zombies, there is an easy explanation to why they need to eat people. No one really expects redemption.) I am not going to get into mental health and mental illness. That is a whole separate issue. If you intend to write about that, do research. Lots of research. Otherwise, I hope this helps and happy writing! 

anonymous asked:

What are the pros and cons of "street fighting"? Like no formal training, somewhat self taught, and for surviving. Can this apply to sword fighting? I'm writing about a character who has formal training but also learned street fighting because they saw some value in it and they find it unpredictable

Since these questions come up a lot, we have tags for #street fighting and #untrained fighter.

It’s worth pointing out that street fighting is just fighting, there’s nothing special associated with it and the idea that it’s unpredictable is… untrue. The true moral of Fight Club is that Fight Club is a stupid expression of toxic masculinity that is worth nothing. Getting beat up a lot doesn’t make you a better fighter. It will give you an endorphin high and sell you on the illusion of your own toughness.

Street fighting is extremely predictable, especially from self-taught fighters. This is because self-taught fighters have a limited move set. A move set that is limited to what they’ve seen in practice by someone else. Today, this means what you see on on television. Whether that’s professional boxing, UFC, WWE, or someone trying to ape the moves of a Hollywood action star like Bruce Lee, Jet Li, Jackie Chan, Chuck Norris, etc.

An untrained swordfighter is even more screwed than untrained hand to hand because sword combat on the street is called dueling and they practice that in the salle.

Your character would actually be more unpredictable via seeking out secondary instruction from “practical” aka practical application or more street minded sources. This can be police self-defense, training in forms like Krav Maga, and others that focus on teaching your character to use what they’ve learned in their studio out in the real world.

The techniques don’t change, but the mentality does.

For a character who has formal training, they’re going to re-learn to use what they already know in a new environment where the stakes are higher. The difference between a recreational martial art and a practical one is what you’re training for rather than the techniques themselves. Changing from one to the other involves changing how your perspective on your environment and learning to evaluate threats as opposed to simply focusing on technique and training for sport or spiritual enlightenment.

All martial arts training revolves around survival on some level.

For a character to “train” in “street fighting”, they’d have to go out and fight on the street. This would involve taking their life in their hands and risking it for… what, exactly? They saw value in going out to beat up/get beat up by random strangers at a bar, in a Fight Club style set up, or something similar to backyard wrestling rings.

This character isn’t actually learning a new fighting style. They’re taking what they know out into the real world to test it. (An act which will get you evicted from most martial arts studios if they catch you, especially if you’re a minor.)

The “unpredictability” of street fighters comes from the fact that most people can’t predict when a fight is about to break out. They don’t see it. They don’t get in the frame of mind for it. They see the aftermath, after the first punch is thrown, and are stuck mentally playing catch up as they’re getting pounded.

The average street fight lasts less than thirty seconds.

Those first few milliseconds at the beginning of a fight are crucial, as is your frame of mind before the first punch is thrown. Getting yourself into the right mindset, ready to defend, and ready to fight means that you’re not going to be blindsided when the time comes to go.

That is the unpredictability of street fighters, though. They’ve learned that the first one to the punch usually wins, they’ve learned that the most aggressive fighter is the successful one. So, they to take the initiative, blindside, and pound. By the time the other person mentally catches up, the fight’s over and they’re either broken on the ground or dead.

“Unpredictable” is just code for “I didn’t expect that”. It isn’t a mystical state that is forever surprising. Through time and experience, the unpredictable becomes predictable for the individual. For the same technique to continue being unpredictable, you need to consistently perform it on those who’ve never seen it before. The street fighter illusion will fall apart fairly quickly because, when you’re working from the basis of the self-taught, street fighting isn’t that complex.

Those with formal training benefit from not only their own experiences, but the experience of their instructors, their instructors’ instructors, and everything else that comes with a martial that has survived for multiple generations. It’s a battle against a multitude of experiences, against a co-operative effort.

I will point out again that combat is a science and utilizes science as a means to kill people. It isn’t part of human nature and natural instinct, it is specifically designed to exploit them.

Street fighting is fighting in an uncontrolled environment, where the risks are higher due to the lack of protections and harm is assured.

-Michi

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