#it’s sensory info and sights and smells and sounds

[shallowrambles]

Prequel thoughts - some good, some bad

I have always found Robbie T’s writing at its worst to verge on being kinda verbose and occasionally smug. Sometimes, too many characters sound word vomitey in a distinctly *Sam* way, or they just sound cartoonishly *feisty.* But he has also done episodes I genuinely love. I think the prequel had those same issues in the writing but it was mostly okay.

- It was waaaay too fast-paced, but maybe they want to crank out as much as possible for fear of cancellation. But yeah. John’s character suffered the most from the rushing. He didn’t even have time to really react to the world of hunting so soon after coming back and it felt very off. Let us have some dread!!!!

- The MoL info dump would be ok in a novel but doesn’t make great tv. Slow the fuck down, guys.

- Imho Mary actress is excellent. She feels like Mary. Her voice is the right voice for Mary. She seems to pull the best performances out of the other actors. I’m most looking forward to her push-pull with her parents. Her personality reminds me mostly of what we saw out of original Sam Campbell if I’m honest! Bit prickly and more aloof than Dean. More abrupt maybe, at baseline.

- desperately wanna see Mary’s large hunting family and cousin Maggie!

- I think Lata was ok. Her moments with Mary were the best and felt the most organic to me.

- The trauma bonding with John and Mary in the car and about life after hunting was second best

- I liked Millie scene with John ok. I didn’t feel too much because they didn’t really set up for the viewer the Henry stuff all that well imho.

- Carlos felt feisty and rushed, but the actor is good, has so much presence and charisma, and he had a nice moment with the guitar and getting out the “doomed hunters” theme. His other scenes needed more room to breathe.

- For example, I’d have preferred not spelling out his crush on Mary but showing it through his hackles being raised about John or jealousy allowed to come out stronger imho. That’s the kind of stuff that tends to feel ham-fisted about Robbie to me.

- But I do like that no one is a carbon copy of Sam or Dean. The fandom’s obsession with mirrors being stand-ins for whole ass characters can be a Chuck-coded nuisance. (I love parallels and themes but spn fans tend to equate characters with mirrors or characters, and that had gotten so stale. Robbie tends to let his characters be individuals, and use themes more cohesively instead of teasingly, and I like that.)

- In general, I’d love to see more genuine grouchiness, anger, and pissy attitudes in his characterizations. Too often it comes off plucky/feisty instead of truly negative. (Dude, road trips get dramatic!)

- I do think the broad strokes are good and the actors have so much chemistry that they’ll settle in. I wasn’t expecting so much chemistry tbh. Good for them. I like that John and Mary are interested in each others’ emotions. That feels different than so many romances because they’re simply curious and interested at this point.

- It also had some audio balances issues and hazy lighting (it’s difficult to do dingy 70s) that I’m sure will even out.

- last thing: Mary called a guy who watched his friend blow up, went to a graveyard with his friend’s mom earlier, and cut shit out of his arm, and was pretty suicidal during a hunt…she gave him coffee and remarked he had a sweet worldview? I was so thrown by it, and it seemed so *plucky.* 😭 Smdh. Have you ever talked to a veteran, Robbie? John just came back from Nam, the unpopular, hated war. Maybe Mary is just trying to say “you’re sweet / I’m sweet on you.” Secret dorky Mary.

- as for the show in general… we already know my feelings on taking the word of cupids and angels to be the end-all, be-all canon. They’re manipulative/unreliable narrators. That’s canon. It you’re basing canon on the word of an angel and chuck’s messengers, you missed the tfw theme. (as I’ve said, I’m cool with degradation and tragedy if they go that way, too.)

[my-autism-adhd-blog]

Autistic Sensory Differences

What are they?

Autistic people experience the sensory world very differently from non-Autistic people. One Autistic person might be hyper-sensitive to certain sensory experiences, and do whatever to avoid them, whereas another might be hypo-sensitive and crave heavy sensory input (or both/a mix). Sensory differences include the main 5 senses:

Sight

Sound

Touch

Smell

Taste

addition to 3 lesser-known senses:

Interception

Movement

Balance

SIGHT: A person might struggle with intense eye contact, bright lights, a chaotic mix of colours or a lack of visuals for support. Another might seek out loud colours, lots of lighting or certain visuals (e.g. shiny things).

What might help:

Sunglasses to block out light

Reducing eye contact

Using visual prompts such as labels/lists

Using calm/dim/ mood lighting

SOUND: A person might struggle with loud/sudden noises, overlapping voices, certain pitches or a lack of noise. Another might seek out loud music, repetitive sounds/words/songs or white noise.

What might help:

Using subtitles for videos when the audio is too overwhelming

Wearing headphones to reduce noise/utilise music for comfort

Using ear plugs to lower background volume

TOUCH: A person might struggle with rough surfaces and textures, the feeling of dirt or unclean skin, clothes labels or human contact (e.g. hugs, handshakes etc.).

Another might seek out objects to squeeze, fabrics to feel or people to embrace.

What might help:

Setting a boundary to not be touched without consent

Removing fabrics and materials from your environment that you dislike

Find clothes with stamped labels rather than ones with external tags

SMELL: A person might struggle with strong or pungent smells, odours that are too overwhelming for them, or just too many different smells at once. Another might seek out powerful smells or like to overload themselves on favourite scents.

What might help:

Keep to hand something that smells nice to you to counter any bad smells

Use unscented products

Use candles, diffusers or air fresheners to surround yourself with comforting smells

TASTE: A person might struggle with different textures in food (e.g. soft with crunchy), certain flavours or unfamiliar foods. Another might seek out hot/spicy/sour foods or chewy/stimmy foods.

What might help:

Providing familiar/safe foods at meals

Don't force trying new foods if not interested

Be aware of clashing textures

INTERCEPTION (processing info about physical needs on and inside the body):

A person might struggle with recognising physical needs (e.g. going to the toilet, feeling unwell, needing to eat/drink) whilst another might feel them intensely.

What might help:

Creating routines/alarms/reminders for fulfilling bodily needs

Be well prepared/equipped to fulfil needs e.g. taking water with you to places

Fulfilling bodily needs earlier to avoid pains of thirst, hunger, full bladder etc.

MOUEMENT (Proprioception): A person might struggle with an overly aware sense of body positioning, becoming tired easily from movement or disliking tight clothes. Another might seek out physical activity (running, climbing etc.), have less awareness of personal space and have a need to fidget/cannot remain still.

What might help:

Use of deep-pressure products like weighted blankets

Keeping active through slower movements, e.g. walking instead of running

BALANCE (Vestibular): A person might struggle with sensitivities to balance and spatial orientation if moving too fast or have difficulties with motion sickness.

Another might struggle with not moving at all or seek out movements such as dancing and swinging around.

What might help:

Using trampolines, rollercoasters, rocking chairs to meet vestibular needs

Physical support such as with stairs to help control balance with steps

Autisticality

Autism

Sensory Processing

[microficmay]

Microfic May 2023

Microfic May is an open daily prompt challenge in which participants write a microfic a day in May. Here is the prompt list for 2023!

Microfics are works of fiction 50 words or less

Open to all HP characters, ships, ratings, topics, and genres (as long as works are tagged and spoilered appropriately).

Participants must be age 18+ and follow DLDR, SALS, and YKINMKATO.

All prompts are optional, can be skipped, switched around, or combined. Just have fun and write!

For an extra challenge, try one of our optional ‘Weekly Challenges’ along with the day’s prompt.

To submit a work, add it to our collection on AO3 Microfic May 2023 or mention us @microficmay AND tag #microficmay2023 on Tumblr.

Schedule 2023 🫶 Prompt Box Open: Mar 15-Mar 25 🫶 Prompt List Released: Apr 1 🫶 Self-Posting: May 1-May 31 🫶 AO3 Collection Closes: Jun 5 🫶 Discord Server Open: Mar-Jun

Check the Info and FAQ pages for more info! (if the links aren't working on mobile, they are also in our profile)

NEW THIS YEAR! Come join our Discord server 🙌✨💜

Prompt list in plain text under the cut!

Prompt List 2023

Day 1: Yearn

Day 2: Ambient

Day 3: Revelation

Day 4: Praise

Day 5: Here & There

Day 6: Shatter

Day 7: Brumal

Day 8: Fate

Day 9: Blossom

Day 10: Moon & Stars

Day 11: Stutter

Day 12: Languid

Day 13: Synergy

Day 14: Climax

Day 15: Silver & Gold

Day 16: Hoodwink

Day 17: Scintillating

Day 18: Downpour

Day 19: Schedule

Day 20: Sweet & Sour

Day 21: Dishevel

Day 22: Sharp

Day 23: Hubris

Day 24: Wait

Day 25: Over & Under

Day 26: Drift

Day 27: Tangible

Day 28: Legacy

Day 29: Cycle

Day 30: Better & Worse

Day 31: Oscillate

Bonus: Translucent

Alternate Prompts

Alt 1: Slander

Alt 2: Gluttonous

Alt 3: Temptation

Alt 4: Garnish

Alt 5: Same & Different

Weekly Challenges (Optional)

Week 1: Sensory Challenge ↳ Include at least one of the five senses in your microfic: sight, sound, smell, taste, or touch.

Week 2: Adverb Challenge ↳ Don’t use any adverbs in your microfic. This includes really, very, always, together, again, and many many more.

Week 3: Haiku Challenge ↳ Write a haiku and include it in your microfic. Haikus are 17-syllable poems written in a 5/7/5 syllable count.

Week 4: E Omission Challenge ↳ Don’t use the letter E anywhere in your microfic. Good luck!

Week 5: MEGA CHALLENGE ↳ To be announced!

[fallenwhumpee]

Pawn

• Masterlist •

Warnings: Sensory overload, sleep deprivation, blindfold, interrogation, torture, broken nose, nosebleed, drugging, touch starvation, mentioned suicide bombing.

In the eerie stillness, their mind grasped for any trace of familiar sights, but all they found was an abyss. Their own breaths were the only thing they could hear, their gasps distant as if underwater.

They groaned, but the sound came out as a croak. They knew their captors were enjoying this show from somewhere, probably discussing what to do to them with sadistic smiles. As if on cue, a loud bang made them flinch, disoriented with the ringing in their ear.

They tensed as the sound grew clearer and closer. Footsteps circled around them, and they cursed the blindfold, not for the first time since they were first captured.

They cried out as their hair was yanked, their back sore from sitting in the same position without being allowed to lean on something.

"Were you alone?" the interrogator demanded.

"Yes," they answered, their voice unreadable but tired and hoarse.

"We both know you're lying. Tell me what your objective was."

"I was alone, a-and it was a suicide bombing. I was to receive the bomb f-from an abandoned warehouse. No contact, no info. I'm merely... merely a pawn," they recited from memory, trying to sound clear but failing towards the end.

"What was your target, you vermin?"

"The... presidential palace, of course," they replied, struggling to keep their thoughts together, with sleep once more trying to claim them.

"No one told you that you can't do that? We do not let people wander around the building, let alone an armed rebel."

They closed their eyes, despite knowing it wouldn't make any difference behind the blindfold. The next question was just a noise in the background, and their head fell, their senses finally giving them a moment to rest. Their hair was pulled harder, a cry escaping from their mouth as a punch met their face. Their eyes watered, pain jolting them awake. A warm liquid slid down over their mouth, the smell of iron stinging.

"How many times have I said that you're not allowed to sleep until I'm satisfied with your answers?"

"Or you s-satisfied your thirst... for violence," they shot back, but regretted it instantly. They tensed and shrunk as much as they could, their 'not caring about their life' persona cracking with this mistake. They really should've kept their mouth closed, but they didn't know how long they could comply enough not to anger the interrogator while withholding information about the rebel group. Maybe it was due to exhaustion or hunger or thirst or pain or the ringing in their ears or uncertainty...

"Mhmm, scared now? Maybe you'll chant 'glory to the government' if I work on you a bit."

Their stomach dropped with the thought, a shiver shaking them as a hand gripped their shoulder, heavy and authoritative.

"Since you began to understand the situation, tell me, do you know who this rebel leader is?"

They bit their lip, tasting blood. Of course, they knew them. They were the leader. But they didn't talk, and it was an answer good enough to let their hair go.

"You do. Good. What's your connection to them?"

"I told you. J-just a pawn ready to die for t-the greater cause."

"Such claims are not tolerated here. You have ten seconds to fix your mistake."

"The government, along with all its officers like you, can go—"

-•-

For a long time, there was only darkness. Slowly, the ringing in their ear made itself known, their whole body aching. Breathing was too hard, and they were unsure if it was from the broken nose or possibly broken ribs. They groaned, unable to make any other noise. They heard a shuffle from the back, but maybe they were imagining things. They couldn't trust themselves at this point.

They groaned once again, trying to determine their position on the ground as it seemed to shift beneath them. They were better than this—better than tossing around like an animal, better than getting caught, better than giving an opening. They were leading a rebellion with little to no support against a government with endless resources. They weren't supposed to be helpless, weak, and a burden on their limited resources.

Tears welled up as they suppressed the sobs racking their body, absorbed by the blindfold as they streamed down their cheeks. Instead of crying, they laughed. Their pathetic state in enemy territory felt like nothing but a cruel joke after too many years of being a ghost for both the rebellion and the government.

With a hitching breath, they forced themselves to sit up quickly, their body protesting and the ground tilting left and right beneath them. They swallowed the dizziness, leaning on their arms to steady themselves. They didn't feel any better than the last time; restlessness still clouded their thoughts.

The sound of a door jolted them, but they couldn't tell which direction it came from. They opened their mouth to call out, but a hand covered their lips, silencing them. Half of their face was covered harshly, and they winced as a sharp pain radiated from their nose, feeling the blood flow once more. They were pulled back by their hair again, struggles becoming futile as their strength left them.

They were roughly thrown onto a cold metal floor, their weakened body protesting against the harsh treatment. They tried to distract themselves from the gnawing emptiness by focusing on their surroundings. The sound of the engine drowned out their thoughts, and the rhythmic vibrations seemed to mock their weakened state.

In the cramped darkness of the truck, or at least that's what they guessed based on the size, Leader's hunger grew unbearable. They couldn't remember the last time they had eaten a proper meal. Days? Weeks? Time blurred together in the abyss of their captivity. They might have passed out at some point, waking up to find themselves seated. The lights were too bright this time, and the walls were painted in a claustrophobic shade of grey.

"So, we've got ourselves another rebel, huh?" a gruff voice sneered.

Leader straightened, their body aching.

"I've seen people like you," another voice chimed in, dripping with disdain. "You think you're making a difference, don't you? Sacrificed as pawns left and right, following orders from your high and mighty perch."

They clenched their fists, their knuckles turning white. The words struck a nerve, stirring up the guilt that had already weighed heavily on their shoulders. They knew that every decision they made as a leader came with consequences, but the thought of those sacrifices being in vain was something they always feared deep in their soul. They knew it wasn't the case. They had made a difference in countless small towns, becoming a threat to the corrupt order, but they would always feel guilty for the lives lost.

A sharp sting at their neck sent a sudden freezing void through their body.

"You rebels are all the same," the gruff voice continued, mocking. It was right behind their ear, but the bright lights were hurting their eyes. "Thinking you can change the world with your little acts of defiance. But let me tell you, we always win in the end. We break you down, reshape you, and all your lofty ideals crumble into dust."

Their vision blurred with pain as they were struck on the temples, plunging them into the familiar black void as the blindfold was pulled over their face. They flinched at the sound of a door, still able to hear everything more than they should. The coldness seeped deep into their bones, intensifying their weakness and making every movement an agonizing effort. They longed for warmth, for a comforting touch to alleviate the shivering. Time became a distant reminder, and soon, endless screams from the battlefield echoed with their commands, while unconsciousness offered the only escape.

-•-

Right Hand, leading the raid on the facility, surveyed the area with a sharp and calculating gaze. They had received information about the location of the rebels being held captive and had meticulously planned their operation to free as many as possible. As they approached the centre of the place, their makeshift army moved with the seriousness that training had instilled in them. The weight of their responsibility felt heavy, but they knew they had to push forward. Leader would be proud.

Their radio crackled, the names of the rescued rebels being counted. As the transmission ended, an unfamiliar voice came through the static.

"Uhm, there's someone... they're barely awake, but they don't look like anyone on the missing list. They just have the rebellion tattoo on their left wrist—although it's pretty ruined. Does anyone know them?"

Right Hand's heart raced, a mix of relief and concern washing over them. They quickly recognized Leader's weakened form, hidden in plain sight. It was a dangerous situation, their leader's identity at risk of exposure. They scanned the surroundings, ensuring no one else was nearby before motioning for the rebel to follow.

"Good job. Now leave them to me," Right Hand said, their voice barely a whisper. "I believe you can go help with the transfer."

The rebel nodded and hurried off to assist the others. Meanwhile, Right Hand rushed to Leader's side, their heart aching at the sight of their battered and weakened leader. It was a stark reminder of the sacrifices made for the rebellion's cause.

Leader's eyes flickered with a glimmer of recognition, their voice barely audible. "Right Hand..."

Right Hand's grip tightened gently around Leader's arm, their emotions overwhelming yet suppressed. They wanted to reassure their leader, to convey the unwavering support and determination that fueled their own actions. But they had to remain cautious, protecting Leader's identity above all else.

"I'm here, Leader," Right Hand whispered. "You're safe now. We've come to bring you back."

Leader mumbled weakly, their words a jumble of fragmented thoughts. Right Hand leaned in closer, their ear attuned to catch the faintest whisper.

"It's cold," Leader murmured again, their voice trembling.

Right Hand wrapped their arms around Leader, mindful of their injuries, and drew them close, feeling the chill emanating from their frail body. They wished they could shield Leader from the harsh realities they had endured.

"It's okay," Right Hand whispered, their voice soothing. "I'll keep you warm. We'll get you out of here. Just lean on me."

Right Hand carefully wrapped their arms around Leader's shoulders, cradling the limp body with utmost care. It was a testament to the bond they shared, the unspoken trust that connected them.

As they made their way towards the waiting transport, Right Hand spoke in a hushed yet comforting tone. They carefully carried Leader towards the waiting transport, their steps steady and determined. They spoke softly, their voice a constant presence in Leader's ear.

"You're doing great, Leader. We're almost there. Just a little bit longer."

Leader's eyelids grew heavy, exhaustion taking its toll. They mumbled weakly, their voice strained. "Tired... so tired..."

Right Hand tightened their hold, offering reassurance. "I know you're exhausted, but you're safe now. You can rest soon."

As they reached the waiting transport, Right Hand gently settled Leader into the vehicle, ensuring their comfort. They climbed in beside them, keeping a watchful eye on their surroundings. The engine roared to life, and the vehicle began its journey to safety.

Time refused to pass, and Leader's breathing became shallow and erratic. Right Hand leaned closer. "We're almost there."

Leader's fingers weakly grasped Right Hand's, and they gave a faint squeeze.

As the vehicle sped away, the rhythmic hum of the engine lulling them into a void of stillness, Leader's eyelids grew heavier. Their grip on Right Hand's hand loosened, their body finally surrendering to exhaustion.

Right Hand watched over Leader, gently brushing a hand over Leader's forehead, smoothing away the lines of worry.

"Rest now, Leader," Right Hand whispered softly. "We're nearly home."

[disneyparksattractionstournament]

Extinct Disney Parks and Attractions tournament round 1: Group A1

Reminder, you don't have had to experience any of the attractions/experiences to vote! Just read in the info and/or watch the vid,then vote for which you wish you would have experienced more/which sounds cooler!

Videos and propaganda/info dumping under cut

Honey, I Shrunk the Kids: Movie Set Adventure: WDW Hollywood Studios (1990-2016)

Propaganda:

"This was the most magical playground ever. It was SO unique, they even had a huge tub of fake playdoh but it dispensed playdoh scents!!!! The slides were tree trunks, leafs and coming from a "battery", a huge fake ant you could climb and get pictures on, a huge whoopee pie, the net section was themed like spider webs, musical stepping stones, it was my fav part of the whole park as a kid! So sad it is gone now."

"This was the coolest playground for super imaginative tiny me and my sister, we spent literal hours running around this playground pretending to be the ants from A Bugs Life!"

Wonders of Life Sensory Funhouse: Epcot (1989-2007)

From this article

"Sensory Funhouse was an area dedicated to senses, although mainly sight, sound, and touch, because somehow smell and taste wouldn't work very well. There were a few different activities within Sensory Funhouse:

Optical Illusions – showed many different optical illusions (sight sense).

Crooked Room – the floor was crooked and items inside were out of perspective, testing your balance and senses in the room, and the room had video cameras inside so you could watch yourself (sight sense).

Audio Antics – a series of headphone shaped booths in which the guest would put headphones on and hear all sorts of sound illusions (sound sense).

Perplexion Pipes – an activity with three pipes, of which one was hot, one was cold, and the one in the middle was both hot and cold—and by touching them, it would throw off your sense of touch.

Touchy Subjects – an area that had many of those touch boxes that freak everyone out. Guests would reach behind thick black bristles to touch an object that they could not see. The point was to guess what the object was. You could walk behind the long boxes to clearly see what was inside.

Reading Braille – an area that had many Braille readings, as well as some quite large bumps that could be pressed in with your hands (touch sense).

Sensory Funhouse was quite a large area of the pavilion as I'm sure you could image. It stretched from about the 1 hour position on the face of a clock down to about the 3 hour position. It did split near the middle for the entrance area for Cranium Command. "

Propaganda:

GUYS! For baby autistic spectrum me, this section was everything!!! I freaked loved it

While this is an overview of the whole pavilion, it should take you to the section where they show some of the sensory funhouse! If it doesn't automatically, it starts at 17:49

[sylzagoon]

My version of a Misophonia flag

Saturated and desaturated versions for fun, feel free to use either

More info under the cut

I couldnt find any flags or symbols for misophonia that i liked so i just decided to make my own lol. The symbol is heavily inspired by the adhd/autism infinity symbols, but instead as a bat with large ears. I chose a bat because of how they are well known for their excellent hearing. I also chose to borrow from the autism symbol specifically because how many sensory struggles overlap between the two (at least in my experience).

Flag colour meanings i came up with:

Dark green: the FLIGHT in fight or flight, the feeling of anxiety and helplessness when hearing your trigger

light green: the feeling of loneliness/alienation from public spaces, the fear of hearing your trigger when going outside

White: the wide variety of triggers we all have, or the variety you may have personally. In general the white just represents our triggers

Pink/red: the sensory struggle we have, sound especially, but also including sight and smell etc. It always feels like my senses are hightened, as if we are listening out for my trigger. In my experience, ive developed triggers that relate to my main one (gum chewing) that even if I see someone chewing or smell mint, it stresses me out.

Dark pink/purple: the FIGHT in flight or fight, the harsh anger and awful thoughts we have when hearing your trigger

In the end this is just something silly I made to represent myself, if you find this fits you then feel free to use it. The colours are lowkey just my two favourites lol but in the end I think the green to red actuallt works well! I wish there was more misophonia representation so I'm trying to change that. Stay silly and stay safe!

[celestiall0tus]

I think we need to get the Holders Powers Master List moving. So let's get more info on either the pig, owl, mouse, or koala (your choice).

Dealer's choice, eh? Let's go with...

Mouse of Perception. Let's get into this.

We start with the first of the little mice, Juleka Couffaine as Souris Blanche. In Miraculous AU, the mouse's powers fall into two. The lesser power of perception and the greater power of Bend, perception manipulation. Perception allows her to hear and see things from all over the city. It does result in sensory overload. Perception manipulation allows her to do a number of things. Manipulate people's perception to perceive her, create hallucinations akin to alternate realities, and manipulate other senses in people and the environment (sight, smell, sound, touch, time).

Activation Phrases

Transformation: "Mullo, Get Squeaky"

Lesser Power: Perception

Greater Power: Bend

Next we have Muridae, Alya Cesaire in Salvation. Her power would be perception as a holder, however, she is an avatar so it changes the playing field. Perception is constantly active as she always hears everything so she always suffers from sensory overload. She can still manipulate perception like Souris Blanche, but taken a step forward where she can manipulate the perception of time to a degree. With this ability, Muridae can slow time in an area but keeping it normal for herself, Quicksilver style. Her other ability is Clarity. This ability allows her to see through when she's being manipulated mentally and emotionally and to re stabilize herself to the correct, real reality.

When Avatar form is achieved, she gains access to two new powers. The first being Astral Vision, allowing her to see that which resides in the Unseen World (spirits, demons, angels, etc). The second is Divination, allowing her to divine the near events.

Activation Phrases

Transformation: None/Innate

Power: None/Innate

Here we have Absolution Juleka, Whisper. Her powers function similarly to Miraculous AU Souris Blanche, however with a slight modification. The passive power is the ability to hear everything and see past physical boundaries. Bend is her main power in this AU.

Activation Phrases

Transformation: "Mullo, Get Squeaky"

Power: Bend

Next is Gold Mouse, Alya Cesaire in Separate Worlds. In Separate Worlds, it's similar to Absolution with a passive and an active power. Perception is still the passive while Bend has been reigned in, allowing her to merely make herself imperceptible.

Activation Phrases

Transformation: "Mullo, Get Squeaky"

Power: None/Innate

And here we are at Paradise with Nathalie Sancoeur as Dragnet. It's here that the power of perception manipulation is dropped for the enhanced sense with a slight modification. Whereas most Mouse holders can't directly control or hone in on a specific thing, Dragnet will be able to. She can hear anywhere in the city, see through solid objects, and if need be, hone in on a specific person, place, or thing.

Activation Phrases

Transformation: "Mullo, Get Squeaky"

Power: Discern

Look who's back. Juleka is White Mouse in All That Remained. Her power will be the same as her main power in all other incarnations of the mouse with perception manipulation.

Activation Phrases

Transformation: "Mullo, Get Squeaky"

Power: Bend

Luka's turn of the Couffaine twins to have the mouse. His power falls in line with the other mice with perception manipulation.

Activation Phrases

Transformation: "Mullo, Get Squeaky"

Power: None/Innate

[gender-jargon]

Senszen: an identifier and method of description that evaluates the physical qualities of one’s gender identity using the senses of taste, smell, touch, sight and/or hearing.

A senszen is a identifier that uses a specific type of xenine description. Rather than describing your gender identity using social constructs, it is a method of evaluation employing introspective meditation to “observe” the physical qualities you personally associate with your identity and then describing any stimulus those qualities invoke.

Etymology

This term lacks a purposeful etymology, but was inspired by the English word “sense”, meaning “a bodily faculty that perceives external stimulus”. The suffix “-szen” lacks an etymology entirely has no meaning beyond indicating that a word is a type of senszen. Coined by Gent (Gender-Jargon), 2022.

Flag

The flag was created at the same time as the term by the coiner. This flag has seven horizontal stripes of the same size. From top to bottom, the colors charcoal grey, violet, dusty rose, jade green, peach, scarlet and charcoal grey. The colors represent the following meanings:

The charcoal grey stripes represent stimulus that cannot be perceived, a lack of stimulus or an inability to assess the physical qualities of one’s gender identity.

The violet stripe represents auditory stimuli.

The dust rose stripe represents gustatory stimuli.

The jade green stripe represents olfactory stimuli.

The peach stripe represents tactile stimuli.

The scarlet stripe represents visual stimuli.

This is going to be a super long post, so there is a lot more info beneath the cut discussing 1) how to name a senszen, 2) some resources to help you coin a senszen and 3) related terminology informed by this line of thought. 

Coining a Senszen

How would you describe you gender using only your senses? For a moment, forget about constructs like masculinity, femininity, androgyny, neutrality and other anthroine qualities normally used to describe gender. Ask yourself, what color do you associate with your gender identity? If you touch it, what does it feel like? Does it have a shape? Does it have a scent or sound it makes? What senses does your gender identity invoke when you think about it? These perceptions can be used as a basis for a senszen.

Below, I will outline how to name and coin a senszen. I created a method of naming to allow for unique terms, manageable word lengths and pronunciations and, due to the method, a way of representing the selected sensory adjectives through the name.

List of Sensory Adjectives

This is a non-exhaustive list of words describing various sensations to help you get started if you are unsure where to begin.

Taste & Smell

Astringent

Acidic

Alkaline

Ashy

Earthy

Burnt

Buttery

Stale

Fresh

Rancid

Citrus

Chemical

Medicinal

Herbal

Vegetal

Fruity

Floral

Metallic

Sulfurous

Leguminous

Pungent

Sweet

Lactic

Lipidic

Malty

Musty

Piquant

Phenolic

Resinous

Smokey

Tangy

Tart

Yeasty

Acrid

Balsamic

Sour

Bitter

Spicy

Savory

Umami

Salty

Dulcet

Gamy

Honeyed

Vinegary

Saccharine

Fishy

Bland

Musky

Tasteless

Touch

Hard

Soft

Fluffy

Fuzzy

Bushy

Rubbery

Coarse/Rough/Abrasive

Doughy

Farinaceous

Sticky

Grainy

Gritty

Gummy

Leprose

Mushy

Glassy

Smooth

Tacky

Velvety/Satiny/Silky

Pointy/Sharp/Prickly

Thick/Viscous

Thin

Wet

Moist

Dry

Burning

Soothing

Cold

Hot

Temperate

Slimy

Crunchy

Tingling

Numb

Nothing

Hurt/Pain

Shocking

Pressure/Singularity

Expand/Spread

Sight

Geometric

Organic

Psychedelic

Minimalistic

Linear

Non-Linear

Symmetrical

Asymmetrical

Big

Small

Short

Tall

Proportional

Thin

Fat

Angular

Rounded

Beautiful

Ugly

Distorted

Bright

Dark

Colorful

Monochromatic

Neon/Glowing

Pastel

Saturated

Dull

Shiny

Matte

Dewy

Blurry

Intricate

Deep

Shallow

Narrow

Wide

Sound

Loud

Quiet

Discordant/Dissonant/Harsh

Gentle

Glaring

Harmonious/Melodic

High-pitched

Low-pitched

Musical

Silent

Percussive

Raspy

Raucous

Shrill

Squeaky

Tranquil

Thunderous

Syntax

This is how the name of a senszen is determined. An example is provided below.

Grammatical Rules:

You can use as many or few adjectives as you would like.

Take note of the vowel-consonant units in your selected adjectives.

Take note if any of the vowel-consonant units that share a vowel appear more than once across the your selected adjectives. These units may be compounded with another vowel-consonant pair with the same vowel if desired.

If the vowel appears only once across all pairs, the vowel-consonant unit should remain unchanged.

Combine the resulting units in any fashion.

Revise if necessary. Consonants may be dropped sparingly throughout the process to shorten the term and/or make it easier to pronounce.

If desired, the suffix -szen may be used.

These rules are not strict/absolute.

An Example Situation

“My gender reminds me of a  wildflower. It tastes vegetal, smells floral, has velvetly petals and a  smooth stem. If I were to pick it, it would make a snapping sound”. 

The keywords describing the senses invokved are:

Floral, Vegetal, Velvety, Smooth and Snapping.

For my vowel-consonant pairs to represent each words, I came up with “Flo” for floral, “Veg”  for vegetal, “Vel” for velvety,  “Smo” for smooth and “Sna” for  snapping.

“Flo” and “Smo” both share “o” as a vowel. Flo and Smo  can be compounded to create “Floso”. Dropping consonants to create a  better sounding combination is acceptable.

“Vel” and “Veg” both share “e” as a vowel. The can be compounded to create “Velg”.

“Sna” does not share vowels with any other word chunks. These remain unchanged, as they cannot be compounded.

Now, we have the word parts “Floso”, “Velg” and “Sna”. From here, we can create our word. These parts can be arranged in any manner, and the original vowel-consonant pair may still be used in the name is desired. From here, I reduced “Sna” to “Sa” and combined it with “Floso” to create “Flosa”. “Velg” was reduced to “Ve”. The suffix -szen was added. Combining these two units and the suffix, I came up with the term “Flosaveszen” to describe the gender that is floral, vegetal, velvety, smooth and creates a snapping noise, due to, but not limited to, being like a wildflower. 

There isn’t really a right or wrong way to do this, so different individuals may name the same thing differently.

Related Terminology

Here is some is some related terminology regarding senszens.

Pamnisenzec: an identity that stimulates all of the senses in every way possible.  

Asenzec: an identity that does not stimulate any of the senses.

Otrasenzec: an identity that invokes perceptions outside and/or beyond what is considered perceivable by humans.

Opposenzec: an identity that is unable to be assessed using the senses.

Omisenzens: an umbrella term for all senszens affected by disabilities affecting one’s sensory experience.

Notes

If you make a senzen, feel free to tag me in the coining post! :-)

Don’t stress out about the grammar rules. Just try your best.

A senzen isn’t a gender, but a (meta)physical evaluation and subsequent qualitative interpretation of said evaluation. Individuals with the same gender may have different senzens.

There are no wrong answers in this situation, so use your imagination!

- Gent

[pastafossa]

Hey pasta!! I'm a new TRT reader (on chapter 30 to be exact) and I'm kinda having trouble imagining how jane is separating herself from real world and thread world? (can i call it that?) Is she feeling those intense emotions she gets from matt whenever she reaches for him in both worlds? like is she actually in another world knee deep in water when she reaches for him? I'm sorry if that did not make sense lol but I love love loooove TRT so far!

Ooooh, this is a fun one and where things start getting sort of surreal. As you go forward (since Jane herself doesn't understand all that much about what's happening in Ch30) a lot of it will be explained so I'll answer what I can or I'll say spoiler if it'll make sense as you run forward.

1. Question: how is Jane separating herself from the thread world (You can call it that! She'll refer to it that way too, along with calling it the river world)? In some ways, it would be difficult for her to describe seeing both worlds, since we don't have a third eye like hers; like if a bird tried to describe ultraviolet light to us. One way of describing it might be, imagine you have a screen inside your mind. That's the real world you experience, only unlike a tv screen, it also gives ALL sensory info (sights, smells, sounds, so not a perfect analogy but let's roll with it). For Jane, when she opened that thread and found herself there in the river, there were suddenly two screens inside her head. She experiences all sensory feedback from both (and in both worlds), and is essentially rapidly switching focus between them the way you might jump around focusing on different on-stage actors in a show, or football players on the field during a play. So she can separate what's in the real world (say, feeling of water) by glancing at the real world screen and noting lack of water. BUT you are correct in that some of the sensations might be difficult to unravel from real world sensations if a lot is going on. And emotions are where it gets weird, which leads to your next question.

2. Question: is she feeling those intense emotions from Matt in both worlds? Yes! So at the point you're at, she can *feel*, say, the sensation of the thread river in the real world, in the same way you can feel your shirt on your skin. It's not a part of you; it's essentially an overlay. But if she switches focus to the river world, those sensations flip. It works the same with Matt's emotions for now. She's feeling, say, his rage in the real world, but it feels separate from herself like a shirt or a coat. It also translates into odd sensations that are symbolic or memories of what sensations she associates that emotion with, and those sensations are obviously outside herself. So his rage might mean she 'hears' the memory of his low snarl in her ears and the sound of breaking bone; she might taste hot copper (blood) and have a visceral recollection of the way he holds her more tightly when he's protective, or she might catch his scent, the one that smells like sweat and blood when he's riled up. So she is feeling those sensations in the real world!

3. Question: is she actually standing knee deep in a river world? So I can't actually answer this one yet, because even in the current point in the fic, her and Team Nelson and Murdock are still trying to figure out if the river world is real or if it's more of an attempt by a human brain to translate the inside of a thread into something that just happens to look like a world. All I can say is that, to her, it looks, feels, sounds, tastes real, even if the water translates into weird sensations, and the sensations she feels from it in the real world overlay just like when she feels Matt's emotions (which she also knows are real).

I hope this helps! The thread world is definitely an odd place, surreal and a bit like the land of synesthesia where emotions have colors and tastes, a place where symbolism and the subconscious rule the day. But the physical sensations you get from it in the real world feel absolutely real, just like a shirt or coat.

[chennaitokanchipuram]

Navigating Chennai: A Beginner's Guide to Taxi Travels

Discovering the Heart of Chennai

Embarking on a journey to Chennai, India's vibrant coastal city, promises an adventure filled with cultural richness and urban wonders. Among the hustle and bustle of this bustling metropolis, one of the most convenient ways to explore is through taxi travels. In this beginner's guide, we'll delve into everything you need to know about navigating Chennai's streets with ease.

Section 1: Understanding Taxi Services in Chennai

In Chennai, taxi services are abundant, offering a convenient mode of transportation for locals and tourists alike. The city boasts various taxi operators, each providing reliable and affordable cab services. Whether you're traveling solo or with a group, taxis offer flexibility and comfort, making them an ideal choice for exploring Chennai's diverse attractions.

Section 2: Booking a Taxi in Chennai

Booking a Taxi in Chennaii is a straightforward process. Most taxi companies offer multiple booking options, including phone reservations, mobile apps, and street hailing. Mobile apps like Uber and Ola have gained popularity, providing users with a seamless booking experience and real-time tracking features. Additionally, many hotels and tourist accommodations can assist with arranging taxi services upon request.

Section 3: Navigating Chennai's Streets

As you traverse Chennai's bustling streets, be prepared for a sensory overload of sights, sounds, and smells. From historic landmarks to bustling markets, navigating the city by taxi offers a front-row seat to its vibrant culture and bustling energy. Keep your camera ready to capture the colorful chaos of Chennai's urban landscape.

Section 4: Exploring Chennai's Top Attractions by Taxi

Chennai is home to a plethora of attractions, ranging from ancient temples to modern shopping malls. With a taxi at your disposal, you can easily explore iconic landmarks such as the majestic Kapaleeshwarar Temple, the serene Marina Beach, and the sprawling Government Museum. Whether you're a history buff, a foodie, or a shopaholic, Chennai has something to offer everyone.

Section 5: Tips for Taxi Travelers in Chennai

While taxi travel in Chennai is generally safe and convenient, it's essential to keep a few tips in mind for a hassle-free experience. Always ensure that the meter is running and negotiate fares in advance for longer journeys. Additionally, carry small denominations of cash to avoid any payment issues. Finally, familiarize yourself with common Tamil phrases to communicate with your driver effectively.

Section 6: Conclusion: Embracing the Charm of Chennai

In conclusion, exploring Chennai by taxi is an excellent way to immerse yourself in the vibrant tapestry of South Indian culture. From the moment you step into a cab, you'll embark on a journey filled with discovery and adventure. So, don't hesitate to hail a taxi and embark on your own Chennai travels– the city awaits with open arms!

Slug: travels-in-chennai-taxi-guide

Meta Description:

Embark on a journey through the bustling streets of Chennai with our beginner's guide to taxi travels. Discover how to navigate the city's vibrant landmarks and attractions with ease, ensuring an unforgettable adventure in the heart of South India.

For more info :-

Taxi in Chennai

Cab service in Chennai

Travels in Chennai

Chennai travels

[sleepysarah13]

Unit 9: Perception and Attention to the Internet

What is perception?

A sensory experience of the world around us and involves both the recognition of environmental stimuli and actions in response to stimuli

Helps us to gain info about properties and elements of our environments that are critical to survival

Includes the five senses: touch, sight, smell, and taste

Proprioception: a set of senses involving the ability to detect changes in body positions and movements

Also involves cognitive processes requires to process information (like recognizing the face of a friend)

What is ASMR? How has the Internet played a role in popularizing it?

ASMR stands for "autonomous sensory meridian response," which was coined in a Facebook post by computer scientist Jennifer Allen in 2010 (Danko 2010)

ASMR elicits feelings of pleasure, relaxation, and even "brain tingles" that can venture into the lower body

A wide range of sounds can trigger ASMR (this includes things like crinkling paper, folding towels, turning pages, tapping, whispering, and typing)

The top four ASMR triggers are whispering, personal attention, crisp sounds, and slow movements

While most people know ASMR best from videos, the sensation is provoked occurs in real life situations as well such as while getting a haircut or manicure

Research done by Lohaus et al. (2023) explored whether the feelings elicited by ASMR are specific to ASMR videos or can be triggered by other kinds of videos like walking tour videos.

Results showed that people who experience ASMR responded significantly more to ASMR videos compared to walking tour videos

Research done by Sakurai et al.’s (2023) investigated the differences between audiovisual and auditory ASMR stimulation in brain function using fMRI

The results showed that audiovisual stimulation activated the visual cortex while auditory stimulation activated the visual and auditory cortex, suggesting that there is a difference between auditory and audiovisual stimulation in ASMR

Not everybody can experience ASMR

According to Reddy's (2022) article, Dr. Craig Richard, a professor of biopharmaceutical sciences, estimates that 10-20% of the population can experience ASMR

Richard suggests that this is due to biological reasons, life experiences, cultural influences, or even mindsets

Richard's research has also found that ASMR triggers activity in specific areas of the brain that are related to dopamine and oxytocin

Research done by Villena-Gonzalez et al.’s (2023) investigated the difference between people who experience ASMR and those who do not

They concluded that the ASMR experience is based on an unconscious internal mechanism where external social-affective stimuli are integrated to represent a body state of positive, meaning that there are internal differences that determine how people experience ASMR

ASMR has only recently become a popular phenomenon

Dr. Craig Richard cites a 2007 threat on an online forum as the start of the phenomenon we now know as ASMR

The first ASMR video didn't come out until 2009

Since then, more than 13 million ASMR videos have been uploaded to Youtube and 10.8 million have been uploaded to Instagram

The Internet has been the site of a massive explosion of ASMR content

The Internet has played a mobilizing role in the popularization of ASMR

It has created opportunities for the widespread creation and sharing of ASMR content that has brought the phenomenon into the mainstream

opportunities for the widespread creation and sharing of ASMR content that has brought the phenomenon into the mainstream

Is the Internet shortening our attention?

No!

Every technological invention has been feared to distract our attention and ruin our memories if not our morals

Everything we do affects our brains (it's unlikely that the internet is "rewiring" our brains)

There's no scientific evidence that our attentional spans have increased or decreased over the past several decades

Specific efforts to train attention usually result in only specific gains on the specific skill being trained

Other human interventions, such as reading, which have been around considerably longer, have not rewired the human brain

Millennials are usually no better at multi-tasking than baby boomers

Millennials are simply better at many single tasks, but they are not proportionally better at multi-tasking

 People who think they are better at multi-tasking usually aren't

The more similar two tasks are, the more difficult they are to do together

Texting, which requires visual attention, and walking, which also requires visual attention are not good candidates for multitasking

Texting, which requires visual attention, and driving, which also requires visual attention are even worse candidates for multitasking

Taking short, controlled breaks on the Internet doesn't harm attention, but rather improves it

[microficmay]

Week 1: Sensory Challenge

Include at least one of the five senses in your microfic: sight, sound, smell, taste, or touch.

Examples

Her lips were softer than she thought they’d be, considering how wild the woman attached to them is. She tasted of cinnamon and something decidedly smokey. Hermione was hooked after the first taste. Bellatrix couldn’t believe the girl would be so brave as to kiss her, although she probably should’ve. The girl was Gryffindor’s Golden Girl after all.

— Lips [Bellatrix/Hermione, 58 words] by @whoreofthecottage

draco was swaddled in silks immediately after birth, even before the vernix was removed. his sheets, night clothes (they were far too fancy to be just pajamas), and favorite ribbon were all of the finest silk. his skin never suffered that abomination of rayon and polyester blend that some of his peers thought silk. and yet nothing — nothing — felt as good on his skin as harry’s tattered def leopard tee, made from the most common cotton.

— silks [Draco/Harry, 76 words] by @justthingsfromsarah

🫶

Prompts

Info

FAQ

AO3

[perpetual-stories]

22 Essential Literary Devices and How to Use Them In Your Writing

hello, happy Monday. Hope you’re all having a wonderful day!

I will skip the pre-info and dive right into it.

What Is a Literary Device?

is a tool used by writers to hint at larger themes, ideas, and meaning in a story or piece of writing

The List of Literary Devices:

Allegory. Allegory is a literary device used to express large, complex ideas in an approachable manner. Allegory allows writers to create some distance between themselves and the issues they are discussing, especially when those issues are strong critiques of political or societal realities.

Allusion. An allusion is a popular literary device used to develop characters, frame storylines, and help create associations to well-known works. Allusions can reference anything from Victorian fairy tales and popular culture to the Bible and the Bard. Take the popular expression “Bah humbug”—an allusion that references Charles Dickens’ novella A Christmas Carol. The phrase, which is often used to express dissatisfaction, is associated with the tale’s curmudgeonly character, Ebenezer Scrooge.

Anachronism. Imagine reading a story about a caveman who microwaves his dinner, or watching a film adaptation of a Jane Austen novel in which the characters text each other instead of writing letters. These circumstances are examples of anachronisms, or an error in chronology—the kind that makes audiences raise their eyebrows or do a double-take. Sometimes anachronisms are true blunders; other times, they’re used intentionally to add humor or to comment on a specific time period in history.

Cliffhanger. It’s a familiar feeling: You’re on minute 59 of an hour-long television episode, and the protagonist is about to face the villain—and then episode cuts to black. Known as a cliffhanger, this plot device marks the end of a section of a narrative with the express purpose of keeping audiences engaged in the story.

Dramatic Irony. Remember the first time you read or watched Romeo and Juliet? The tragic ending of this iconic story exemplifies dramatic irony: The audience knows that the lovers are each alive, but neither of the lovers knows that the other is still alive. Each drinks their poison without knowing what the audience knows. Dramatic irony is used to great effect in literature, film, and television.

Extended Metaphor. Extended metaphors build evocative images into a piece of writing and make prose more emotionally resonant. Examples of extended metaphor can be found across all forms of poetry and prose. Learning to use extended metaphors in your own work will help you engage your readers and improve your writing.

Foreshadowing. At its core, storytelling has one ambition: to capture and sustain your reader’s attention and keep them reading your story. Foreshadowing, or slyly indicating a future event, is one technique a writer can use to create and build suspense.

Humor. Humor brings people together and has the power to transform how we think about the world. Of course, not everyone is adept at being funny—particularly in their writing. Making people laugh takes some skill and finesse, and, because so much relies on instinct, is harder to teach than other techniques. However, all writers can benefit from learning more about how humor functions in writing.

Imagery. If you’ve practiced or studied creative writing, chances are you’ve encountered the expression “paint a picture with words.” In poetry and literature, this is known as imagery: the use of figurative language to evoke a sensory experience in the reader. When a poet uses descriptive language well, they play to the reader’s senses, providing them with sights, tastes, smells, sounds, internal and external feelings, and even deep emotion. The sensory details in imagery bring works to life.

Irony. Irony is an oft-misunderstood literary device that hinges on opposites: what things are on the surface, and what they end up actually being. Many learn about dramatic irony through works of theater like Shakespeare’s Romeo and Juliet or Sophocles’s Oedipus Rex. When deployed with skill, irony is a powerful tool that adds depth and substance to a piece of writing.

Metaphor, Simile, and Analogy. Metaphors, similes, and analogies are three techniques used in speech and writing to make comparisons. Each is used in a different way, and differentiating between the three can get a little tricky: For example, a simile is actually a subcategory of metaphor, which means all similes are metaphors, but not all metaphors are similes. Knowing the similarities and differences between metaphor, simile, and analogy can help you identify which is best to use in any scenario and help make your writing stronger.

Motif. A motif is a repeated element that has symbolic significance to a story. Sometimes a motif is a recurring image. Sometimes it’s a repeated word or phrase or topic. A motif can be a recurrent situation or action. It can be a sound or a smell or a temperature or a color. The defining aspect is that a motif repeats, and through this repetition, a motif helps to illuminate the central ideas, themes, and deeper meaning of the story in which it appears.

Motif vs. Symbol. Both motifs and symbols are used across artistic mediums: Painters, sculptors, playwrights, and musicians all use motifs and symbols in their respective art forms. And while they are similar literary terms, “motif” and “symbol” are not synonyms.

Oxymoron. An oxymoron is a figure of speech: a creative approach to language that plays with meaning and the use of words in a non-literal sense. This literary device combines words with contradictory definitions to coin a new word or phrase (think of the idiom “act naturally”—how can you be your natural self if you’re acting?). The incongruity of the resulting statement allows writers to play with language and meaning.

Paradox. “This sentence is a lie.” This self-referential statement is an example of a paradox—a contradiction that questions logic. In literature, paradoxes can elicit humor, illustrate themes, and provoke readers to think critically.

Personification. In writing, figurative language—using words to convey a different meaning outside the literal one—helps writers express themselves in more creative ways. One popular type of figurative language is personification: assigning human attributes to a non-human entity or inanimate object in an effort to express a point or idea in a more colorful, imaginative way.

Satire. Satire is so prevalent in pop culture that most of us are already very familiar with it, even if we don’t always realize it. Satire is an often-humorous way of poking fun at the powers that be. Sometimes, it is created with the goal to drive social change. Satire can be part of any work of culture, art, or entertainment—it has a long history, and it is as relevant today as it was in ancient Rome.

Situational Irony. Irony: it’s clear as mud. Theorists quibble about the margins of what constitutes irony, but situational irony is all around us—from humorous news headlines to the shock twists in a book or TV show. This type of irony is all about the gap between our expectations and reality, and it can make a memorable and powerful impression when we encounter it.

Suspense. No matter what type of story you’re telling, suspense is a valuable tool for keeping a reader’s attention and interest. Building suspense involves withholding information and raising key questions that pique readers’ curiosity. Character development plays a big role in generating suspense; for example, if a character’s desire is not fulfilled by the end of the book, the story will not feel complete for the reader.

Symbolism. An object, concept, or word does not have to be limited to a single meaning. When you see red roses growing in a garden, what comes to mind? Perhaps you think literally about the rose—about its petals, stem, and thorns, or even about its stamen and pistil as a botanist might. But perhaps your mind goes elsewhere and starts thinking about topics like romance, courtship, and Valentine’s Day. Why would you do this? The reason, of course, is that over the course of many generations, a rose’s symbolic meaning has evolved to include amorous concepts.

Verisimilitude. Verisimilitude (pronounced ve-ri-si-mi-li-tude) is a theoretical concept that determines the semblance of truth in an assertion or hypothesis. It is also an essential tenet of fiction writing. Verisimilitude helps to encourage a reader’s willing suspension of disbelief. When using verisimilitude in writing, the goal is to be credible and convincing.

Vignette. A writer’s job is to engage readers through words. Vignettes—poetic slices-of-life—are a literary device that brings us deeper into a story. Vignettes step away from the action momentarily to zoom in for a closer examination of a particular character, concept, or place. Writers use vignettes to shed light on something that wouldn’t be visible in the story’s main plot.

I’ll make a post going into each of them individually in more detail later on!

Like, reblog and comment if you find this useful! If you share on Instagram tag me perpetualstories

Follow me on tumblr and Instagram for more writing and grammar tips and more!

[funkymbtifiction]

Hello again! I am the anon from this post. Thank you very much for your answer, you confirmed what I thought, that I am Fi-dom, but I still have doubts whether I am an ISFP or INFP so, if you don't mind, I'd like to ask you one more time.

Today, I have took a 5 hours bus trip and I thought it to be the perfect opportunity to let myself be and, later, write where my attention tends to linger... [...] Tbh, I don't know if this info, that it randomly generates itself today, is useful or I am being silly, but, does this incline my functions to Se-Ni or Ne-Si?

Every single one of your examples was highly sensory and based on observing your environment -- food, smells, sights, colors, sounds, what people were wearing, even your fantasy about zombies had practical things to it (how would the survivors get across the river, etc), so I would say ISFP.

[echo-of-sounds]

bnha original characters

This is less about the characters themselves and more about their quirks, their strengths, weaknesses, and the like. I only included Ursa and Cujo in this from anxiety bear. 

I might make more about Quick Comfort’s reader, some side characters, and villains to explore their quirks further. Let me know if you’d like to read about more characters! I liked doing this!

anxiety bear’s reader

Hero Name: Ursa (Latin; bear)

Quirk: Arctotherium

She can transform into an Arctotherium angustidens (an extinct genus of South American short-faced bear). A secondary effect of her quirk is her enhanced senses.

Height: on all fours, she’s 5’11ft at the shoulder (perfect height for biting people right in the jugular); on her hind legs, she’s 12ft

Weight: around 2,900 pounds

Hero Costume: It’s made out of simple, relaxed, and breathable clothing. To nullify her heightened smell, she has a mask. It’s a small, specialized respirator that filters even the tiniest odor. After she uses her quirks, she needs food, so there’s a small pocket on her thigh that she keeps filled with protein bars. For cold weather, she adds a cloak.

Strengths:

Ursa’s sheer mass and weight benefit her, making her difficult to knock/jar, a powerful hitter, and becomes quite the tank when she gets charging. Running up to 45mph at long distances, she’s easily able to break through walls, catch those trying to escape, and escape herself if necessary. She relies mostly on her senses of hearing (which exceeds frequencies humans can hear) and smell (which is about 2,000 times greater than a human’s).

Her fur, dark brown in color, provides protection against impact and some claws/knives due to its thickness. It is not impenetrable. Enough force behind the weapon can spear through her fur.

For offense, her claws and teeth are her main weapons. Her paws are about 1.2 feet (not including her claws). Her claws are around 4 inches. As with other bears, they aren’t actually that sharp. She just has enough power behind her swing to cause damage no matter their acuteness. It’s enough to knock the wind out of someone.

Weaknesses:

She can’t talk while in bear form. She can hear, but being unable to communicate back can cause difficulties while working in teams.

While Ursa’s enhanced senses prove useful in many cases, they’re also her main weakness. Overloading her senses is a sure-fire way to force her unconscious, incapacitated, or to unshift. Smell is the quickest and easiest to overtax, especially with acrid, bitter, and sharp scents. Hearing and sight are next: with high-pitched noises, inaudible by the average human, and deep, bass sounds that rumble her bones; and with bright lights, flashing ones are the worst.

Because of her sensitivities, she acts more like a powerhouse for brief fights. If she’s in one too long, the greater the chances of her becoming overwhelmed. She’s more of a hindrance than anything if she gets overwhelmed.

Quirk Side Effects/Other Info:

Ursa’s senses are still enhanced when she isn’t in bear form. It mimics Sensory Processing Disorder. Her mask helps with her sense of smell. For sight, she has glasses that block out the wavelengths that irritate her eyes the most. For hearing, she has hearing hampers. They work the opposite of hearing aids; instead of amplifying noises/pitches, they dampen them before sending the soundwaves into the ear.

After exerting a certain amount of energy while using her quirk, her body rapidly depletes its resources. The protein bars in her costume help while she’s on patrol. After intense fights, she needs much more than the snacks, often choosing chicken breast topped with fried eggs on any combination of rice, steak, vegetables, and cheeses (she refuses to eat any type of seafood or beans, hating the smell, taste, and texture in her mouth).

Although she tends to ignore this part, she goes through a sort of ‘heat’ like bears do. It starts around mid-May and lasts till early July. She spends more time inside during it.

Quirk Malfunction:

Shifting in and out of her bear form isn’t always a smooth process. Changing is typically easy as her body is reverting into its natural state; she just relaxes, let’s go, and it happened. It’s quick, and she hardly has to try. Sometimes, when she’s exhausted, injured, or otherwise overwhelmed, parts of her body may not revert properly.

Here’s an example from when she was eight (this is a condensed/slightly modified version of the explanation I gave in anxiety bear):

She couldn’t remember what was overwhelming. Something just hurt. She couldn’t move or do anything. So she started panicking. When she shifted back, her face felt horrible. It felt as if her skin was being stretched and her bones were warped. She screamed. Her dad came outside, wrapped a towel around her face, picked her up, and brought her to the hospital.

Her facial bones didn’t properly shift. In our maxilla, we have an infraorbital foramen which is the opening to the infraorbital canal. It transmits a nerve, vein, and artery. Bears also have this, but their anatomy is different. The important difference, in this case, is their maxilla and mandible length due to their muzzles. Human skulls are relatively flat in comparison.

When Ursa shifted, her maxilla remained long like a bear’s (about four inches). Her upper canines were still large and pointing outward. At the hospital, X-Rays showed her infraorbital canal was shoved forward. Because it was only her maxilla that malfunctioned, her nerves and arteries were stretched almost to the point of ripping as they were still fit for a human. She couldn’t talk or see and could hardly smell.

To fix it whenever this happens, she needs to be given Tizanidine. It’s a skeletomuscular relaxant with antispastic agents. It slows the brain and nervous system’s activity to let your muscles relax. Her body will eventually fix itself.

Kuma (reader’s brother in anxiety bear)

Hero Name: Cujo (From the Stephen King story. He prefers the film because of the more optimistic ending.)

Quirk: Arctotherium

Kuma’s quirk is very similar to his sister’s. He can transform into an Arctotherium angustidens. A secondary effect of his quirk is enhanced senses. However, they aren’t as enhanced as Ursa’s.

Height: He stands at 6’1ft on all fours and 14 feet on his hind legs

Weight: around 3,200 pounds

Hero Costume: Much like his sister, his costume is relaxed and comfortable clothing. He also has a mask to filter smells (but uses it less frequently than Ursa) and a pocket on his thigh for protein snacks.

Strengths:

Cujo shares many strengths and weaknesses with Ursa, mainly thick fur for protection, sharp teeth, and long claws. One difference is that he has more mass and weight to his advantage. It makes him a heavier hitter, able to cause more damage in less amount of time. And since his senses aren’t as sensitive, he doesn’t have to worry about becoming overwhelmed as much as Ursa does. These factors allow him to hit harder, last longer in fights, and take in more sensory input.

He’s willing to fight dirty and bloody to win (though some believe that to be a weakness) With his size, he’s able to sustain quite a bit of damage without it hindering him. A bullet to the side or a slash to his back would incapacitate an average human/someone of a smaller size. He’d barely feel the bullet, let alone have to worry about it.

Weaknesses:

The burden of Kuma’s weight takes a toll on his body. Bones undergoing shifting, sometimes grinding against one another, the sudden and intense weight changes, and stress on his muscles often lead to aches and pains. He’s gotten accustomed to it as he’s trained and grown-up. Some preventive measures are: taking pain medication before going on patrol, wearing compression sleeves under his costume, hot baths, and cold compresses.

Due to his size, he requires a higher amount of protein than his sister. And the longer a fight is combined with how much energy he exerts, the quicker his body exhausts. He’s built for dealing damage as hastily and as fiercely as possible. If a fight occurs while he’s on patrol, he’s done after the fight, needing a great deal of protein before his body gives, typically going for seafood and/or steak. If he doesn’t get the protein in time, he’ll faint, suffering from a sudden onset of severe protein deficiency, and need medical attention.

This doesn’t have to do with the fighting part of a Hero’s career, but he is not kid-friendly, often caught swearing on camera, shoving cameras and reporters out of his space, and sometimes picking fights with other Heroes and interviewers he doesn’t like. It makes his popularity suffer.

Quirk Side Effects/Other Info:

Kuma’s senses aren’t enhanced enough to be considered a weakness, but they do cause significant stress in his daily life, notably touch and feel. Textures, high temperatures, and others touching him are what irritates him the most. His reaction is less distress (like Ursa’s is) and more anger at the cause.

It’s not proven, but his quirk seems to affect his personality a bit. He’s very protective of his sister and very prepared to snap (with his mouth as a warning sign) at anyone who he doesn’t know and/or doesn’t like.

From mid-May till early July, Kuma also goes through a heat. Unlike his sister, who’s timid and resistant when it comes to socializing, he’s very brash, impulsive, and sometimes aggressive, going to bars throughout those months, choosing any man or woman piques his interest enough to go home with.

Quirk Malfunction:

Kuma also undergoes the same bodily malfunction as his sister. It happens to him more often due to the strain on his body and its need for large quantities of protein. The ladder is usually the reason for a malfunction (kind of like biological short-circuiting).

Picture of an Arctotherium for reference:

Link for photo: https://www.theguardian.com/science/gallery/2018/jun/11/when-size-does-matter-big-beasts-last-of-the-giants-in-pictures

[memoriesofthecircularroom]

I'm gonna info dump for a sec about AVH because its a bit broader a symptom than most people think(note AVH is a symptom not a disorder). Firstly AVH are very common in all sort of psychotic disorders but do more rarely occur in healthy(or atleast non psychotic individuals). AVH can present as either belonging to no one in particular(often several people talking) or as belonging to specific entities(also possibly several people). These entities can be anything really but tend to skew toward spiritual entities, religious or mythological figures, public figures, and people the effected know well. These voices almost invariably are reported as being outside the control of the effected but generally cannot act outside of just talking.  AVH's can "sound" like they originate from within your head or outside of it and some people have a hard time telling the difference and others don't. Despite auditory being in the name they can manifest as communicating via other or multiple sensory modes(sight, touch, smell, ect) or as "unvoiced" messages(that's a whole other can of worms, but its relevant as one of our members communicates primarily through touch and "unvoiced" messages as she cant talk). Its also a symptom that is highly influenced by culture with individuals from parts of the world where its more socially acceptable being more likely to report positive emotional valence and helpful interactions from their voices. Also the DSM has exceptions for culturally significant possessions and spirits exactly because AVH's are so culturally influenced. Anyway we wanted to talk about it because it very much does kinda describe what we have going on but also it doesn't. On one hand our members are definitely not JUST the result of AVH as we can and do switch when necessary. but, also we experience transient spirits that are not members and definitely AVH and have no control of the body? but also we used to switch a lot more often but stopped needing to as much and got a lot more control over it after we learned to start working together. We prefer to operate simultaneously with one another when we can now and rarely switch as we all can comfortable share front most of the time? also I think at least one member developed out of AVH as a command hallucination authority? its all very confusing and making this hangover brutal. This is turning into word barf yikes. Knowing a bunch about AVH has not helped me figure out at all what we "really" have going on. But its very interesting reading and does help us contextualize our situation. Honestly at least for us just treating our members as real and worthy of mutual respect did more to help us than actually knowing or trying to figure out what to call our situation. Thanks for listening! I think I have links to papers on the topic somewhere if you are the kind of folks that likes reading dry science papers.

The Science part of my brain is hypothesizing about how much of the plural community might qualify as experiencing AVH, and how it relates to non disordered systems given the fact that AVH can and does occur in non pathological adults. I get the feeling there is some kind of venn diagram situation here even if we(royal we) are the only one in the overlap. This would definitely be a question for actual qualified professionals tho and actual studies but we are all free to hypothesize :p

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Thank you for your submission!! This is all very very interesting information :)