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shimmershifts · 4 months ago

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an open letter to those who have not yet shifted.

i don't know how many of you will see this, let alone how many will read it entirely. this letter is for those who have been trying to shift for two years, five years, more. those who cannot give up, and those who will not give up, and maybe even those who already have. to preface, this letter will not rehash everything you already know. you've scrolled every forum, you've seen every method, you've read every tip. you've trialed, and errored, and persevered... but you're still here. law of assumption, manifestation, belief, intention. but you're still here. you've been told all about shifting... right? you already know what shifting is... right? you should already know how to shift... right? but you're still here.

this letter is not intended to debase or invalidate those who do already believe in those things and who are satisfied with that. this is for those who have been trying that way for 2 years, 5 years, and more, and still haven't shifted. this is for those who might want an alternative perspective.

what you've been told

in my personal opinion, the online shifting community as it currently stands is very... rigid. narrow. there are a few dominant views, and then the many who drown out any possible dissent or disagreement. i do understand why this happens. reality shifting is already a marginal belief, hounded by anti-shifters and disbelieved and debunked on all sides, so it makes sense that people feel the instinct to close ranks at any sign of an outsider. unfortunately, this has led to a community that raises its hackles at even other reality shifters who simply don't believe the exact same way that you do. law of assumption. manifestation. intent. (and dare i say it, the multiverse.)

i don't believe in any of that, in the context of shifting.

now, wait! don't go yet, stay with me. it's okay if you do. i'm not intending to change the minds of those who already believe in these things. i'm not going to go at anyone and say "i'm right, you're wrong, and you must change your mind to agree with me!" that would be silly, and counterproductive. let's lower our guards, and extend an olive branch, please. if you feel these things serve your journey, then carry on. you're allowed to disagree with me, i won't be upset. you're allowed to think i'm wrong, if you want. literally no worries at all.

but i am a little tired frankly of certain ideas being treated as the only options, and often in a rude or hostile manner. if you are someone who has spent five years trying to shift, and you see yet another post that boils down to "all you have to do is want it hard enough" does that not hurt your soul? the following sections of this post are for those who these ideas have not been working for. for those who have not yet shifted. it's been two years. five years. more. and you're still here. are you open to another possibility?

what is reality shifting?

i've told you what i don't believe, but what about what i do? i'll try to keep this as concise as possible for the sake of brevity and comprehension, knowing i could potentially clarify in future posts. but please continue with the understanding that im a chronic overexplainer, and my curse is the fact that the extra words don't always actually increase understanding. bear with me.

reality shifting: broadly speaking, this refers to shifting your linear experience of reality from one, to another. this has been known by many other names in the past, across continents and cultures, even in pre-agriculture societies. i'd include ideas like persistent realms, quantum jumping, focus 21, etc. language is subjective, and people may describe or understand the same experience in different ways.

i believe reality shifting is a haphazard side effect of our limited ability to perceive and comprehend reality. let me explain. space, as we understand it, is three dimensional. but reality isn't. it's our bodies and minds limiting our perception and understanding that makes all of reality seem that way to us at surface level.

1D: let's consider a hypothetical one dimensional existence. everything would a straight line, and the only way to perceive anything else would be as a single point directly in front or directly behind you. forwards and backward. the 2D and 3D are beyond your limited ability to physically sense or feel, let alone to comprehend. Forget about the 4D (time). due to your lack of comprehension, you cannot move at will in two dimensional planes, let alone three dimensional space or even time. you are static, a single point.

2D: let's consider a hypothetical two dimensional existence. it would be a flat, infinite planar expanse. you might be a square, or a circle. you can move freely in two dimensional directions (forward, backwards, side to side), but not in the 3D. No up, no down. If you tried to perceive a three dimensional object, you would only be able to comprehend it as linear, a line on the horizon where it intersects your 2 dimensional plane. you would perceive the 3D as moving around or within you on its own, without the ability to direct it. the 4D, or time, if you could perceive it, would be static, a singular point at a time.

3D: what about our three dimensional existence? congratulations, you now are a form, such as a sphere, or a cube. you can move freely in a voluminous, infinite three dimensional space. Forward, backwards, side to side, up, and down. if you *try* to perceive the fourth dimension (time), you can only comprehend it as linear, a line where it intersects your 3 dimensional space. You perceive it as moving around or within you on its own, without the ability to direct it yourself. any dimensions higher than that, if you could perceive it, would be static, a singular point at a time.

quick 4D sidebar: clearing this one up now because this will confuse some of you who are involved in other communities. in many law of assumption and manifestation communities, "4D" has been used to refer to your imagination, inner world, a bridge to "higher vibrational states", etc. i don't use it that way. i use it in the sense of the mathematical concept, or linking three-dimensional space with time. 4D=time.

4D and 5D: so, time is the fourth dimension. that means it is four dimensional, yet due to our limitations as 3D creatures, we can only perceive it as linear. we perceive it as moving around us, without our direction, forwards, (or backwards in some cultures). what about the 5th dimension? the static one? the one we can only perceive one point of at a time? let's call this 5th dimension... reality. due to our limited perception, it may not seem like it, but time and reality are just like space in that all of it exists at once. if you were a 5th dimensional creature, you wouldn't see a bunch of different realities, you'd just see one the way we just see one 3D universe around us right now.

tip: think of it this way, if a three dimensional creature moving through time is only able to perceive it linearly, it may think that each point of time exists separately, passing by in chronological order. this would be like a character in a book, the character experiences each page one at a time as we turn the page. but we know that actually, the entire book exists all at the same time, and already did exist before we picked it up and started reading it, and continues to exist even when we set it down. the same is true of time, and reality. even if we perceive it as linear, or a point, all of it actually exists simultaneously, like space.

still, we can only perceive one point of reality at a time. i believe when we reality shift, we are by some freak of nature (or nurture) finding a way to trigger a "movement" in this "5th dimension," and therefor shifting our linear experience of time and our singular perceptual experience of one reality to another. ("movement" is a bit of an abstraction here, as movement generally refers to 3D space. you're not actually moving anywhere, you're already there, you just... can't see it at the same time as this.)

ok, so how the heavens do i shift?

if you read through all of the above, i assume that's what you're asking by now. "get to the point shimmer! how do i shift?" if you don't need intention, belief, assumption, manifestation, three gallons of water, crystals, or anything else then what do you need to shift?

if we boil shifting down to its absolute core, all you need to do in order to shift is to shift. (put down the pitch forks, and the flaming feathers and tar. i'll elaborate.)

shifting involves finding a way for us 3 dimensional creatures to trigger a shift in a dimensional direction that we do not have the capacity to perceive. so what i mean by "all you have to do to shift, is to shift" is that there is no physical movement, or secret password we can whisper that makes us shift, not inherently. it's sort of like being told to find your invisible and non corporeal primordial tail, and then swish it in a direction that doesn't spatially exist. find your "move in the 5D button", and then press it. except, there is no button.

so how do we "move" from one point of reality to the other? well, the first clue to this is in noticing what part of us is actually doing the "moving".

you don't make it happen with your three dimensional form. there is no body part or mass or motor function in your 3D body that triggers a shift. there's nothing that allows a three dimensional form to move in five dimensional directions... you just can't. your body stays here. that's good news actually, in my opinion. there is no need to force yourself into strange bodily positions, or chug water, or whatever else. your 3D body is irrelevant, because it's not going anywhere. you don't have to do anything with your body to shift. some people can shift awake, asleep, in the shower, walking around, etc.

you also don't necessarily do it with the fourth dimension, time. there is no specific amount of time that you'll shift after. it might seem you've spent a lot of time trying to shift, but the actual shift itself is instantaneous. some people shift their first try, and some of you might be on your second decade of attempts. again, the time factor being irrelevant is good news because this means it doesn't have to take time.

i also don't think we do it with just intent or belief. the intention word gets used so much it basically means nothing, but the general idea is that intent is the driving force that manifests your desired outcome. in the context of shifting, people use it like "set your intention to shift, and you will" or "intent makes you shift." or the dreaded "you just have to believe harder." personally, i don't think that's true. i don't think intention makes you shift. if it did, you all would have shifted by now, right? i think looking anyone who's been trying to shift for 4 years dead in the eye and telling them they just haven't intended to shift yet is honestly a bit cruel and unusual. some people who intend to shift will shift, but in my opinion, its a case of correlation, and not causation. there are also people who shift without intending to, or who intend to shift but don't.

it's also not really our thoughts that shift. or our mind as a concept, or our entire self. we know this because you don't turn into a comatose vegetable when you shift to a different reality. your thoughts, mind, and self here are unaffected by your awareness shifting away from it. if you successfully "permashifted" to hogwarts tonight, your self here would still wake up in the morning and go to work.

so what does shift? only our linear experience of our own awareness. so in order to reality shift, we just need to find a way to trigger our awareness to shift from one point of reality to another in a non linear fashion, and then integrate that into our linear experience. aha! you think. great! now how do i do that...? unfortunately, this is not an exact science (yet.) once you begin shifting regularly, i think it gets "easier" in some regards because you get a sense for how your awareness "feels" and what works for you. for those who haven't shifted, i can't say "take three deep breaths and recite the secret words, and then you'll shift." there is nothing specific you can physically do that will for certain make you shift. there's no secret passwords.

there is no key to shifting. the good news is, this means there is also no lock.

what we can do is get ourselves primed, into a state that increases the chances our awareness is triggered to shift. ie, find the "move in the 5D" button, (you know, the one that doesn't exist) and learn how to press it. and because it is our awareness that shifts, my "methods" have to do with priming your awareness for shifting. you don't need to believe, which is a good thing because it means doubts won't hold you back. you don't necessarily need to intend, which is a good thing because it means there are no secret blockages in your way. no "subconscious", no "reprogramming", no "delusion is the solution." you don't need any of that. you also don't have to do anything specific with your body or space unless you feel like it and want to. you don't need a script, but you can make one if you want. it's whatever, it's irrelevant darling, it's non-consequential.

these three methods below basically encompass all shifting methods out there. i might expand on techniques for these methods later, but for now i'll go over the basics.

method one: pure awareness

it basically boils down to two steps. get into a state of pure awareness, and then shift.

the first step for this method is actually a simple one, sort of, but i think it's unkind to call it easy. it can be easy, if you just happen to have a perfect technique that works for you on your first try. if so, congrats! if not, don't despair. it comes more naturally to some than others, at first. you can probably build the skills and try different techniques necessary for you to get there.

but what is pure awareness? it's currently very often being called "the void state", but i'm not using that term for a few reasons. one, i think using the term "the void state" or calling it "the void" is making people think it's some sort of place that they're trying to go. it's not. it's not a physical place at all, and that's kind of the point. most of the time, your awareness is perceiving reality through the confines concept of 3D reality, because that's the data input it's receiving from your brain and body. that grounds you in this reality, and allows you to go about your day to day life. your goal with the pure awareness method is to focus on just your awareness, absent of all 3D distraction data and input. that way, your awareness is primed to be triggered to shift its focus to the 3D perception of a different point of reality when you come out of that state.

i might make a post about techniques for getting into the state of pure awareness, but this post is already long enough.

method two: destabilization of awareness

this method gets over complicated, but it basically boils down to two steps. destabilize your awareness, and then shift.

honestly, most shifting methods i see online are in some way doing this. lucid dreams, the hypnogogic state, SATS, self-hypnosis, "symptoms", and also all those iterations of the "raven method" the "staircase method" the "alice in wonderland method" etc are all basically ways to destabilize your awareness from the linear perception it is so used to in this point of reality, offering the opportunity of triggering a shift to a different one. they're all sort of either distracting or subverting your focus on the 3D here in this point of reality.

basically, you'll be trying to discombobulate yourself to the point your awareness is not focused on 3D reality, and trigger a shift.

method three: absence of awareness

sleep method gang, rise up. i'm serious. this method involves reducing your awareness to zero, or as close to it as possible, another potentially prime state to trigger a shift. (and by sleep method, i don't mean lucid dreamers or SATS, i mean simply going to sleep here, having a period of complete unawareness, like totally dreamless sleep, and then waking up in your DR.)

this absence of awareness during sleep is (in my experience) the most common cause of accidental or unintentional shifts, but you might be one of those who can trigger a shift to desired realities with this too.

sleeping is not the only way to get to the state of the lack of awareness. i'd say total distraction methods also count for this. you're not asleep, your body is awake, but you're so "zoned out" (or alternatively in a meditative state such that) you're absolutely not aware of the 3D experience of this point of reality anymore.

this is completely different from the state of pure awareness by the way, because in the state of pure awareness you are aware. like, in pure awareness you have a full train of thought and total control. the absence of awareness is the opposite. it feels sort of like a "blip" where reality time and space passed you by and you were not aware of it.

#shifting community #reality shifting #shiftblr #shifting #shifting realities #shifting motivation #reality shifter #desired reality #shifting antis dni

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thewriteadviceforwriters · 1 year ago

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10 Ways to Add Sizzle to Your Boring Writing

Writing that sizzles captures the reader's attention and keeps them engaged from start to finish. Whether you're an experienced writer or just starting out, there are several techniques you can use to make your writing more exciting and dynamic. Here are ten detailed ways to add sizzle to your boring writing:

1. Use Vivid Descriptions

Vivid descriptions bring your writing to life by creating a rich, immersive experience for the reader. Instead of relying on generic or bland language, use specific details that appeal to the senses. Describe how things look, sound, smell, taste, and feel to paint a vivid picture.

In Detail:

Visual Descriptions: Use color, shape, and size to create a mental image. Instead of saying "The car was old," say "The rusty, olive-green car wheezed as it pulled into the driveway."

Sound Descriptions: Incorporate onomatopoeia and detailed sound descriptions. Instead of "The music was loud," say "The bass thumped, and the high notes pierced through the night air."

Smell and Taste Descriptions: Use sensory language. Instead of "The food was good," say "The aroma of roasted garlic and herbs filled the room, and the first bite was a burst of savory flavors."

2. Show, Don't Tell

"Show, don't tell" is a fundamental writing principle that means revealing information through actions, thoughts, dialogue, and sensory details rather than straightforward exposition. This approach makes your writing more engaging and allows readers to experience the story.

In Detail:

Actions Over Exposition: Instead of telling the reader "Jane was scared," show her fear through her actions: "Jane's hands trembled as she fumbled with the lock, her breath coming in shallow gasps."

Dialogue: Use conversations to reveal character traits and emotions. Instead of "John was angry," show his anger through his words and tone: "John's voice was a low growl as he said, 'I can't believe you did this.'"

Internal Thoughts: Reveal characters' inner worlds. Instead of "Emma felt relieved," show her relief: "Emma let out a long breath she didn't realize she was holding and sank into the chair, a smile tugging at her lips."

3. Create Relatable Characters

Relatable characters are crucial for keeping readers invested in your story. Characters should have depth, including strengths, weaknesses, desires, and fears. When readers see aspects of themselves in your characters, they're more likely to care about their journeys.

In Detail:

Character Flaws: Give your characters realistic flaws. A perfect character can be boring and unrelatable. Show how these flaws impact their decisions and relationships.

Character Arcs: Ensure your characters grow and change throughout the story. A well-crafted character arc can turn a good story into a great one.

Background and Motivations: Provide backstories and motivations. Why does your character act the way they do? What drives them? This adds depth and makes them more three-dimensional.

4. Add Dialogue

Dialogue can break up large blocks of text and make your writing more dynamic. It reveals character, advances the plot, and provides opportunities for conflict and resolution. Ensure your dialogue sounds natural and serves a purpose.

In Detail:

Natural Speech: Write dialogue that sounds like real conversation, complete with interruptions, pauses, and colloquial language. Avoid overly formal or stilted speech.

Purposeful Dialogue: Every line of dialogue should have a purpose, whether it's revealing character, advancing the plot, or building tension. Avoid filler conversations that don't add to the story.

Subtext: Use subtext to add depth. Characters might say one thing but mean another, revealing their true feelings through what they don't say directly.

5. Use Strong Verbs

Strong verbs make your writing more vivid and energetic. They convey action and emotion effectively, making your sentences more powerful and engaging.

In Detail:

Action Verbs: Choose verbs that show precise actions. Instead of "She went to the store," say "She dashed to the store."

Avoid Weak Verbs: Replace weak verbs and verb phrases with stronger alternatives. Instead of "He was walking," say "He strode."

Emotionally Charged Verbs: Use verbs that convey specific emotions. Instead of "She was sad," say "She wept."

6. Vary Sentence Structure

Varying sentence structure keeps your writing interesting and prevents it from becoming monotonous. Mix short, punchy sentences with longer, more complex ones to create a rhythm that engages readers.

In Detail:

Short Sentences for Impact: Use short sentences to create tension, urgency, or emphasize a point. "He stopped. Listened. Nothing."

Complex Sentences for Detail: Use longer sentences to provide detailed descriptions or explain complex ideas. "As the sun set behind the mountains, the sky transformed into a canvas of oranges, pinks, and purples, casting a warm glow over the serene landscape."

Combine Different Structures: Mix simple, compound, and complex sentences to maintain a natural flow. Avoid repetitive patterns that can make your writing feel flat.

7. Introduce Conflict

Conflict is the driving force of any story. It creates tension and keeps readers invested in the outcome. Without conflict, your story can become stagnant and uninteresting.

In Detail:

Internal Conflict: Characters should struggle with internal dilemmas, fears, and desires. This adds depth and relatability.

External Conflict: Introduce obstacles and challenges that characters must overcome. This can be other characters, societal pressures, or natural forces.

Resolution: Show how conflicts are resolved, leading to character growth and plot progression. Ensure resolutions feel earned and satisfying.

8. Use Metaphors and Similes

Metaphors and similes add creativity and depth to your writing. They help readers understand complex ideas and emotions by comparing them to familiar experiences.

In Detail:

Metaphors: Directly state that one thing is another to highlight similarities. "Time is a thief."

Similes: Use "like" or "as" to make comparisons. "Her smile was like sunshine on a rainy day."

Avoid Clichés: Create original comparisons rather than relying on overused phrases. Instead of "busy as a bee," find a fresh analogy.

9. Create Suspense

Suspense keeps readers on the edge of their seats, eager to find out what happens next. Use foreshadowing, cliffhangers, and unanswered questions to build tension and anticipation.

In Detail:

Foreshadowing: Drop subtle hints about future events. This creates anticipation and a sense of inevitability.

Cliffhangers: End chapters or sections with unresolved tension or unanswered questions to compel readers to keep going.

Pacing: Control the pace of your story to build suspense. Slow down for crucial moments and speed up during action scenes.

10. Edit Ruthlessly

Great writing often emerges during the editing process. Be willing to cut unnecessary words, tighten your prose, and refine your sentences. Editing improves clarity, pace, and overall readability.

In Detail:

Cut Redundancies: Remove unnecessary words and repetitive phrases. "In my opinion, I think" can be reduced to "I think."

Focus on Clarity: Ensure each sentence conveys its intended meaning clearly and concisely.

Proofread: Check for grammar, punctuation, and spelling errors. A polished manuscript reflects professionalism and attention to detail.

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druap · 2 months ago

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EnderWither!Ghost

+ his concepts

YAP/NOTES UNDER THE CUT

> Abilities:

Enderman part || Teleporation:

Instantly relocates within line-of-sight

Can chain up to three rapid blinks before destabilizing

Leaves behind a short trail of void particles—faint, but traceable

Wither part || Withering effect:

Causes "Wither Decay" effect - targets lose health over time unless purified

Effective in close quarters or to break enemy lines

> Weaknesses:

Cleansing gear (like enchanted silver or blaze-infused rounds) deals the most damage to him

Bring/UV light

As with Endermen, intense light disrupts his vision

He can become temporarily stuck mid-teleport, taking dimensional damage if flashbanged right before TP

Teleportation Cooldown

After three back to back teleports, he suffers a short overheat period

During this time, his movements become slower and sluggish, his body also glows faintly from core overcharge which can give away his position

> Random notes:

Can be seen standing still in high places, just watching

Avoids mirrors

Collects random stuff from his missions

“He moved through the hallway like a skipped frame. No footsteps. No breathing. Nothing. Just those glowing eyes eyes locking on you” @ Shadow 1-0, MW2

“You’re right, but if you seem them - you’re dead already” @ Shadow 1-3, MW2

#simon ghost riley call of duty #simon ghost #simon riley #simon ghost riley #simon ghost riley fanart #ghost cod #minecraft au #minecraft #minecraft x cod #enderman!ghost #wither!ghost #EnderWither!Ghost #artists on tumblr #cod fanart #art #call of duty fanart #call of duty #fanart #digital art

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reasonsforhope · 4 months ago

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"A new study reveals the profound ecological effects of wolves and other large carnivores in Yellowstone National Park, showcasing the cascading effects predators can have on ecosystems. In Yellowstone, this involves wolves and other large carnivores, elk, and willows.

The research, which utilized previously published data from 25 riparian (streamside) sites and collected over a 20 year period, from 2001 to 2020, revealed a remarkable 1,500% increase in willow crown volume along riparian zones [note: riparian means in/around rivers] in northern Yellowstone National Park, driven by the effects on elk due to a restored large carnivore guild following the reintroduction of wolves in 1995–96, and other factors...

Pictured: Upstream view of Blacktail Deer Creek in 2005 and 2021, northern range of Yellowstone National Park.

Trophic cascades, the effects of predators on herbivores and plants, have long been a topic of ecological interest. The study quantifies the strength of this phenomenon for the first time using willow crown volume as a proxy for aboveground biomass, demonstrating a significant three-dimensional recovery of riparian vegetation represented by the growth in both crown area and height of established willows.

The strength of the Yellowstone trophic cascade observed in this study surpasses 82% of strengths presented in a synthesis of global trophic cascade studies, underscoring the strength of Yellowstone's willow recovery process. The authors note that there is considerable variability in the degree of recovery and not all sites are recovering.

Even though riparian areas in the western United States comprise a small portion of the landscape, the study has particular relevance since these areas provide important food resources and habitat for more wildlife species than any other habitat type. These areas also connect upland and aquatic ecosystems and are widely known for their high diversity in species composition, structure, and productivity.

"Our findings emphasize the power of predators as ecosystem architects," said William Ripple. "The restoration of wolves and other large predators has transformed parts of Yellowstone, benefiting not only willows but other woody species such as aspen, alder, and berry-producing shrubs. It's a compelling reminder of how predators, prey, and plants are interconnected in nature."

Pictured: An across channel view in 2005 and 2021 of a downstream reach on Blacktail Deer Creek, northern range of Yellowstone National Park.

Wolves were eradicated and cougars driven to low numbers from Yellowstone National Park by the 1920s. Browsing by elk soon increased, severely damaging the park's woody vegetation, especially in riparian areas. Similar effects were seen in places like Olympic National Park in Washington, and Banff and Jasper National Parks in Canada after wolves were lost.

While it's well understood that removing predators can harm ecosystems, less is known about how strongly woody plants and ecosystems recover when predators are restored. Yellowstone offers a rare opportunity to study this effect since few studies worldwide have quantified how much plant life rebounds after large carnivores are restored.

"Our analysis of a long-term data set simply confirmed that ecosystem recovery takes time. In the early years of this trophic cascade, plants were only beginning to grow taller after decades of suppression by elk. But the strength of this recovery, as shown by the dramatic increases in willow crown volume, became increasingly apparent in subsequent years," said Dr. Robert Beschta, an emeritus professor at Oregon State University.

"These improving conditions have created vital habitats for birds and other species, while also enhancing other stream-side conditions."

The research points to the utility of using crown volume of stream-side shrubs as a key metric for evaluating trophic cascade strength, potentially advancing methods for riparian studies in other locations. It also contextualizes the value of predator restoration in fostering biodiversity and ecosystem resilience."

-via Phys.org, February 6, 2025

#wolves #willow tree #trees #yellowstone #yellowstone national park #united states #north america #ecosystem #ecology #ecosystem restoration #wildlife #rivers #riparian #good news #hope

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suppermariobroth · 2 years ago

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In New Super Mario Bros. Wii, some objects in the background, such as Peach's Castle at the beginning of the first level, appear to shift slightly in perspective as the camera scrolls by, to increase the sense that the scene is three-dimensional despite the gameplay only being confined to a two-dimensional plane.

However, due to the game using orthographic projection (a manner of rendering where objects are not distorted by perspective), the standard way of implementing this effect - to simply place the object at a distance to the camera and pan it across, letting the perspective shift naturally - is not actually possible. Instead, the designers used a trick where objects that need to shift simply rotate along a central axis as the camera moves back and forth. The effect is slightly optically inaccurate but subtle enough to mistake for true perspective shifting during gameplay.

By modifying the game's code to add a multiplier to the rotation value, it becomes easily visible, revealing the trick. Note how the castle stands still when the camera is not moving, and rotates in the opposite direction of the camera movement.

Main Blog | Twitter | Patreon | Source: youtube.com user "DuneDudeNG"

#new super mario bros wii #nintendo

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jinlin-at-the-moon · 5 months ago

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so a few days ago i was thinking about this post+comic, and i thought that while svsss luo binghe probably wouldn't try to Actually kill liu qingge, pidw luo binghe absolutely would. ergo, imagine, if you will. an au where peerless cucumber doesn't transmigrate in as shen qingqiu, but airplane still becomes shang qinghua. due to plot differences, airplane-bro doesn't really care about what the hell kind of drama the other peak lords are getting up to, but still somehow happens to knock over a book or something- something that, through bullshit plot contrivance butterfly effect, somehow manages to let shen jiu actually save liu qingge in the lingxi caves.

some years pass, years where liu qingge is going through a fantastical knightly enemies to ??? where he slowly learns he may have initially misjudged this man who may not be the paragon of virtue but is nonetheless a person worthy of respect with a possible sordid past that resulted in a difficult disposition and now has to kneel down and admit then make up to his failures, as shen jiu is like "what kind of fucking scheme is he trying to pull", which results in like a weird strained kind of coworkers who Don't Talk About It type relationship. the immortal alliance conference still happens, everything proceeds as in canon, except- when bingge comes back from his 5-year internship in tartarus and does his pidw-canon-typical "destroy shen jiu's reputation and lock him up in the water prison" shenanigans, it turns out that liu qingge Can and Will try to break shen jiu out -not because he really likes the guy all that much, necessarily, but he has a life debt to pay back and also has already dragged his one (1) braincell through the grinder in order to realise his assumed-evil coworker is probably not actually one-dimensionally evil, so he feels complicated enough about it to try and get some actual answers in here - and if that involves kicking demon ass that's just a fun bonus. normally, all this would not be an issue for demon emperor luo binghe who has recently basically come into nigh full power if you discount xin mo being grumpy, because, as established he would not hesitate to kill his former shishu! in fact, he'd be very glad to do that! however, for item out of designated boundary reasons, liu qingge Will Not Fucking Die.

...cue clown music.

liu qingge has already sacrificed his last braincell to trying to comprehend his shattered worldview of shen jiu as a person and therefore he does not examine why he is Actually so determined to break him out, and also doesn't have enough brainpower to feel torn by the fact that duelling luo binghe every week is actually kind of fun (and also why he kind of has a boner about it). shen jiu has a moral crisis about the fact that the man who he's first hated then avoided for like over a decade is now the one guy who keeps trying to legitimately come back for him and is willing to risk death over and over in order to do that, and also that somehow this pisses the beast off enough to distract him from the whole revenge/ripping off limbs thing- except now he's for some reason coming down to the water prison to rant about it? luo binghe, for his part, does not know why he's ranting about it to shen jiu of all people (it started as taunting! then it became some kind of weird routine because that one guy just cannot cease being alive and what is UP with that) and while he does have enough braincells to question why fighting liu qingge every week feels more stable than any other relationship he's had in his life since his mother died, he absolutely refuses to examine it. none of them are making it out of this normal. the clown music gets louder every time they're in one location. huan hua keeps having to dish out more and more repair funds for the bai zhan war god's going ham most destructive. the three clowns are locked in a mario/peach/bowser dynamic stalemate none of them actually want to be in, but it's what fate has dealt, and some god is probably laughing at their miseries.

(meanwhile, god is not laughing. god is wondering what the fuck happened here and how it got to this point and also if this means he might put some of his fake-his-own-death plans on hold just to see what kind of bullshit happens next. ...god also really wishes he could invent popcorn.)

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literaryvein-reblogs · 9 days ago

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Writing Notes: Quirks, Habits & Mannerisms

Character Quirks - the memorable little things about a character’s personality that make them charming, endearing, weird, or unique. A quirk is anything worth describing about a character that makes them stand out, like certain speech patterns (a character who mumbles), or behavioral tics (someone who can’t make eye contact). Quirks can also be a character’s clothing, the way they smell, or whether they use their left hand or if they’re ambidextrous. Little quirks or idiosyncrasies can humanize a character—or at the very least, make them interesting.

Character Habits - the patterns of behavior exhibited by characters either involuntarily or in response to other stimuli. For example, a character who can’t stop winking when they get nervous, or someone who always smokes a cigarette with their morning coffee. Habits are often repeated under specific circumstances, or in some cases incorporated into a character’s routine. Good habits can reveal things about your character, like someone who always cleans their house before company arrives can be a stickler for neatness and presentation. However, bad habits can also be especially powerful, as they expose certain flaws about your characters, paving the way for growth and development.

Character Mannerisms - a character’s unconscious individual gestures, affectations, or other distinctive behavioral traits. Characters’ mannerisms can indicate particular aspects about them. For example, someone who is always slouching may perpetually lack confidence, or a character is always squinting because they’re too prideful to admit they need glasses. Mannerisms can help your audience tell your fictional characters apart from one another, giving them their own identity. They can also help your characters feel more three-dimensional, like people you’ve met in real life.

Tips for Using Quirks, Habits, and Mannerisms for Writing Realistic Characters

Quirks, habits, and mannerisms can be so useful for writers to incorporate during the character creation process. Whether your focus is writing a novel or short stories, little aspects of a character’s personality can help make them feel layered and real, strengthening the connection and empathy your audience has with them.

Make a list. Write your own list of quirks, habits, and mannerisms. Think about the people you know. Which family members are introverts? Who is always the life of the party? Do they say any specific things or behave in a particular way that indicates these aspects of their personalities? Think of a character you’ve read about in a book or seen in a TV show or movie—what were their strengths? What were their foibles? Also, consider complete strangers you’ve passed on the street. Which ones do you remember, and why?

Ask yourself why. If you’ve thought of a list of character traits you find interesting, consider why those particular ones stood out to you. Why do you want to give your character a weird sneeze? Why is it important that they’re vegan? Why you want to use a trait and its effect on personality are two important things to be cognizant of when building your own characters.

Show, don’t tell. Use quirks, habits, and mannerisms to say more about your characters than words can. You don’t have to tell your readers that your protagonist always feels awkward when he enters a crowded room—show them he feels that way by putting it into his movement. Instead of normally walking into the room, the character always shuffles meekly, or has to give themselves a pep-talk before entering. Descriptions like these can paint a more vivid picture of both the scene and your character for audiences.

Consider your setting. If you’re writing a piece that takes place in the 1990s, your main character isn’t going to check their cell phone constantly, or use certain types of modern slang. Make sure the behaviors and habits you incorporate into your character development line up with the time period or setting you’ve established.

Don’t overdo it. In fiction writing, a good combination of quirks can help create more memorable characters by including small things that make them charming, endearing, weird, or unique. However, overloading your character descriptions with these traits will have the opposite effect, and make them feel ungrounded and unrelatable. Quirks, habits, and mannerisms should be used sparingly, and only to enhance the character as a whole. If your character walks with a limp, has a catchphrase, wears ugly clothes, speaks with a stutter, and considers their stuffed animal their best friend, they will seem like a complete caricature to your audience. Characters shouldn’t need an overload of gimmicks to be memorable, just a few specific details that help bring them to life in a natural and interesting way.

Avoid clichés. Nothing makes a character feel less realistic than an adherence to unbelievable and tired tropes. If you want to develop unique characters, go against the grain. The gruff character with the eyepatch might be the nicest person in the neighborhood, or the clumsy girl-next-door might actually be a serial killer. Even if you’re experiencing writer’s block, don’t rely on clichés. Instead, think of all the basic ways characters have been portrayed throughout and go in the opposite direction.

Try writing prompts. Character writing prompts can help you imagine new combinations of traits to give to your characters. A prompt can force you to think outside the box you’ve built for your character, putting them in other situations and seeing how they behave. This can help draw out features of the character that you hadn’t thought of yet, while also expanding your character writing skills.

Source ⚜ More: Notes & References ⚜ Writing Resources PDFs

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gigivas · 1 year ago

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1K GIGI Prompts Collections 'Levitating Naan: Golden Hues and Green Herbs' 5775 Free 10 pages out of 1000 pages

Get Free 10 pages MTMEVE00549G_32_0001 – 1K GIGI Prompts Collections – Levitating Naan, Golden Hues and Green Herbs 5775 10PagesDownload 1K GIGI Prompts Collections ‘Levitating Naan: Golden Hues and Green Herbs’ 5775 series provides two documents, one document is 10 pages of prompts in 1000 pages, available for free download. One document is the complete 1000 pages of prompts, this is a paid…

#creativity #digital artwork #dynamic composition #fun #high detail #lighting effects #motion #realism #realistic textures #shadows #three-dimensional effect #visual interest

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poison-into-positivity · 10 months ago

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This shot right here is one of my favorites in the whole show, not only because everyone’s here but because it looks like it’s straight out of a stage play.

When you focus on the way they’re sitting, you’ll notice it’s not at all realistic. The crew is all sitting directly next to each other in a somewhat straight line, conveniently all facing the same direction - in reality, people would be facing one another, there’d be some small clusters, and they’d probably more dispersed across the deck.

But the way they’re staged here is indicative of a theatrical production - everyone’s cheating out, posed carefully toward an audience. Not a camera, an audience.

The sails at the top of the shot even look like curtains, framing the scene as if it’s a stage. And Izzy lurking in the back, unseen by everyone else and looking like he’s ready to deliver a Iago-style monologue, adds to this interpretation too.

This shot feels very purposeful — I think the effect of “everyone in the crew is hanging out together�� could’ve easily been achieved with different, more three-dimensional camera angles or staging choices but they went with this one and it makes my little theater geek heart happy.

I’ve seen some discussions about how OFMD follows a lot of the same story beats as Shakespearean comedies; I’d bet money this shot is an intentional nod to that.

#it’s really really cool #ofmd #our flag means death

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vintagehomecollection · 3 months ago

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Creating a three-dimensional effect, the floral tracery of handblocked paper covers the walls and ceiling of the dining room.

Southern Interiors, 1988

#vintage #interior design #home #vintage interior #architecture #home decor #style #1980s #80s #dining room #crystal #chandelier #china dishware #floral #wallpaper #flowers #classical #traditional

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hasnomoxxie · 9 months ago

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So, if the Smile Dip Dog swaps with Bill, did he still destroy his own dimension? A dimension full of colorful talking animals? Because I’ve gotta say, that already sounds even sadder.

Right on the money boss!

Here's how I think it'd go!

First off the zodiac, this initially was the way that the beast was split and banished to the astral plane.

Now that this is here, I can list out all the main swaps hoho!

Dipper ⇆ Stan

Mabel ⇆ Ford

Wendy ⇆ Lazy Jane

Soos ⇆ Manly Dan

Abuelita ⇆ Tyler

Pacifica ⇆ Fiddleford

Gideon ⇆ Bud and mrs Gleeful (little villain couple to rival the stan duo)

Robbie ⇆ Preston

THE BEAST ⇆ BILL CYPHER

The pups are silly and playful in nature, opting to try and make things as brightly coloured and 'fun' as possible. Though this usually results in freakish abominations that do things that really shouldn't be done. Though they're not stupid, they know exactly what they're doing and how it effects others- It's mainly just for their own enjoyment.

After destroying their universe full to the brim of brightly coloured talking animals, 'The Beast' was split into halves and banished to the astral plane. This meant their reality warping abilities was whittled down to being intense illusions and hallucinations, however they typically tend to use it to try and restore their original look when they are seen by people- though that only works for a short time.

Pretty much anyone could theoretically see the dogs, either through extreme meditation or having a suspiciously high amount of sugar in your system. Safe to say, a food company having a suspicious amount of complaints from parents saying their kids are now 'unresponsive', 'babbling gibberish and mysteriously disappearing' or were 'seeing God and He's a Dog' was enough to get the entire line of candy shut down. Mabel was unlucky enough to stumble onto some smile dip during a late night work session and met the pups. They quickly bonded and the pups were leading Mabel to the weirdness left right and centre, with the end goal of opening a 'weirdness rift'.

A portal.

Safe to say, Mabel couldn't do this on her own. She's smart but not- dimensional science smart. So she called on the smartest person she knew, her twin brother Mason. At this time, Mason wasn't really doing as well as he could have, being attracted to the extraordinary he was prone to being the laughing stock of his university- but a solid breakthrough. Money wasn't an issue, especially when Mabel's old friend Pacifica was willing to help lend a hand and be on site (despite lying about her financial security in order to help her friends). So- the three of them set to building the portal.

Due to unknown circumstances, Pacifica leaves the project. When Mabel finally realises the true intention of the portal and tries to shut it down, Mason is reluctant to do this- fearing that it may be sabotaging his last chance at being recognised for his scientific works and being slightly jealous that Mabel found all of the weirdness instead of him. Either way, a small fight happens, ending with Mabels disappearance, leaving her scrapbooks behind.

The project failed and the pups still aren't free, but it's a matter of time before someone eventually sets them free

I'm litterally figuring out the timeline as I write but some things are set in stone. I'm just figuring out how to show it all off- I did get alot of outsite help for this too ^^

How would y'all feel about comics? or animations? What particular scenes? I feel like tackling this bit by bit would be the most effective way to go about it, especially for what the world is like in this flipped version.

I dunno this is my first time doing something like this umm, if this doesn't make sense lmk and I'll revise some stuff

umm

bazzinga, thanks for yer question ^^

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