#warrior judy

[guitar-hero-stuff]

Amazing 3d renders by @fox-wtde !

[emilu-p]

Im having too much fun on blender! Rip they don't have warriors form

[girl4music]

Our Xenaverse family is growing day by day and this is without a Xena reboot or without anything that’s even renewed an interest in Xena. This truly is incredible and just goes to show you what loyalty really means.

What Lucy and Renee said is true. As much as we love them as our beloved leads, we don’t just show up for them. We show up for each other. Creators/cast/crew/community. But what makes it really special is we still do years and years after that very last episode ended.

29 years later and this is still our Xenite community. This is still what we are as a fandom. We’re family. And our family just keeps on going and growing forever without anything to really show for it or to justify it except unconditional love and unwavering loyalty.

It’s not just about the franchise of the Xenaverse.

It’s about what the franchise gave us and still does.

Unconditional love in friendship and found family.

It’s remarkable that nearly 30 years we’ve been doing this for. But we know as to why. We know why Xena is so timeless that people still show up for it 3 decades later. It’s because Xena belongs to us. The Xenites.

In a way it always has and evidently it always will because Xena is just as much our creation as it is the original creators. And I could not be more proud of us.

And no matter what I have to do to make it happen, I will make it to the 30th Xena convention. I love you all.

[pattdork]

Judge: Do you swear to tell the truth, the whole truth, and nothing but the truth?

Ava: I swear. Bea is the most amazing and beautiful person I've ever met, and I'm really grateful to have her in my life...

Judge: ... only the truths we ask you.

Ava: Oh. Okay, sure.

Bea: * blushing furiously *

[angrywalter01]

Happy Birthday, Judy Nails

Wishing "Mistress of Guitar Hero" Judy Nails a very Happy Birthday!

[breadedsinner]

Judith Banters: Aveline

Aveline: You’re a surprisingly good fighter.

Judith: Ah. And your ability to give compliments is as expected.

Aveline: I mean to say you’re tactful. Disciplined. When we first met, I assumed you were a farmer’s daughter recruited into the army to stop the Blight.

Judith: My father was no farmer, and I willingly joined the army a few years before the Blight. I had received a bit of training before then.

Aveline: You have family in the army, then?

Judith: No, Templars.

Aveline: Why would they help—

Judith: Ferelden is a very big, often brutal place. There are still places where people understand community, even the Templars.

Aveline: Well, we’re not in Ferelden anymore.

Judith: No, we’re not.

*

Aveline: So why did you join, considering your … circumstances?

Judith: When I was a girl, I dreamed of being a knight. Foolish, perhaps, but not impossible. Ser Cauthrien was the daughter of a farmhand, and she rose through the ranks, not unlike the Hero of River Dale before her.

Aveline: You still hold Loghain and his lieutenant in high regard? After all they’ve done?

Judith: I can hold a number of feelings towards them, and respect is one of them.

Aveline: But they abandoned us!

Judith: Teyrn Loghain gave his life to stop the Blight. Obviously, something changed. Perhaps I take some comfort, knowing it’s never too late to make things right.

*

Aveline: You would have liked my father. He would tell me tales of chivalry all the time as a girl.

Judith: Of Orlesian make, no doubt. Your name implies as much.

Aveline: (chuckles) Was there any doubt about that?

Judith: If it’s all the same, I prefer my own stories.

*

Aveline: Have you thought about my offer? I think you would make a fine guard.

Judith: As I said, I would prefer to explore other options.

Aveline: What other options besides this expedition? You don’t strike me as the gambling type, Hawke.

Judith: Varric seems confident we can make it work. If that fails, I can beg Meeran for another chance. Or I’m pretty strong, I’m sure there’s plenty of labor jobs.

Aveline: And you honestly find that preferable to the Guard?

Judith: That’s my business, Aveline. But yes.

*

Judith: I understand you and Donnic are to be wed. Congratulations.

Aveline: Thank you, Hawke.

Judith: Mother talks about remarrying, though any bachelors at our door are one she found for me, not herself. I think I would prefer she find someone of her own. I should hate to think she said it so I wouldn’t worry about her.

Aveline: Is that even something you want?

Judith: I … I’m not sure. With everyone going on, it feels impossible. It feels selfish to think of some things.

Aveline: Hawke … you and I disagree on a lot, but no one understands that better than me. You can’t let the weight of the world be your only focus. You need to make time for you and the things you want. And if you don’t know, you need to give yourself time to figure it out.

Judith: I will think on what you said.

*

(Late Act 3)

Aveline: Hawke… when I told you about figuring out what you wanted, I didn’t mean seducing a Chantry priest! Don’t you think that’s inappropriate?

Judith: Sebastian is a priest no longer. I fail to see how that’s more inappropriate than marrying your subordinate.

Aveline : … I am just going to drop this.

Judith: Consider it dropped.

[guitarcarolrockstar]

Judy and Janet!

Original Base: www.animebase.ru

[guitar-hero-stuff]

They really changed huh 

[emilu-p]

!!

[420mermaid]

Judy Chicago, Rainbow Warrior (1980) Prismacolor on rag paper, 23 in. x 29 in.

[iwontusethis255]

fuck it, oc asks open (may or may not be in character)

left to right, character descriptions

Vestal Eduardo Whitmore (he/him), a simple chef who has a magic flame tied to his figurative heart

Drew Ross (he/him), a former superhero with the ability to have anything he draws become real

Judy Foreman (she/her), strong woman and former member of the Texas Cowboy Mafia

Ursula Beverly (she/her), former superhero with the ability to transform into animals, now a dj

Cameron Leo (they/he), alien fugative who took refuge on earth, the space equivalent of a cat alleyway

Hubert Mann (any pronouns), definitely a real human and definitely not an ancient slime whos been watching and waiting

Amber (they/she), broke out of the robotic hivemind of robotic butlers made by Cam, now trained in guns

Tiny Warrior (they/them), very small, protects the house they all live in from threats the others dont even see

if i get enough asks ill be motivated enough to draw the stories VILLAIN oooo

[angrywalter01]

Sex Type Thing (Live at Guitar Hero) (+4 Pitch Shift)

[haggishlyhagging]

In English, man (pronounced "mon") was the word for female and wer the word for male only a few centuries ago. Man comes from Sanskrit, meaning "moon," so man is cognate with menstruation and mind, and wer with virility, strength, virtue, and cleanness. Wer remains in the language in the word "werewolf," a particularly bloodthirsty predator in European folktales.

According to the OED, the word woman is made of two old words, man (moon) and wo, which was originally wyfe. This word did not mean "married female," however. From its pronunciation, "Weef," and its meaning, "maker" or "producer," it more likely meant "weaver," in the sense of "weaving the fabric of culture," or perhaps "gatherer." (A similar term is "spinster"). In sixteenth-century England, all manner of country "weefs" came to market to sell their wares and products: an ale-weef brewed and sold ale, a strawberry-weef sold her truck-farm fruits, an oyster-weef sold her sea fruits, and so on. The derogatory slang word "fishwife" remains as a fragment of the earlier usage.

To do some etymological speculation, a "weef-man" was a menstrual "moon weaver." Over the three or four centuries since this time, "weef-man" dropped its "f" and became "wee-mon," as you can still hear in some American folk accents, and then it was slurred into the more contemporary pronunciation "wimmin." "Weef" changed in pronunciation to "wife," a common progression in some English dialects. And as females became economically dependent on males in paternalist marriage, the sense of "wife" as an independent marketwoman vanished.

The male warrior tradition acquired another use of "mon," in the word "weapon." The "weap" part of the word means to seep fluids, as in the modern spelling "weep." Wounds "weep" blood, brought about by the "weap-mon," the moon-human who acquires blood by cutting with a flint or other tool. "Man" was applied to both genders until the seventeenth century, and this earliest man, menstrual man, stands behind "weap" man and "weef" man alike. In the beginning was blood and the moon, with the irregular rhythm of metaform passing between them.

-Judy Grahn, Blood, Bread, and Roses: How Menstruation Created the World

[perpetual-stories]

How to Use Character Flaws to Enrich Your Writing

Readers identify with characters who are relatable and peppered with imperfections. When a writer crafts believable character flaws, they open the door to interesting conflict, engaging personalities, and ample character development.

What Is a Character Flaw?

A character flaw is a trait that prevents a character from being perfect.

Sometimes this fatal flaw leads to a character’s demise or at least undercuts their character strengths and presents a prominent setback they must overcome.

Any character can have flaws, including a protagonist, antagonist, love interest, confidant, deuteragonist, tertiary character, or foil.

Why Give Your Characters Flaws?

A character’s flaws serve many functions, particularly ensuring that the character is relatable and engaged in inner conflict. Carefully crafted flaws can do the following:

Make the character relatable to an audience of readers or viewers

Present an obstacle that must be overcome during the course of the story

Create character weaknesses that another character in the story can exploit

Create an obstacle that prevents a character from immediately solving a conflict

Set off a character arc that allows a character to grow and change

Provide quirks that distinguish characters from one another and make them memorable to audiences

Emphasize broader themes that are amplified via specific character flaws

Create comedy—from Homer Simpson to Michael Scott, the best comedic characters are hopelessly flawed

What Is an Example of a Character Flaw?

In the Thomas Harris novel The Silence of the Lambs (and its subsequent film adaptation by director Jonathan Demme), Hannibal Lecter has what could charitably be called a personality disorder: He is a cannibal and a sadomasochist.

Lecter’s character flaws, however, are somewhat offset by his brilliant mind, which he uses to help the main character, Clarice Starling, apprehend a serial killer tormenting Appalachia.

Lecter is an example of how in fiction, even characters with the most severe personality flaws can embody a degree of three-dimensionality.

12 Character Flaws to Use in Your Writing

The array of possible character flaws is boundless. Here are 12 time-tested character traits that inherently generate conflict:

Perfectionism: A finicky perfectionist is never satisfied. They can rarely accept that a project has been completed, and they rarely accept the finished work of others. Perfectionism is a great flaw for a detective, a doctor, or an office worker.

A know-it-all attitude: An arrogant, self-righteous know-it-all has great potential to fall flat on their face, whether comically or dramatically. High school stories often feature a know-it-all foil to the main character. These archetypes work particularly well in comedy, especially when the know-it-all suffers from a broader lack of intelligence.

An inability to move on from the past: Many police procedurals and superhero stories feature heroes haunted by their past, such as murdered parents or the victim they could not save. This major flaw presents obstacles as they work to solve crimes—but when the obstacles are overcome, the story’s happy ending feels earned.

Laziness: Laziness is a flaw that leads to obvious conflict, some of which can be quite funny. Lazy sloth detectives and doctors can be either hilarious or the source of grave conflict, depending on the tone of your storytelling. A lazy character in a position of authority can generate a lot of tension for your plot.

Physical vulnerability: Some characters suffer from a physical weakness that can escalate into a fatal flaw. Superman’s tendency to wilt in the presence of kryptonite hamstrings him, while the great warrior Achilles was undone by his fabled heel.

Low self esteem: People who fundamentally dislike themselves make for fascinating characters. Jesse Pinkman’s self-loathing leads him down all sorts of dangerous paths in Breaking Bad. On the other end of the spectrum, the young adult author Judy Bloom has crafted gorgeous character arcs from youthful characters, like Linda Fischer in Blubber, who begin their journeys with low self esteem.

Vanity: Vanity is the undoing of many real world characters, and so it also works beautifully in fiction. Politicians, artists, models, and athletes in stories are routinely undone by vanity as they gradually develop a bad reputation. Ordinary people can be wrecked by vanity as well, so it’s a common character flaw in many forms of fiction.

Lust for power: Unbridled thirst for power has undone many a character, from Mr. Kurtz in Heart of Darkness to Frank Underwood in House of Cards. Power is intoxicating, and characters who seek it are both relatable and easy sources of conflict.

Lack of maturity: Many character arcs begin with a person in a hopeless state of immaturity who then grows over the course of the story. Immaturity can also manifest as rudeness, like when a bigmouth makes tactless remarks.

Fear: Common in action dramas and comedies alike, fear—be it cowardice in the face of duty, a specific phobia of spiders, or an irrational fear—is a great character flaw that naturally drives a story.

Hedonism: Some characters cannot resist temptation, whether that involves an illicit drug, food, or a fetish. Sometimes this excessive desire is due to addiction—it’s no secret that many famous protagonists are alcoholics—and sometimes it’s due to a general lack of self-restraint and willpower. For a character like Fyodor Karamazov in The Brothers Karamazov, hedonism and lechery make him both tragically amusing and subtly sinister.

A gruff exterior: Some characters seem initially impenetrable because they are taciturn, standoffish, or even hostile and lewd. Typically these characters house a vulnerable interior beneath their coarse shell. Bringing out that vulnerability and lack of self-worth can be a strong driver of story.

Please like, comment, reblog and follow for more!

[guitarcarolrockstar]

My videos of the eight warriors is complete!