#writing movement

[redd956]

Words: Movement

Skitter

Blur

Vault

Keel

Crouch

Hustle

Tip-toe

Sneak

Squeeze

Dart

Dash

Rendezvous

Encircle

Tackle

Shy

Sprint

Trudge

Shuffle

Limp

Pitter-Patter

Sulk

Stomp

Slam

Reserved

Hunt

Hide

Squat

Squabble

Teeter

Sway

Flop

Half-hearted

Slip

Stumble

Cautiously

Quiet

Slink

Ease

Motion

Frantic

Obliviously

Stub

Halt

Skid

Slide

Drag

Dodge

Swish

Jab

Swing

[milkweedman]

fiber arts really is such an insane category of Things in how it can draw you in. like, 6 or 7 years ago i learnt to crochet and made a few terrible hats and scarves. then i learnt to knit because i wanted to knit a scarf for my friend (now fiance :D). then i realized it should be a woven scarf so i picked up weaving instead, but i still really liked knitting so now i was doing 3 crafts. somewhere along the way i started dyeing yarn as part of my kitchen experiments, and then i was like fuck it i wanna make my own yarn ! and that is where the problems happened. in the span of like 5 years ive acquired like $2000 of various tools (spinning wheel, combs, cards, blending board, several looms, etc), bought dozens of fleeces, and now my bedroom is basically a craft room with a bed, i have wool covering every flat surface in there as well as a huge dresser full of wool and several large drawers full of wool, i meticulously scrape every last bit of avocado out of the peel so i can use it to dye fleece, and i don’t go anywhere (including in my own house) without at least 2 knitting projects and a spindle.

im not complaining or anything, but the rapid shift from ‘guy who does stuff, idk’ to ‘guy who is worryingly obsessed with wool and will infodump at length about medieval sheep husbandry and the history of nettle as a textile if you give him half a chance’ is like. extremely funny to me.

[luna-azzurra]

Character Movements (Eyes) Part 3

1. Gazing: The character's eyes move slowly across a scene or object, taking in the details. This movement can indicate curiosity, interest, or observation.

2. Darting: The character's eyes quickly shift from one point to another, often indicating nervousness, suspicion, or alertness.

3. Winking: One eye briefly closes while the other remains open, often used to convey playfulness, flirtation, or a shared secret.

4. Rolling eyes: The character's eyes move upward or to the side, indicating annoyance, disbelief, or sarcasm.

5. Narrowing eyes: The character's eyes become slits or squinted, suggesting suspicion, scrutiny, or concentration.

6. Widening eyes: The character's eyes open wider than usual, indicating surprise, shock, or fear.

7. Glancing: The character's eyes quickly move in a specific direction, often used to check for danger or to communicate a message without words.

8. Staring: The character's eyes fixate on a specific point or person for an extended period, often indicating intensity, fascination, or intimidation.

9. Flickering eyes: The character's eyes flicker rapidly between different objects or individuals, suggesting indecisiveness, confusion, or distraction.

10. Blinking: The character's eyes momentarily close and open, mimicking a natural blinking pattern. This movement helps to convey realism and prevent the eyes from appearing static.

[ryllen]

and some extra unused stuff while they are in affectionate mood

[polinsated]

[vaspider]

Feisty Lady Anger and other things about me you hate

My mother prizes her anger, for all that she doesn't express it openly. I tell stories about her spiteful, steel-spined responses to people who told her, "You can't do that," and I point to them as Why I Am How I Am. Her father told her he wouldn't pay for her college because "women only go to earn the MRS degree," and she could "get married and have babies" without college. In response, Mom got her bachelor's in Mathematics in 1970 on her own dime, back in the days when in-state students didn't pay tuition at state schools (just another thing Reagan ruined). She worked and paid for her books and housing, got her degree, paid for her own wedding because he wouldn't do that either. Taught school, got her Master's, had three kids, started her Ph.D. with 3 under 6 and became a professor when the youngest was 5.

Tell me I can't, my mom told the world, and I'll show you that I can. I won't just do it, I'll become a department head and a Distinguished Professor and retire after 30 years of teaching other math teachers with a list of achievements as long as my arm.

There is an anger that runs deep in the women in my family. Tell me I can't, and I'll show you I can. Show me injustice and I'll tear at it with my teeth and hands, staring you down while I do. Backwards and in heels.

I can't tell you the moment I crossed out of Feisty Lady Anger in the eyes of the people close to me, but I can tell you the moment I noticed. Maybe it was when my voice started dropping or the growing muscles on my shoulders pulled my stance more square and upright. Maybe it was when I moved from they/them to he/they, and somehow I stepped from Diet Woman to Too Close To Man in their eyes.

It's a funny thing when all of a sudden your anger becomes real enough to be startling to people. Your anger is no longer feisty, charming, and attractive. This thing that people liked about you, that people who say they love you said they loved about you, suddenly becomes frightening, upsetting, and terrible. The way you didn't let people mow over you and fought back used to be a thing that people admired. It was actively attractive. It was one of your best qualities.

Now? It's ugly. It's disgusting. It's scary. The thing you were is gone, and now your anger is real to them.

It's in that moment that the blade cuts back towards you. You realize the reason your squared shoulders and set jaw drew people in couldn't be squared with the stubble on that jaw or the newfound strength in your arms. Feisty Lady Anger isn't real, not in the way a man's anger is real. Feisty Lady Anger is admirable, sure, but it is admirable because of its essential ineffectual nature. At most, Feisty Lady Anger fixes minor problems for the kids at school, gets the principal to back down from scolding your child when she politely asks the kid calling her a faggot on the bus if he knows what that really means, pushes a woman to achieve for her family, in appropriately neutered ways.

When you stop pretending to be a woman and become who you really are, when your anger becomes real, you realize both that the thing about you that people loved is gone and that this thing was attractive in the first place because of its ineffectiveness. Your anger wasn't scary because it wasn't real enough to be threatening.

Now you have Man Anger, and, you're told, you should apologize for that. It doesn't matter if it's the same anger you've always had, or that you're angry about the same things. It comes now in baritone, with belly hair and bellowing, and now it's both real and disgusting.

The worst part is watching it come from people you thought should know better, the people who should understand. You spent nearly 40 years being told to sit down and shut up because the men in your professional career were speaking, assured that if you just waited your turn, you'd be given a place to speak eventually, and now here you are being told within a community that claims to love and understand you, by people that claim to be in community with you and love who you are, that you actually don't have any real problems to speak about, also your Man Anger and Man Privilege (when do I get that, please?) are Scary and mean you should sit down and wait, and you'll be given a place to speak eventually.

It is the Transmasculine Catch-22: if you become Man Enough to no longer fit into Almost Lady, your anger becomes Real, which makes you realize that your anger wasn't Real before, but because it's Real now, you're not allowed to have it. And by the way, you're not allowed to be neither Man or Lady - now you're Man Enough, and that makes it all the more clear how you were simply Kirkland Signature Lady right up until the point you weren't.

There will be a few people who Fucking Get It, who don't see you as either a Failed Lady or a Broken Man, and you'll love those people all the more for their rarity. It won't take the sting out of realizing that the things people you love loved about you before now disgust and repel them, but it'll make it enough to keep going.

You couldn't stop, anyway. You've never felt more yourself, and the people who don't love you, the actual you, the real you... the loss of that hurts, but not nearly as much as the idea of pretending to be something else did.

[quitesins]

I need to write a fic where the reader accidentally sees pro hero Deku genuinely angry for the first time, like a hero mode loud and violent anger, and begins avoiding him. Of course Izuku is devastated, believing not only did he scare a civilian but his crush friend… however the truth is, watching deku so unrestrained in his emotions, turned reader on so bad she fears if she spends more than 5 minutes with the man, she’ll jump him right then and there…

[unboundprompts]

How do I make something happen in my story? I’m writing a murder mystery where they are all stuck in a theater. all the characters have been just sitting around talking for two chapters now and it’s getting boring. How do I add action or movement without derailing the story?

How to Add Movement to a Murder Mystery without Derailing the Story

Here are some ideas for you to consider!

1. Introduce a New Clue or Discovery

Unexpected Evidence: Have a character stumble upon a crucial piece of evidence. This could be a hidden note, a strange item, or an overlooked detail that propels the investigation forward.

Surprising Revelation: Perhaps someone finds a hidden compartment in the theater with items related to the murder. This could spark new theories and discussions among the characters.

2. Create a Disruption

Theatrical Effect: Use the theater setting to your advantage. For example, the lights could suddenly go out, or there could be an unexpected sound or event (like a prop falling) that causes chaos and forces the characters to act quickly.

Power Outage: A sudden blackout could create confusion and force the characters to rely on each other, which could reveal new dynamics and secrets.

3. Introduce Conflict

Accusations and Tension: Allow tensions to rise by having characters confront each other with accusations or suspicions. This could lead to heated arguments or confrontations that reveal more about each character's motives.

Personal Conflicts: Bring underlying personal conflicts or grudges to the surface. This could create drama and reveal new aspects of the characters that influence their behavior and decisions.

4. Add a Time Crunch

Imminent Threat: Introduce a sense of urgency by suggesting that the murderer might strike again or that there’s a time limit for solving the crime before a more severe consequence occurs (e.g., a ticking clock or a scheduled event).

Urgent Action: Characters could discover that they need to find a specific clue or solve a puzzle before the theater is locked down or before someone else arrives.

5. Dynamic Character Actions

Shifting Alliances: Characters might decide to split up to search the theater more effectively. This could lead to new discoveries and interactions.

Personal Goals: Characters could pursue personal objectives or hidden agendas that complicate the investigation and create movement in the story.

6. Revelatory Dialogue

New Information: Characters could reveal previously hidden motives or secrets in their conversations, adding new layers to the mystery and prompting action.

Unexpected Accusation: A character might make a surprising accusation that causes everyone to reevaluate their theories and actions.

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[luxaofhesperides]

We Are Robins meeting to Signal apprehending Danny ; requested by @zylev-blog!

“Hey, Danny. How are you feeling?”

Danny gives Duke a tired smile, his head falling back against the wall. He’s sitting up today, which is good. It’s definitely an improvement from the many days Danny was unable to do much but lie down and grit his teeth through the pain as Duke checked on the gunshot wound. It’s a good thing Danny’s a meta with a healing factor, or nothing Duke could have done would have saved him.

As it is, the wound was severe enough to keep Danny vulnerable and unable to move on his own without making it worse. Though Duke has looked, he hasn’t had any luck in finding whoever did this to Danny. He hasn’t brought it up to the rest of the We Are Robin gang, but only because Danny only let him help if he kept it between the two of them.

What’s another secret? If it lets him stay close to Danny and make sure he’s healing well, then he’ll keep quiet and carry on the search by himself. He’s got plenty of practice in doing things on his own.

“Busy out there?” Danny asks as Duke sits down next to him, dropping his backpack onto the ground. 

“Yeah, it’s tough with the cops after us, but someone needs to help Gotham and with Batman gone…”

A pained expression crossed Danny’s face. Eyeing him carefully, Duke opened his backpack and pulled out a few protein bars and sports drinks for him. Once Danny takes them and began eating one, Duke takes out the first aid kit, always kept at the bottom of the backpack, and sets it in front of Danny.

The most he can do is offer supplies and company at this stage of Danny’s healing. He gets twitchy and tense when Duke tries to tend to his wound, and seems to have plenty of practice in patching himself up. 

He didn’t answer when Duke commented on it once, so Duke let the matter drop. 

Metas may have legal protection, but that doesn’t stop people from targeting them. Duke has no intention of pushing Danny into remembering unpleasant things while he’s already wounded, hiding out in the upper corner of an abandoned warehouse taken over by a group of homeless people. Most aren’t inside during the day, choosing instead to be out with the rest of the city, which leaves them alone. 

Duke keeps an eye on the ground floor of the warehouse, making sure no one comes in while Danny tends to his wound. When he peeks back, he can see that it’s much smaller than it was the night Duke found him, crawling down an alley with one hand clutching his side, tears slipping down his face. There had been so much blood that Duke was sure he had just stumbled upon someone dying and froze, horrified. 

And then a shout down the road prompted him to move, hauling Danny up and helping him into the warehouse to hide. 

For a normal person, if it didn’t kill them, the wound would still be raw and bleeding, larger than any gunshot wound he’s seen before. But Danny’s wound is closing up quickly, no longer bleeding, the edges a healing pink.

It doesn’t look like it’s going to scar, either. 

“Think it’ll be all healed up by the end of the week?”

Danny glances up, then continues covering it with new bandage, large enough to cover the entire wound. “Hopefully,” he says. “Then I’ll be out of your hair and can figure out a way to get home.”

“Your folks gonna look out for you?”

“Probably. I’m not planning on telling them, though, since they’ll get way too overprotective. The only reason they’re not tearing Gotham apart looking for me is because I came here with my godfather and he told them we’d be gone for two weeks. Can’t believe he tried to kill me on day one…”

“Your godfather tried to kill you?”

“Yeah. Not personally, or anything, but he definitely hired the guy who shot me. Though he also yelled at him for shooting me? Not sure what that’s about, but I never trusted the guy and he didn’t try to help me afterwards when I ran away, so. You know.”

Duke wants to have a conversation with Danny’s godfather. Maybe bring the other Robins along to make sure the message sinks in: Don’t touch Danny.

But Danny, acting so casual about his godfather trying to kill him, would be unhappy about it, and Duke would really rather be able to take care of him than be shut out for trying to take control of the situation.

“Shit, man, that sucks,” he offers, instead of prying for details so he can hunt down his godfather. “You want a hug or something? I can’t really do much else, but if it can make you feel better about all this…”

Danny brightens and shoves the first aid kit away, his shirt (one of Duke’s old ones he offered up to replace the bloodstained one) falling to cover the bandage. “Please. I would love a hug, dude, I don’t remember the last time I felt so lonely.”

Carefully, Duke wraps his arms around Danny, leaning back so Danny could relax fully and not worry about holding himself up. Danny sighs into the hug, going fully limp as he drops his forehead onto Duke’s shoulder.

“Thanks for this. And everything,” Danny says some time later. He doesn’t move to pull away, so Duke stays as he is, watching the weak sunlight slowly move across the warehouse as it spills in from dirty windows. 

“You don’t need to thank me. I mean, I’m a Robin.” He brings up a hand to tap a finger against the R embroidered into his jacket. “It’s what we’re here for.”

.

.

.

It’s been years since he saw Danny. After he was fully healed, Duke helped him get to city limits, watching as he boarded a bus and disappeared down the road, leaving his life just as suddenly as he entered it.

After spending so much time together, quiet hours of stillness just looking out for each other, his life feels emptier without Danny in it. He knew it wouldn’t last, that Danny would go home eventually, but it didn’t make the parting any easier.

Even now, as Signal, taking a break from going on missions with the Outsiders to spend some time with the Bats, his thoughts drift towards Danny, wondering if he’s alright. In his darker moments, he wonders if Danny’s godfather has tried to kill him again, if he’s succeeded. In calmer, happier moments, he remembers Danny’s quiet stories about his family, his town, all his dreams and hopes for the future, remembers the easy company and how Danny didn’t look at him with pity when talked about his parents, just quiet and contemplative. 

Sometimes, he can’t resist the urge to look him up, but there are so many Danny’s out there that he doesn’t know where to start. He never got Danny’s last name or learned when he came from.

It’s not like he can just ask the Bats for help finding a guy he knew for two weeks before he ever joined them. They’re all busy with their own missions, and definitely don’t have time for Duke’s reminiscing. 

“Just caught sight of the truck entering city limits,” Oracle says in his ear. “It’s heading towards the Coventry.”

“On it. Any movement from the mobs?”

“None yet. I expect this to change soon. Red Hood and Black Bat are patrolling nearby if you need backup.”

“Got it. Signal out.”

His comline shuts with a little click, and then he’s grappling over the roof tops, keeping an eye on the roads in search of the truck. He doesn’t have time to think of Danny anymore, not when a shipment of new, experimental weapons is passing through Gotham. Spoiler had heard a few whispers of it and Red Robin helped find more solid details; the mobs are all looking to take the shipment for themselves in an attempt to get the upper hand in the nonstop fight for control of Gotham’s streets. 

It’s passing through during the day, visible and a good move to keep from being ambushed at night, but it’s not enough to stop mobs hoping to take out their competition with new weapons. Duke enters the Coventry just as his comline beeps once and Oracle begins giving him specific directions, along with a brief description of what the truck looks like. 

Apparently, the weapons are being moved in a U-Haul rental truck. That is… certainly a Choice™ to make for moving weapons around the country.

He follows it from the rooftops, but nothing happens. The truck passes through the Coventry without incident and takes a turn that keeps it away from Crime Alley and the Bowery. It gets to the middle of East End then pulls to a stop in the parking lot of a diner. 

Two people get out and stretch, then head in to get something to eat.

It would be the perfect time for someone to break in. Duke pulls the light over himself, manipulating it to make him disappear from sight as he looks down from the edge of the rooftop, tense and prepared for anything.

He almost doesn’t see it at first. It’s just a flicker, a flash of color, a shift in the shadows across the street. But he does see it, even if he can’t find it again, and drops down from the roof, creeping towards the truck.

Duke waits, holding his breath, off to the side of the parking lot. 

A minute passes. And then a figure materializes out of thin air, floating right behind the truck. All Duke can see is white hair and a black body suit; they’re either a meta or an alien, but either way, Duke is ready to take them down.

The figure lifts their hands and a bolt of neon green energy hits the truck, melting the back and leaving a large hole that gives them direct access to the weapons. And then they shoot again, destroying the weapons.

“Phantom!” someone shouts, and the truck driver comes tearing out of the restaurant, a white gun in his hand. His companion follows, her gun also out, and the begin shooting. 

Phantom dodges the blasts, then vanishes from sight. He reappears behind them a moment later, tackling back of them into the side of the truck. 

“No you don’t!” Duke say, rushing forward as he pulls at the shadows around him then sends them racing towards Phantom, restraining them. The driver and his companion collapse onto the ground, groaning weakly, and Duke grits his teeth. “O, send someone to look after the people moving the weapons. Apprehending an attacker now.”

He doesn’t wait to hear a response, tightening the shadow’s grip on Phantom, who struggles fiercely.

“We can do this the hard way, or the easy way,” he says, pulling Phantom closer to him.

Phantom doesn’t answer. They just scream, the force of it making Duke fall back. His shadows dissipate, and Phantom flies up.

“Get back here!”

Duke gives chase, dropping in and out of shadows, throwing some at Phantom in the hopes of catching him again. But Phantom is fast and it takes all he has to keep up as they cross Gotham.

He thought Phantom was flying around blindly, but the way they move across the roofs and then through the streets are too confident, too focused to be anything other than someone with a destination in mind. But where? Where could they be going? If they’ve been in Gotham, then Duke would have heard of them.

A flying, powerful meta with a multitude of powers? Yeah, he would have known about them.

Phantom flies through a wall and Duke curses, going onto the roof and looking around, waiting to see them fly out. But they don’t and Duke finds a broken skylight to drop in from, landing on the support beams of the warehouse, well above the ground.

He knows the warehouse, he realizes suddenly. It’s the warehouse Danny hid in while he was healing. Duke hasn’t been back in years.

“Just listen to me, please,” a voice says behind him, and Duke tense, spinning around to face Phantom, floating just out of reaching distance. “Those weapons are dangerous. No one should have them, it’s why I had to destroy them. Please, you can’t let them get those weapons out.”

Duke stares. Something about Phantom is familiar. The shape of his face, maybe. His voice. Maybe it’s just because he’s in the warehouse again, with someone pleading for his help.

Maybe it’s all in his mind.

“Danny?”

Phantom flinches, floating back a few inches. “What— How—”

“What happened? Is it your godfather again?”

“My— Duke? Is that you?!”

He definitely shouldn’t be doing this, but Danny’s here. Danny’s here in front of him, needing help, and he doesn’t need the Signal. He needs Duke.

He pulls off his helmet and lifts his bare face to Danny.

“Oh,” Danny breathes. “Well. I guess I should have known you’d be a hero. Can you help me one last time?”

“Yeah, of course Danny. Tell me what you need.”

“Those weapons, they were first made to kill me and others like me. It’s a whole thing I don’t have time to explain. But they’ve been changed to affect humans, all types of people, as well. I can survive a few hits from those weapons, but for most people, it would kill them instantly. I need to destroy all of them and stop any further production before the rest of the world gets a hold of them.”

“That’s why you—”

“They have to be destroyed,” Danny says. “And the people making and selling them need to be stopped. I can’t do it on my own. I’ve tried, but…”

“I’ll help,” Duke says, “I’ll help. This is a big enough problem to bring the Outsiders into it. Or the Bats, but they like to stay in Gotham.”

Danny floats closer, looking painfully relieved. “Really? They’ll be able to put an end to this?”

Duke reaches for him. “Yeah. they can do it. I’ll make sure of it.”

Danny’s feet land on the support beam as his hand meets Duke’s. They balance above the rest of the warehouse, drinking in the sight of each other. Duke rubs his thumb over Danny’s knuckles in soothing circles and watches as the tension begins to fall away from Danny’s shoulders.

“Duke,” he whispers, “I’ve missed you—”

The door below is kicked open, and a gunshot rings out. 

Moving on instinct, Duke tackles Danny, wrapping him up in his arms as they fall off the support beam. They hit the ground hard, rolling a bit, and Duke tucks Danny into his chest, bodily protecting him.

“Narrows!” 

The Red Hood stands over him, menacing, a gun pointed at him. 

“Hood?” He loosens his grip on Danny. “What the hell was that for?” 

“Thought you needed back up. You chased after our guy and lost your helmet, I think I’m right to be a little worried about you. So, who’s this?” There’s a hard edge to his voice, and Duke realizes with a sinking heart that all anyone else sees is an aggressor, a meta who attacked a truck full of weapons, attacked two people, and had to be chased down by the Signal. Jason’s seeing a threat and acting accordingly, putting Duke’s safety first. 

And with his helmet off, identity clear, Danny’s even more dangerous now that he has this knowledge.

“I’m sorry,” Danny whispers to Duke. He doesn’t have time to ask for what? before Danny’s shooting another beam of green energy at Jason then taking off, flying through the roof and out of sight.

“Shit,” Jason mutters, straightening up from where he ducked to avoid being hit, then puts his gun away and kneels next to Duke. “You alright? Why’d you let him go? I thought you had him.”

“I’m fine. He’s not… He wasn’t going to hurt me. He just needed help.”

“Sure. And what are you not telling me?”

“I knew him. He’s a good person, but he’s been in danger for a long time. This was him trying to protect others from what he went through.”

Jason takes off the helmet and stares at him. Then he sighs and reaches a hand down to help Duke to his feet. “Alright,” he says, “Let’s head back to the truck. You have until then to convince me that they’re the problem, and if they are, then I’ll help you blow up more of their weapons.” He claps a hand on Duke’s shoulder, then pulls his helmet back on. “Grab your helmet. We’re wasting daylight, Narrows.”

There’s nothing else he can do, no way to search for Danny when there are other leads to chase, so Duke grapples up to the catwalk where his helmet landed and grabs it.

Just before he puts it on, he sees a flicker of white just outside the window he’s facing. He ducks his head to hide a smile. It’s almost like he’s stepped back in time; Danny’s here in Gotham, needing help and asking for it in the warehouse. 

And though so much has changed in those years, there’s still one thing that Duke will ensure never changes: he’s Danny’s hero. Above Robin, or Signal, or anything else, Duke is Danny’s hero.

This time, he has the power to actually help Danny. He’s going to make sure no one ever hurts Danny again.

“Let’s go,” he says, jumping back down to Jason, helmet on. “I’ll tell you everything you need to know.”

[lady-dulcinea]

There are so many great character details crammed into this one letter, but I feel like this is what gets me thinking the most no matter how many times I read it. Mina actively chose to write ‘lady journalists’ when just ‘journalists’ would serve the exact same purpose. She knows of other working women like herself, and has paid attention to them enough to copy their methods when doing something as simple as a personal journal. It’s a subtle but effective way to show that not only she acknowledges women that are probably career oriented - and does not phrase it in any way that implies derision or disapproval - but also admires them enough to find inspiration in the work they do.

[sleeplessant]

Hey Tolkien people and history buffs of Tumblr, I'm in need of your assistance. Does anybody know if there was an actual historical inspiration (or many) to the narrow, no rails, stone bridge of Khazad-dûm?

For context, I'm trying to use it as an example in my theoretical physics dissertation on the dynamics of pedestrians moving in a single line, but I've already met with some resistance from advisors with No Taste. All my google searches have conducted to analyses of the effectiveness of the Khazad-dûm scene in the book & movie, instead of an analysis of the actual "physical" bridge.

I know I could use other modern examples from construction scaffolds or bus and plane boarding/exiting schemes for single-line movement, but that's boring. Uninspired. Everyone does it. What I want is a badass illustration from The Lord of the Rings, and a JRR Tolkien quote on my very theoretical, so abstract that is basically useless, physics dissertation.

A physicist calls for aid.

[cookinguptales]

"god, I am such a slut for a time loop," I say, surprising absolutely none of my readers

[hangsawoman]

it is so clear in yellowjackets that the women never had the chance to grow and develop, that they’re all still girls, and it’s so incredibly clear in their body movements it drives me insane. natalie moves like when you’re growing and your limbs start getting bigger and the rest of your body can’t keep up yet so now you’re just.. slinging yourself, walking and carrying your limbs behind you. and shauna slumps and saunters like a tired teenager, dragging her feet like a girl with a body too big to carry. misty never got rid of her ‘tic’, pushing her glasses back up and trying to make herself smaller while doing so. taissa still runs through life, losing herself because her feet move too fast for her to keep up with, almost like she is still sleepwalking while awake. it’s something the actresses do so incredibly well at

[luna-azzurra]

Character Movements (Lips) Part 2

1. Smiling: The character's lips curl upwards at the corners, indicating happiness, friendliness, or amusement.

2. Frowning: The character's lips turn downwards, indicating sadness, displeasure, or concern.

3. Pouting: The character pushes their lower lip forward, often conveying disappointment, sulking, or a desire for attention.

4. Biting lip: The character lightly bites or presses their lips together, suggesting nervousness, anticipation, or hesitation.

5. Licking lips: The character's tongue briefly touches or moves across their lips, indicating desire, anticipation, or hunger.

6. Pressing lips together: The character's lips are firmly pressed together, indicating determination, frustration, or holding back emotions.

7. Parting lips: The character's lips slightly separate, often indicating surprise, shock, or readiness to speak.

8. Trembling lips: The character's lips quiver or shake, suggesting fear, anxiety, or suppressed emotions.

9. Whispering: The character's lips move closer together, and their voice becomes softer, indicating secrecy, confidentiality, or intimacy.

10. Mouthing words: The character moves their lips without making any sound, often used to convey silent communication or frustration.

[dawnbreakersgaze]

Guys I was playing the event stories again one last time before they went away forever and I just noticed the sweetest fucking thing ever

When you first walk up to Zayne and catch him on his phone, look at his face. He goes from his normal neutral expression to the softest little smile when he realizes it's you/mc walking up to him 🥺🥺🥺

He even straightens himself up a little taller when he sees you i'm dying send help 😩

I'm gonna squish him 🥲

[the-broken-pen]

“You’re going to blow out your arms,” the villain observed. They watched as the hero merely grit their teeth, shoving themself through another pull-up. It looked painful, and if the sweat slicking the hero’s brow was any indication, it was.

They waited for the hero to let themself drop from the bar and accept the villain was stronger. But they didn’t.

Three more pull-ups, and the villain stepped in.

“Hero,” they said slowly. “You’re about to tear the ligaments in your arms. You need to stop.”

The hero blew out a shuddering breath. Struggled for purchase, fighting gravity—and let themself drop.

The hero’s hands were bleeding, calluses torn open by the bar. The hero didn’t seem bothered when their own hands shook so much that their blood began to splatter on the gym floor.

For a moment, the villain could only stare at them.

Shit.

They didn’t know how to handle this. They knew the hero was dedicated. They knew the hero was strong, and perpetually trying to be stronger, but they hadn’t thought…

They hadn’t thought the hero would be so willing to tear apart their own body for success.

It was supposed to be fun, the villain thought. They felt a little sick as the hero pressed their palms together to soothe the bleeding, an action that was practiced and familiar. As if they had done this before.

The hero reached for something in their bag, smearing blood on the side, and pulled out a roll of blue electrical tape. The villain didn’t understand why, until the hero tore a strip off and made to wrap their hands with it.

The hero would be the death of them.

They crouched in front of the hero, plucking the electrical tape out of their hands.

“What are you doing with this?”

The hero blinked at the villain like they were the strange one in this situation.

“Wrapping my hands?”

The villain hissed in a breath.

“With electrical tape?”

The hero flushed slightly, looking down at their bloody hands. They looked close to tears.

“It…sticks to skin, really well. And it doesn’t move, either, when you move your hands or wherever else, even if you’re fighting. Plus, blood doesn’t make it come off, at least, not for a while.”

The villain blinked at them.”

“Blood doesn’t make it come off,” the villain repeated, processing. The hero nodded, reaching for the electrical tape. The villain settled it out of reach.

“Not if you wrap it right.”

Dimly, the villain realized that meant the hero had done this enough times to have it down to a science.

“And you couldn’t use a bandaid?” The villain asked incredulously. The hero shrugged a shoulder, then winced at the motion.

Yeah, the hero had absolutely blown out their arms.

“Bandaids move—“

The villain hushed them.

“Be quiet for a second.”

The hero, wisely, went quiet.

The villain rubbed a hand over their face, then studied the hero for a moment. They took one of the hero’s hands into their own, studying the damage.

“Why did you do this to yourself,” the villain murmured.

“What do you mean, why,” the hero snapped. “It’s my job.”

“Your job is to save people,” the villain corrected. “Not destroy yourself.”

“I’m not destroying myself—“

“You are.”

“Shut up—“

“Hero.”

“I need to be better,” the hero snapped. Their voice rang out across the gym, echoing into the rafters, and they both froze. After a moment, the hero spoke again, voice soft. “I need to be better.”

They said it like they needed the villain to understand. The villain wondered who they were really saying it to—the villain, or themself.

“Better than who?”

“Everyone.” It was hushed, like a secret.

The villain watched them, waiting.

The hero took a shaky breath

“My whole thing is being the best. I have always been the best. That’s the only reason I matter. If I’m not strong enough, then I am nothing, so I need. to be. better.”

The hero had started crying, very quietly, like they were afraid to take up too much space.

The villain was not equipped to handle gifted kid burnout.

“There’s more to you than just being a good athlete,” the villain said hesitantly, and the hero shook their head.

“No. There isn’t.”

“Hero.”

“Can you give me back my electrical tape?” They hiccuped to contain a sob.

“No,” the villain said firmly, and then the hero really was sobbing.

“You don’t understand—“

The villain didn’t. Not really. They had never been the kind of talented that the hero was.

They wondered now if maybe that was a blessing.

“I don’t,” the villain agreed. “But I do understand that you’ve saved half the city, and you give everything you have to give, and you always do your best.”

“But I-“

“No.” The villain stopped them. “You are doing your best.” They tipped the hero’s chin up until they met the villain’s eyes. “And it is enough.”

The hero froze, eyes darting over the villain’s face. They wondered if anyone had ever said that to the hero, if whatever mentor they had was giving them anything other than orders to be stronger. Be better. Be more.

The villain had some new targets to take care of, it would seem.

For now, though, they had to take care of hero.

“We’re going to go wrap your hands,” they said softly. “And then we’re going to take care of your arms, and you’re going to take a nap.”

The hero nodded, watching them like they were some kind of good, selfless person.

“And if I ever catch you using electrical tape again, so help me, I will put you six feet under.”

That startled a laugh out of the hero, and they let the villain guide them to their feet.

“Fine.”

The villain turned to them. “Okay?”

Are you going to be alright?

The hero seemed to understand.

“Okay,” the hero agreed.

Yes.

And so, it was.