#versus progress investing

[septembercfawkes]

Directionality in Fiction: Why You Need it & How to Create it

Every successful story has a sense of direction. The audience wants, and even needs, an idea of where the story is going. If the audience literally has no idea what could happen next, then that often means what happens next doesn't really hold any value one way or another. It's like Willy Wonka's river ride into darkness--confusing, awkward, and a little bizarre. It's hard to trust Willy Wonka to get you anywhere. Writers should avoid being like Willy Wonka, for several reasons.

Wait! you may be thinking. Don't we want our stories to be unpredictable? Isn't not knowing where the story is going more exciting?

Many beginning writers make this mistake (including yours truly back in the day). They think having no clue where the story is going makes it more of a page-turner. They may recall audience members happily describing a story, saying, "I had no clue where it was going!" or "I had no idea what was going to happen next!"

These are just expressions of emotion. In reality, for the audience to even have those emotions, they usually must have a sense of direction first.

It's a similar concept to being vague versus being ambiguous. Vagueness happens when you don't have enough context to tell what something is, if anything. Ambiguity happens when there is enough context to interpret something in two or more ways, and you aren't sure which it is. When audiences say, "I had no clue where it was going," often what they really mean is, "I didn't know which of the critical directions it would go."

A story that has no sense of direction is almost never as effective as one that does. Without a sense of direction, the audience can't measure what is progress or what is a setback. They can't get invested, because they can't anticipate anything. They can't feel tension or suspense or even surprise, because they can't hope or fear for what could happen, and don't have expectations for what is going to happen.

Instead of Willy Wonka's tunnel of terror, imagine taking a hike toward a beautiful waterfall (it can still be made of chocolate if you want). A twisted ankle, closed trail, or nearby predator is a bigger setback than if we had nowhere we were trying to go. A shortcut is a bigger leap in progress if we are trying to reach a specific destination. And discovering we're actually on a trail that leads to an active volcano is a bigger surprise.

There are two critical plot elements that will automatically inject directionality into your story. Then, there are a lot of alternative methods you can use to reinforce it, or that you can rely on when performing a rule break (more on that in a bit). First, let's go over the two major ones:

1. Goals

A character's goal immediately gives the audience a sense of direction. This is because goals are about an outcome. They instantly convey what the character wants to happen, or doesn't want to happen. In order to be effective, though, they have to be achievable and relevant. Who cares if your character wants to do magic, if magic is literally impossible in your setting? That's not a real goal--it's a wish. 

There are three basic types of goals: obtain, avoid, or maintain.

Convey a clear, relevant, and achievable goal early, and your audience will not only have a strong sense of direction, but they'll be more invested--because they'll want to see if the character gets the goal.

Then, if you add how the character plans to get the goal, you'll reinforce the goal and sense of direction even more.

2. Stakes

Many like to define stakes as what is at risk in the story. I feel like it's more effective and more accurate to define them as potential consequences. It's what could happen if a condition is met. If Voldemort gets the Sorcerer's Stone, then he can return to power. If Frodo destroys the Ring, then he saves Middle-earth. If Katniss cuts down the tracker jacker hive, then she can get away from the Careers.

As you may have noticed, stakes are often tied to goals. They are often the potential consequences of meeting or not meeting a goal.

Stakes are about conveying to the audience what could happen. This gives what does happen, meaning.

Stakes also innately convey a pathway, a direction. If X happens, we'll go down path A. If Y happens, we'll go down path B.

I've never seen a story with too many stakes. I've seen lots of stories that don't have enough stakes. Walk the stakes out to create strong directionality.

And don't assume your audience will simply imagine the stakes on their own. Almost always, they want the story to tell them (explicitly or implicitly) the stakes. Almost always, the story is better when we clearly communicate the stakes. Avoid being vague. Help the audience imagine which important pathways the story could take.

~

These are the two most important, and most effective, ways to create directionality--they accomplish multiple major things at once.

However, this doesn't mean they are the only ways to create directionality.

And while they are almost always critical to a solid plot, that doesn't mean you can't ever break the rules and have them be absent on occasion. 

If they are absent though, that usually means something else needs to be used to create directionality in their place (unless, of course, you are working with a teaser--but even they can arguably have a sense of direction). So how do stories without legit goals or stakes still work? Well, they probably incorporate at least one of the following things--which you can also use to reinforce directionality when you already have goals and stakes in play.

~

3. Dramatic Irony

Dramatic irony happens when the audience knows something the character doesn't. Often this is a critical piece of information, and frequently (though not always) it is implied that the character will learn the same thing at a later point in the story. In a horror, we watch the villain enter a dark room, and later see the heroine, oblivious, go in that same room. It's likely only a matter of time before the heroine realizes the villain is in there, and the audience anticipates that encounter. This creates directionality.

Even if the character never learns the critical information (such as the fact that Juliet isn't actually dead in Romeo and Juliet), the audience still anticipates how the character will interpret or react to what they do encounter (a Juliet who seems to be dead).

4. Convergence of Plotlines

In a story that contains multiple viewpoint characters, each with plotlines, it's often implied or assumed that these plotlines and characters will converge. We may start a story with a rich man eating a feast for breakfast, then taking his recent earnings to the bank. And after, we may cut to a scene where a poor, starving woman is begging, perhaps a block away from the same bank. The audience anticipates that these two characters will cross paths.

Sometimes the two viewpoints or plotlines don't seem to have anything in common, but the audience expects they will relate to each other on some level--they are in the same book after all.

Promise your audience a collision of plotlines, and you'll promise them a sense of direction.

5. Countdowns

A countdown automatically implies direction--whether or not the audience knows the consequences tied to it. We show a clock counting down, and we wonder if a bomb will go off or if another catastrophe will hit once it reaches zero. Or, it could be a countdown to a celebration, like the New Year.

Countdowns on a timer are obvious, but there are other types of countdowns too. A simple calendar can work as a countdown. In Christmas Vacation, an advent calendar is used to count down the days until Christmas. Each Harry Potter volume fulfills one school year, each chapter brings us closer to the year's end. So even when there isn't a dire goal in play, there is always directionality.

A deadline works in similar ways.

There can be a countdown when using up resources: Fuel is running out. Oxygen is limited. There is only one loaf of bread left to eat.

Illnesses and maladies can work as countdowns. There may be a countdown to when cancer wins, or when a spell leaves its target as an unseemly beast, permanently.

Countdowns always imply direction.

Knowing the potential consequences--the stakes--creates more tension and suspense, not knowing them creates intrigue.

6. Geographical Destinations

A destination naturally implies direction. In The Emperor's New Groove, Kuzco needs to make it back to his palace. Every step closer is progress, and every obstacle that blocks or pulls him off course is a setback.

But destinations can still work even when there isn't one specific destination yet established. Whenever you open a book that starts with a map, it implies a sense of geographical direction. You may not know exactly which place is the desired destination, but the map promises that the characters will be venturing to different places.

7. Passive Mysteries

Passive mysteries work by withholding context from the audience. Stuff is happening, but the audience doesn't really know what it means (think: vagueness). Because of the lack of information, no one is really doing anything to solve the mystery--there aren't any "leads." (In contrast, in an active mystery, the character has the goal to solve the mystery and has leads to follow.)

Teasers often work as passive mysteries (which is why I said sometimes even they have a sense of direction). The audience is promised that if they stick around, they will get the context they need, to understand what is going on. The audience is promised a direction.

Passive mysteries often can't hold an audience for very long, strictly because they work off vagueness. You need other elements in play to get readers to stick around.

Nonetheless, the promise of context does give readers somesense of direction.

Active mysteries create directionality too, but in the same way that goals do. In an active mystery, the goal is to try to solve the mystery, so the audience is promised a direction with that.

Directionality is important in every story, and not only is it important in the whole narrative arc, but it is important within acts, sequences, and scenes, too. Nearly every scene should have directionality, which should be established early on.

Once the audience has directionality, you can make the story more exciting and dramatic (and even "unpredictable"). They think things are going X direction, but something comes along that threatens that direction or even throws the characters off course and onto a new pathway, a new direction. Just like our (chocolate) waterfall hike. In any case, there should almost always be a sense of direction.

#writing tips and tricks #writing tips #writing help #writeblr #writing advice #writing reference #writing tip #writer #writing #fanfic

[silence-burns]

A Snack of Mine

Fandom: Spider-Man universe 

smut 18+

The smashing noises coming from what Miguel called “the control room” sounded expensive. You may not have been an expert in all things technical, but you were pretty sure the room was in the process of a violent remodeling. 

“Right,” you said. “And you expect me to do what exactly?” 

“How am I supposed to know? It's not me who's usually had to restrain him in this kind of state. It's not my fault no one wants to get close to him. They kinda have a point, though.” Lyla flew around your head, ethereal as ever.

A crash louder than the previous ones came from behind The Door To Miguel's Lair. 

“You do realize he's just ripped a monitor off the wall?”

“You do realize I have no physical presence to do anything about it?” 

Point taken. It didn't make you feel any better and Lyla’s constant spinning didn't exactly help you get your bearings.

You waved your hand through her before the colorful but pixelated display of her panic blinded you completely. If it was an option, you would've gladly allowed anyone else to take your place. Sadly, none of the currently available Peters had a chance of getting to Miguel through his fury.

And hunger.

You sighed before moving towards The Door of Doom. 

"Miguel, I come in peace!" 

The kind of snarling that came from the other side was not something a human throat should've been able to handle. 

"Be a good, nonlethal boy for 10 minutes and you'll get a snack. Maybe even McDonald's!"

The silence that followed was heavy enough to imply precisely where you could shove all the burgers in the worlds, but it was better than blinding rage; you were already making progress! You shoved the door open, quickly closing it behind your back. You clicked the lock into place.

It wasn't sturdy enough to keep any of the Spidermen out, but it served as a symbol. You walked into his lair, and now you had to deal with the consequences.

Miguel was meticulous in his fury. The room used to serve him as both a personal space and one of his less official offices, where he spent time thinking and planning without anyone bothering him. He was the head of the squad meant for suppressing the threats to the entire multiverse, so he had to deal with a never ending stream of things to take care of. A little bit of private space was a healthy solution.

Unfortunately, due to the circumstances called Miles Morales Versus Bad Decision Making, the otherwise pleasant, calming space was now in pieces. Literally—half the furniture lay in ruin spread across the floor like rubble after an explosion.

"I think you missed a few." You kicked away a rather big part of what used to be a desk. "You gotta be more thorough, man."

As much as you wished to feel even half as confident as you sounded, it was a rather difficult task when the only part of Miguel you could see were his eyes, glowing bright red and piercing you through, unblinking. The only source of light was dim and came from behind the broken furniture. The outline of Miguel's body was hardly discernible from the darkness of the room, but you swore he was towering over you more than usual.

And completely still.

"I really hope you aren't too sentimental, because there's no way anything here is savable. You gotta invest in a proper punching bag, or maybe two just in case—..."

"You think this is a joke?"

His voice was low and on the verge of growling. The situation with Miles definitely got under his skin.

"Call me old-fashioned, but I prefer to face my problems with a healthy dose of humor rather than destruction of my belongings. You've got claw marks on your walls, Miguel, come on. Don't you think it’s a bit too dramatic?"

Before you could blink, he was on you. Your back hit the wall just inches from the mentioned claw marks—deep, sharp, and clearly torn through with a lot of force. Looking up into Miguel's glowing eyes and the barely hidden fangs, you knew how capable he was of using said force.

Miguel leaned closer to you, his hand holding you still by the shoulder. Pressed between him and the wall, you could feel your pulse rising, and it was only partially thanks to the heat emanating from Miguel's body.

"The structure of the whole multiverse could be destroyed because of one person."

His voice was so low you could barely understand the words growled from his clenched jaw. Miguel's eyes burned to the point where you could no longer turn your head away. It was hypnotizing and a part of you didn't want to fight it.

"He's a child, Miguel. He's fifteen and his whole world just came crashing down on him."

"It doesn't give him the right to destroy everyone else's."

"No, but he's scared. Scared children need supportive adults, not claws in their faces."

Miguel's eyes dipped down over your lips for a split second, but something shifted through his posture. Still tense, his voice got quieter and lost the aggression. You were so close together that he was almost whispering in your ear, and yet you couldn't hear anything around but him.

"And what would you prefer me to do?" he purred.

"Everyone is already looking for Miles, so let his friends talk to him first once he's found. He has nowhere in the multiverse to hide forever."

Miguel's hand moved from your shoulder to the side of your neck. The claws retracted and now his touch was almost gentle. You missed it, just as you missed the kind of heat that was rising up behind the flaming red of his eyes, different from what most people ever got to see. Something reserved for you.

You turned your face to the side, letting his fingers caress your cheek. Miguel froze, entranced by the way his thumb rested over your lip and how your smile seemed to widen when you noticed too.

"I prefer you like this," you said, making your voice come out as barely a whisper. In his state, Miguel would've heard you from another room. 

You didn't notice when it happened, but he was closer now, imprisoning you between himself and the wall. You both inhaled at the same time, chests pressing together a moment. His whole body was tense and wrapped tight around you. His thighs crushed yours and you wouldn't be able to move away even if you wanted to. 

"I know what you're doing and… this really isn't a good time."

"You say it with such a scary look on your face, and yet you do nothing to stop me."

Miguel's nostrils flared when you put your teeth over your bottom lip.

And pushed.

Miguel's hand wrapped around your jaw, holding your face up towards him. His fingers dug into your skin, the gentle caress long gone. There was only a firm hold and a predator that smelled blood.

His pupils narrowed in a split second and the breath he took was shaky, as if he wanted to smell every bit of blood rising from the tiny cut.

"You've been on that artificial shit for a long time now," you cooed. "But we both know it can never be quite the same as the real thing."

You could see him trying to say something, but nothing came out of his mouth. You stood on the tips of toes and brushed his lips with yours.

It was as if an electric shock struck his body. Miguel growled as he forced your mouth open, and then again when his warm tongue licked the blood smeared over you. He forced you back down with one push of his hips and you could feel him growing harder despite his spider suit. 

He sucked on your lip, hungry for more, just as his other hand found its way onto your hip and held it firmly against his own.

Miguel's open-mouthed kisses were growing sloppier as he followed your jawline and down the side of your neck. You couldn't help but push your fingers into his curls, marveling over how soft they felt and how perfect they were for grabbing his head and moving it just to the spot you wanted him at. 

Despite the urgency of his need and all of his senses blurry, Miguel let you guide him, breathing in your scent. There were no words to explain how much he missed it every time you had to go back to your own universe and leave him thinking, wanting and alone.

Miguel loved the way your nails sank into his hair and tugged harder every time he scratched your skin with his fangs. He couldn't help himself when he heard the softest of moans leave your throat and felt the way you kept grinding yourself over his cock. Miguel bit your shoulder hard when your hand wandered to his still clothed shaft and lightly scratched over the thin, bulging fabric.

"You're really testing my patience," he breathed into your skin.

"I hope you earn a good grade."

Miguel's hand moved from your hip to the bracelet controlling the features of his suit, but you slapped it away before he could take it off. You pressed harder over his erection, stretching the suit more.

"Who said I'm gonna let you rush so much?"

"I really don't think we have the—..."

A loud knock on the closed door made you both jump. 

"They found traces of Miles' signature!"

Miguel pushed his head into the crook of your swollen, tender neck, cursing with passion in Spanish. You may not have known the language well, but some things were truly universal.

You kissed his temple and brushed his wide shoulders. "You've got this."

Miguel took a slow, deep breath of your scent, noting all the various changes in it. But he did not budge.

"Prepare the team," he finally shouted back. "I'll be there in five minutes."

He caught your eyes widening and smiled ominously. The flaming red was shining through his own eyes again. 

"I have something to take care of first."

#miguel o'hara x reader #miguel o'hara x you #miguel o'hara #Spiderman across the spider verse miguel #atsv miguel #miguel spiderverse #miguel spiderman #miguel o'hara imagine #spiderman across the spiderverse #spiderman atsv

[mirai-desu]

I agree with this article 💯, as Rachael New et al. are now undermining the entire premise of the show, and I want to highlight and comment on a few parts of this excellent take:

We're losing a central character whose emotional journey we were invested in and a vital piece of the primary reason we were told to watch Miss Scarlet & The Duke in the first place. Whether you want William and Eliza together romantically or not, the show was always predicated on and grounded in their relationship, and to pretend otherwise is to deny the original premise behind its very existence.

Exactly this. "Miss Scarlet" might be considered more lead than him, but he was still a titular character, and we were invested in his journey as well as hers. Their bond is the foundation of the show. The teenage flashback episode in particular proves this to us--and proves William’s importance to the greater story. But even before that, it's been there all along:

And, honestly, the official description of Season 1 is blunt about what’s happening: “Eliza and The Duke strike up a mismatched, fiery relationship that will crackle and smolder with sexual tension as they team up to solve crime in the murkiest depths of 1880’s London.” So let’s say it as plainly as possible: No one planned to tune in to this new program simply because it promised a crime drama in period dress. The series’ hook, apparent from its first marketing materials, was this unique relationship at the show’s center. The real story of Miss Scarlet and the Duke has always been just that: Miss Scarlet and the Duke. 

While RN et al. can dig in their heels and claim that the story has always just been Eliza's, but we know better than that. Since Day 1, the promotion and the interviews all catered towards the UST. As time wore on, Stuart really began championing the romance in earnest, and it was a logical next step. He was not wrong to do so. What was actually happening on screen was heading that way, as part of a beautiful slow burn.

After literally years of dancing around the rarely mentioned but blatantly obvious feelings between them, this season finally pushed their relationship forward. We got a whole flashback episode dedicated to how they first met! There was a kiss! William said the L-word! The genuine forward relationship progress that so many fans had been waiting for was finally happening! [...] What makes this even more painful is that Season 4 finally felt like the show was moving forward, at last, at least where its central relationship was concerned. Yes, William left, but it was for a good reason: to give Eliza the space and opportunity to decide what she wanted from their relationship on her own terms. (That, as the kids say, is growth.) But if he was never coming back, why bother with most of Season 4?

While we know that in part we got some of the romantic moments in S4 due to Stuart's requests, but I think ultimately, RN's reluctance to move things forward with Wiliza is what put Stuart at odds with her, as she likely did not take too kindly to him suggesting his own input (even when he became an EP) and perhaps felt like he was telling her what to do with her own show. And her goal is to keep it stuck in a cynical pattern; one that William wanted to resolve, and one that Stuart had to remove himself from, because RN favors rinsing and repeating, versus actually diving deep into longer character arcs. That's how she think she can keep the "longevity" of her show, or so she thinks.

Because look, I love Eliza. But I realize it's really because of the potential of who she could be. William never returning prolongs her characterization being stuck. She was supposed to spend the year thinking about what changes she needs to make so they could be together. If he never returns, then what's the point? The catalyst for change is gone. William staying on the show should have actually forced her to grow, not kept her stuck. Removing William entirely reinforces the patterns versus ending the cycle. Especially if he is just replaced with a new love interest, who just flirts with Eliza to keep a "will they / won't they angle" that's never moved forward.

Any writer worth their salt would have Eliza grow in interim and have major development upon William return. But that would end the "put them together / pull them apart." Which is not what RN wants, hence why she refused to put them together. She thinks these patterns are what maintains the show vs spending time on actual storytelling. And this is also why I cannot believe the party line, and truly feel that we haven't gotten the whole truth on why Stuart's exiting.

Thinking about the scenes in the flashback episode of William and Henry, and how important they were, it makes me sad that apparently in the grand scheme of things, it doesn't matter to RN. And it's sad they keep trying to paint it that the two most important people to Eliza were “overshadowing” her all the time.

I fear is that this new retooled version will just ignore and erase the importance that William has had on her life. At least in the S4 finale we saw how his words still affected her, even when he wasn’t there, encouraging to reopen her own agency. But I can’t see them continuing that, when clearly they want to reboot the show without him.

I had been working on my post S4 fanfic before the news of Stuart's departure hit, and I looked back on how I was developing Eliza from where we left off and how I wrote William's return. When I was outlining it, I was thinking about how RN only just barely has touched the surface of Eliza's psyche. I wrote her as torn up about William leaving--and how he left not long after he almost died. Eliza should have grown from the trauma of almost losing him and we seemed to be on that path in the show, with her at his bedside, and having him recover in her home. We could have dived into how the lost of her mother at a young age affected her, and how Henry's death still was painful. At her father's funeral (which mind you, is in the very first episode) she talked about being alone, and William wiped her tears away. And now... Eliza has lost another person close to her. Literally, it's not William's existence stopping Eliza's development--it's RN's lack of talent, I'm afraid. And who knows, maybe that statement that she cannot be developed while he is around is just a cover to explain his exit, as it's clearly not an actual reason.

Likewise with William, in addition to dealing with his feelings for Eliza, there's so much they could done with him leaving Scotland Yard and the trauma he survived. He didn't have to have PTSD, but he's already had a pretty traumatic life and survived so much (which again… why show all that in the flashback if they were ditching his character - Ben, not RN, wrote that episode so maybe that was a sign). But he held onto the identity of being part of the police, because of how he came get that job (i.e. Henry) and get off the street, and they could have explored what would it be like to shift away from that identity. There just was so much potential and so much richness that could have been written, for a man who came from nothing, but wanted to belong, and wanted to be loved. And maybe Stuart was just so very aware that the show was refusing it take it there. He took William as far he was allowed to, but not as far as the character could have gone, if written by the right people.

Frankly, both William and Eliza deserve better. Stuart deserves better, and we the Wiliza fans do as well. Ultimately, regardless of what (and at what point in time it) really went down between Stuart and RN, the series should have ended with S4, but with a happy conclusion. All signs pointed to William joining Eliza at her detective agency, but now we just have to imagine them there, working together as equals and in love.

#this got way longer than I planned but at least read the link if not all my ramblings #miss scarlet and the duke #msatd spoilers #mirai's text posts #(also for those of your on other platforms yes I did borrow some of my own wording elsewhere to share here lol) #edit: I'll add a caveat that they simply could just straight up change Eliza's characterization in S5 - been there seen that. #anyway remains to be seen but not by me bc I'm out

[captainofthetidesbreath]

I really love the idea of a cleric/wizard build, but I was curious how many levels of cleric versus wizard do you think would make this build shine? I'm still learning multiclassing. :)

re: "here's how a cleric/wizard multiclass in Campaign 3 can still win"

It depends on what you're trying to accomplish! Any multiclass split should be under the consideration of what you want to do, what your goals are mechanically and narratively, what options are available to you, and at least a little bit the context of the party and campaign you are playing in.

With that, however, this multiclass concept as it's generally played and discussed in broad terms skews heavily toward wizard. It generally is trying to problem solve a wizard's lack of armor proficiencies and bolstering a typically very small party's healing capability. The general idea is to take your first level in cleric for the armor and weapon proficiencies, and for access to notably Cure Wounds, then to level primarily or even entirely in wizard. Although you'll be set back in terms of what level spells you have access to, because both classes are full casters, you will still be on typical spell slot progression.

As mentioned before, the precise split depends on what you want and what you're working with and what your narrative interests are, but typically it's cleric 1 / wizard X. This is the level split that Emily Axford took for Fia Boginya in NADDPod within a three-person party. I've personally played a tempest cleric 5 / abjuration wizard 14 for a one-shot within a four-person party.

That's not to say that you cannot do a split that leans more cleric, and that's very solid as well! It's just that, typically, when this multiclass is discussed or is played, people usually invest more into wizard. I think there isn't a bad way to split the levels of this multiclass both classes are so strong and the spell slot progression is unaffected. It's just a matter of intent and goal.

[mer-birdman]

some random d&d advice

aka ‘don’t repeat my mistakes’

mostly applies to campaigns that lean towards a balance of combat, storytelling and roleplay, rather than straight dungeon crawls, since those are the games i prefer

Come to the campaign knowing what motivates your character. It doesn’t have to be elaborate or fancy, but going into a game without any actual driving force or interest makes it a lot more challenging to roleplay and get engaged with the story.

Find at least one (1) reason for why your character is sticking with this group. Because D&D is, in most circumstances, a group game — constantly stretching for in-game reasons to stay does not make a fun experience. It doesn’t need to be fancy or even nice, it just needs to be.

If you’re feeling frustrated, dissatisfied, not listened to, etc… speak up sooner rather than later. Express what you’re feeling and why it’s making the game less enjoyable. If your DM and fellow players are good, they’ll be willing to take a step back and find a way to make it fun for everybody.

If you’re having conflict or issues above-table with a specific person — DM or player — find time outside of the game to talk to them about it. Bring a mediator if you feel you need or want one. Work through issues before they become deal-breakers.

For DMs — consider just doing a time skip if there is nothing players can do to progress a plot faster in-game. Maybe do a loose system of ‘roll for each day to find xyz clues or achieve abc tasks’, rather than having them roleplay through specific actions and encounters that will not actually affect anything. Let them know ‘okay, this process will take x amount of time in-game, how do you want to spend it?’

For players — your character’s backstory is a collaboration between you and the DM. Don’t hesitate to get into the details with them. The more they know about who your character is and what their external and internal realities are, the better they’ll be able to weave those into the world and make the role playing engaging and compelling for you.

Conflict is not anathema to a good game. In-game conflict can be incredibly dynamic and fulfilling, if you are able to communicate safely with your party above-table about it. Never feel like you can’t ask to pause a scene to check in out of character.

Sometimes an arc or session will focus more on one character than on others. Players — let that player and character have their limelight. DM — try to find ways to let the other players/characters be involved too, because it will help them stay invested and engaged in the moment.

D&D is not a competition. It’s collaborative. There’s no need to one-up each others’ Tragic Backstories, no need for everybody to have the exact same types of solo scenes or significant NPC encounters or plot trajectories. Each character is different, and the story is at its best when they come together and create unique dynamics.

You don’t have to do accents or consistent voices, but do try to make it clear who is speaking — for a DM, that means trying to make some distinction between NPCs, even if you’re just saying what the voice sounds like. For players, that means trying to be clear on what you’re saying in character versus out of character. Obviously, this won’t happen all the time, but it’s worth trying to be aware of, especially if you’re not playing in-person.

Ultimately, the RAW are more like [Barbossa voice] guidelines. Play in the way that is the most enjoyable for you and your party. Homebrew or bend what you want to, to create the game you all collectively want to play. As long as everyone is having a good time, there is no such thing as playing D&D wrong.

And following that last point, obviously if any of these tips would make the game unenjoyable for you and your table, then they don’t apply! Toss them out!

Main takeaway — communication is key, you’re all in this together, and everyone deserves to enjoy the game.

#d&d #dungeons and dragons #am i still bitter about some old games? certainly #it’s why i’m trying to be a better player and better communicator now #so that i don’t make the same mistakes again

[bloobluebloo]

I play Pokemon about as much, if not more at times, as LoZ games and going on Twitter and seeing entire threads of people discussing the new lore that dropped in Pokemon Scarlet/Violet, I think I need to go back and take a closer look at what it introduced that makes it feel contradictory to the base game because it didn’t feel that way to me. I guess the nature of paradox pokemon and what they actually are are really throwing people for a loop here.

That being said I wonder what it says about me that I tend to sort of gloss over Pokemon lore when there is a lot of interesting facets to it. I have seen people attempt to create a legitimate timeline that spans across all the generations which to me is insane. I suppose a part of it is that when it comes to Pokemon I am a lot more invested in the battle scene. Is this what people who say “Zelda is about gameplay not story” are on about?

(Okay but I did write some meta on Gen 3’s lore, and how it explores the preservation of nature versus how it impacts human progress through technological advancement)

#admiral’s log

[cure-icy-writes]

Okay, it’s late at night but i’m gonna be honest here. the more i mature as a person, the more i dislike seeing posts like “if you’re reading this, you should be writing” or mocking writers for having too many works in progress, or encouraging them to mock themselves for it.

Guess what! YOU are contributing to the grind culture and you need to stop and think critically about whether this is really encouragement, or if it’s going to lead to burnout and people slogging through WIPs that no longer resonate with them, all for the sake of that gold standard completionism.

Abandoned works in progress are part of the natural process of growing as a writer. Having too many ideas and not enough stamina for all of them is part of the natural process of growing as a writer. Eventually, you learn to grow your stamina, to create oneshots, to relegate certain AUs to remain just concepts or tumblr tags on your blog with a couple of posts, and not make everything a fic. Authors, like most humans, are capable of learning self-regulation if you give them a chance. 

And pushing them to create finished, easily consumable works? BRO WHY ARE YOU STUNTING THE NATURAL CREATIVE PROGRESS IN FAVOR OF SOMETHING THAT IS EASY TO CONSUME? Why do you encourage the mindless grind?

Idk man, it’s suspiciously close to the capitalistic mindset to me. Some people just have fun telling goofy little stories, and we as a society need to treat them as growing artists and not endless content machines. writers are human too! we need community and emotional investment. why don’t you stop going for the low hanging fruit of “go work on one of your 50 wips” and let people live. Better yet, go leave a nice comment on a work that hasn’t been updated in months or even years. A drop of honey versus a barrel of vinegar and all that.

#writing and being a content creator is exhausting and at times makes me wonder if it's worth it #i just. ugh we should have grown past this please let's grow past this and start supporting each other

[gracesshelves]

Jurassic Park (1993)

            Jurassic Park (1993) was based the book written by Michael Crichton. While this was not my first time watching Jurassic Park, I knew quotes from this movie before I ever saw it. In my opinion, this is the biggest blockbuster we’ve discussed so far. I would rate this four and a half out of five stars. As someone studying the Save the Cat method for my novel, it was so cool to see how clear the beats are in this film. The moments of building and releasing tension were so well crafted. I found myself getting stressed, even though I knew the characters I cared about would live. The characters feel so alive and even those who had smaller arcs, such as Dr. Grant learning to like children, had me emotionally invested. Speaking to the hubris of humanity, I believe Jurassic Park will always be relevant.

            As a new horror writer, I wanted to take notes while watching this movie. This comes as no surprise as the film was directed by Steven Spielberg, who’d already had a massive number of hits under his belt by 1993. The writing, acting, directing, and cinematography work together seamlessly. I particularly enjoyed how we switched between the two main groups in the most dramatic scenes. The camera work during the scene where the visitors are attacked by the T-rex heightens the fear by focusing on different characters' reactions and switching rapidly between them. I felt like we as the audience were looking around frantically with them, unable to see the dinosaur, yet experiencing its impact on the environment. The horror is hidden until we are at the edge of our seats, and then lighting strikes, revealing the dinosaur as it eats the goat. Spielberg maintains our fear by switching between Hammond and his employees in the office, and the people being attacked. We have moments of respite, but during that time we are thinking about what is happening to the kids. He does the same thing later in the film when Dr. Grant climbs over the electric gates with Tim and Lex, as Dr. Sattler turns the power back on. Seeing both perspectives makes it more stressful because we know how close she is to turning it back on, versus how slow the other three are climbing. At one point Dr. Grant told the kids to take their time and I yelled out loud: “No! Go faster!”.

            I admired so much the way this movie was structured, however, there was one thing that bothered me a little bit. You can only do so much character growth in a movie with this big of a cast, but I would have liked to see more from Dr. Sattler, Ian Malcolm, and Tim. I picked up on three arcs of change: Hammond realizing his hubris, Dr. Grant learning to like kids, and Lex being able to face her fear to save her brother. These arcs were done so well and did not take time away from the story to complete, that I wished we had seen growth from the other three. If they’d had less screen time, I would be more okay with them being flat, but they were in so much of the movie that I wanted more. Again, this is a very picky complaint, but I think it would’ve just leveled up this already great movie even higher.

            The whole theme of humans getting their hands on a power they don’t know how to control reminded me of how we treat technology today. We are making progress in so many fields, especially AI, but I don’t think we are spending enough time considering how this will affect our society. Tech companies may have some good intentions, like Hammond did in the film, but ultimately what they are creating has the potential to hurt a lot of people. Already people have used AI to create sexually explicit images of others as a way to harm them. We’ve seen so many cautionary tales, and yet we do not seem to be taking their advice. Hopefully, before anything else happens, we can sit and think about potential consequences. Personally, I do not want to be eaten by the AI “dinosaur”.

#my reviews

[sleeping-realist-waking-dreamer]

currently sad abt how paldea just has No culture

long post ahead i rambled longer than i expected

like ive been replaying gen 7 and like. the regional identity and theme is so strong??? the island deitys, the overhauling of traditional progression, the clear messages of friendship and family, kindness, nature, etc. and even between different towns, theres the tourist downtown strip, malie which has been built by those who immigrated from Johto, fuckin PO TOWN. but dont even get me STARTED on how powerful team skull is, being hoodlums of teens forgotten and ignored by the world now rejecting the island challenge and everything it stands for in pursuit of finding their own family with the other team skull members.

what does paldea have. they all need cyclizars to get around this obscenely way too large map or taxi money to go in a cab lofted by parrots because theres seemingly no other ways to get around. also the citys are based off those in spain and like. they type of gym leader there but ultimately have next to no individual flavor. nobody talks to you about the towns or world, the overarching theme of the game is "treasure" which is already dumb but also barely feels present beyond everything you do, the "evil" team is interesting but ultimately a self contained plot point that basically only hinges around the school, noone talks about team star outside of their specific scenes or the intro sequence. theres no god tier legendaries the people respect and look up to, nobody talks about the world at best people talk about that rich school thats so important for Some Reason and yet we still know so little concretely about it and. ARGH.

this game has such good plots and stories but ultimately despite supposedly being open world, the world doesn't EXIST. the people here dont have any serious beliefs or culture, they just talk about battles and sandwiches i guess.

Like, compare this to Every other game in the series. Kanto was. kanto. but like, even then lavender town and some other locations give more character to the graveyardless (DESPITE HAVING A GRAVESTONE POKEMON) Paldea. even while less cohesive, Johto is astonishingly rich even this early on, Hoenn has connection between people and Pokemon, sinnoh has. so much i love sinnoh even tho its a bit weaker imo but still has belief in good versus nihilism with Cyrus, with several towns having their own flavors, unova was unova yall already know its better, gen 6 region name even bests paldea with having beauty of life as a theme, alola i talked about, galar i never played nor got invested in but i feel like its better than PALDEA.

i say this as someone with 200+ hours in this game. i hate how little real identity it has. the fact that this main entry thats actually proud of itself is better than xy-KALOS IT'S KALOS. the fact that this does better than goddamn kalos in generation six, year of the "we got scared of regional identity and were dealing with a lot right now, we put gen 1 in here to appeal to the genwunners pls enjoy and buy game. also we're too scared to even do a pokemon Z. please dont pay attention to anything new this game brought to the series pllllssss" is ASTONISHING. FOR A SUPPOSED OPEN WORLD GAME!

and NO! scarlet and violet are not "open world" games. Theres no world to explore, theres no extra things you Get for exploring, theres nothing to see that doesn't look like Plastic, there is still an intended progression order you need to follow to even have a shot at enjoying the battles, theres no extra stories you get for exploring, no extra cities, noone who talks about anything interesting, nothing. The world exists only as a map you use your sandwich dragon to get across. Which, it's UNNECESSARILY MASSIVE. there is NO reason for the map to be this large.

BECAUSE THERE'S NO CULTURE OR IDENTITY THE OPEN WORLD FEELING SUFFERS. you dont get anything for going out of your way and exploring the world at hand, you just get like, scattered XP candies and berries or an HM or two. a couple trainer battles with generic dialogue. In a good open world, there are sidequests in various locations, that give you something about the world and offer a unique task. A random trainer at the bottom of a cliff is charming but... Why cant we help???!

Also, I'm not talking about DLC. Glimmerazzi, ogre ousting, the absolute dogshit BBQ situation are all interesting but I'm not paying Another 30$ for a finished game and also most of that has nothing to Do with paldea so cope. I will say though that the base game needed more glimmerazzi or perrin's pokemon snap quest. Like, being given the opportunity to do something that doesn't tie back in the story, just being there to do aside from the story.

anyways this post is a mess im so aurgh about this game ok. i love it and i want to see it be better. i keep trying to think about the characters in the world itself but paldea just has. Nothing!!! there's nothing we learn about them and it's so frustrating bc i Want to see that!!! and yet there's just. Nothing.

#pokemon #pokemon sv #pokemon analysis #? idk moreso just a ramble. lmk if i should untag lol #pokemon scarlet and violet #pokemon scarvi #ill make an actual full breakdown. One day. #this game has ruined me #🌌sleeptalkings #🌌holding reality

[zebee-nyx]

CalmWriMo Day 4!

[11/4/2023]

Update!

Finally the weekend! Since worldbuilding is one of my ways of relaxing I decided to focus most of my writing time on that (^.^).

Progress:

2 Hour Writing Goal: ✅

Blurb: [see below]

Self Care:

Food: ✅

Hydration: ✅

Sleep: ❌ [ain’t no rest for the wicked…]

Reading: ✅

Worldbuilding Blurb: Agritowers

Following massive damage to the ozone layer, worldwide ecosystems completely collapsed. Plant life simply couldn't handle the near unfiltered sunlight and quickly died off pulling many other forms of life into extinction as they went. This was a major factor in the event known as the Great Collapse where industrial agriculture became impossible.

Anticipating the collapse some corporations saw a great investment opportunity. The first agritowers were invented as a massive form of vertical agriculture within skyscraper structures. While there weren't nearly enough made before the collapse to feed massive populations, there was enough food to feed those who would work for the corporations who owned them. During and immediately following the collapse these corporations were quickly able to take power around their monopolies of food.

In the earlier years most of what was grown in agritowers were biologically altered mushrooms, ferns, algae, and colonies of protein rich single celled organisms [will eventually give these a proper name]. Recently more traditional crops are being grown from seeds that were stored in emergency bunkers such as corn, wheat, etc. Due to the short supply and increased costs in producing them versus what has been growing these traditional crops are somewhat expensive. For the wealthiest people real meat and animal products are farmed in only a few agritowers. Real meat is rare and extremely expensive as a result.

In the current time more agritowers have been constructed and have changed hands with corporate takeovers. These agritowers are one of the most important things at the center of any power structure. Whoever controls them controls the cities.

Beneith the notice of agritower owning corporations there are some small scale indoor gardens kept by some citizens as well as corporations. While this adds to the diversity of some localized communities' diets, they are not as stable. This lack of stability is a result of lower crop yields and the risks of being seized by gangs or other corporations for their value.

[Thank you for reading! (^v^) Back to them cyberpunk dystopia vibes for now lol. Anyways and always I hope you are having a lovely day, peace (^.^)v]

#writeblr #writing #worldbuilding #cyberpunk #writing community #digitally dead #calmwrimo #nanowrimo

[omegawhiskers]

Smackdown 20/10/23

3 matches, a fake retirement and a return!

This week's Smackdown had a good build up to Crown Jewel, but the show really lacked in the match department.

Firstly I want to talk about LA Knight. I recognize he's got charisma; he does a fine job on the mic and has a good look. What's missing for me is a connection. I don't know why I haven't connected with him yet, but I hope I do. There's no doubt he's losing to Roman Reigns, so this makes it harder to get invested in him. Tonight he verbally threatened Paul Heyman. This didn't lead to anything because Reigns was not on Smackdown.

Montez Ford and Santos Escobar had a fun match where both men shined nicely. Ford picked up the victory. Followed was a post-match beatdown with the save coming from Carlito.

The LWO had more on their plate tonight when Logan Paul called out Rey Mysterio. I want to take a moment to say I loved Rey's batman inspired mask. Logan oozes shithead heel. Everything he does makes me hate him; but in a good way. Logan informs us that he's already beaten Rey in the past and that he only wants to face him to take the United States Championship. Rey accepts Logan’s challenge at Crown Jewel.

Jimmy Uso appeared overly ecstatic due to costing Cody Rhodes and Jey Uso, the tag team championships. This segment jumps to a real confusing moment as John Cena comes to the ring with a statistic. His last win as a singles competitor was 2002 days ago. That’s 2018. Cena decides to pull a Sting and mentions retirement. If you’ve seen Peacemaker, then you know Cena is a decent actor, so why is he phoning it in here? Cena is ramping his emotions up to a ten and it's not convincing. After doubting himself, Cena magically claims he still has it and calls out anyone to fight him. Solo Sikoa comes to the ring. Both brawl until Jimmy joins the fight. A masked man appears. And guess what? It’s Main Event Jey. The actions of both men leads to an argument between Nick Aldis and Adam Pearce. Aldis has Jey and Pearce escorted from the building. Pearce retorts with ‘’Let the games begin’’. WAR GAMES IS COMING!

I'm not going to bother talking about the tag match. It was short and pointless.

The main event saw Charlotte Flair versus Iso Sky for the Women's Championship. Both women put on a great performance. My only real criticism with the match was Flair audibly calling spots. The match ended with...you guessed it, a post match beatdown. But do not fret, Bianca Belair returns to make the save. All is well.

Good progression in stories, but matches suffered because of this which is a real shame.

#la knight #wwe smackdown #wwe #charlotte flair #jey uso #jimmy uso #bianca belair #pro wrestling #logan paul #rey mysterio

[tobiasdrake]

Final Thoughts on Black Panther: Wakanda Forever

While there were a few shows that I'm fond of, this is my favorite movie in Phase 4. I always liked Shuri in the first movie. She was the character I connected with most. So it's pretty easy for me to invest in her journey here. Backing her up with Riri Williams, a character I'd been dying to see make her MCU debut, makes this movie instantly likable for me.

Wakanda Forever is filled to bursting with powerful black women being powerful and helping each other. It features a complex conflict against one of the most sympathetic yet still delightfully sinister villains in the MCU, all while issuing thoughtful dissertations on grief and on the dichotomy of tradition versus progress.

As someone who is generally non-spiritual, technologically inclined, and struggled with anger issues for much of my life, I find Shuri's journey here incredibly relatable. Her grief, her difficulty in coming to terms with it, and her bloodlust towards Namor all feel vividly real for me.

This had to have been a hard movie to make. With the tragic loss of their key star, it wasn't going to be easy to move forward. And I don't know if it was a good idea to avoid recasting or not. Like I said at the beginning, it's not really my place to weigh in on that conversation.

But for the choice that they did make, I think they did a good job of creating something that resonates emotionally, and turn it into an interesting and unique journey for a new MCU hero. I don't know if they made the right call, but for the call they made, they made it well.

#marvel #marvel cinematic universe #black panther wakanda forever #black panther

[inkdsythe]

JUSTICE LEAGUE SHOW VS YOUNG JUSTICE SHOW DC!!!!!

Hey Tumblr peeps! Today, let's dive into a nostalgic debate that has fans divided: Justice League (the animated series) versus Young Justice. Both shows have left an indelible mark on DC animation, but I'm here to make the case for why the Justice League show was the superior of the two. Buckle up for a detailed comparison and let the discussion begin!

First off, let's talk about the Justice League show, which ran from 2001 to 2004. This series captured the essence of the iconic DC superhero team, bringing together legendary heroes like Superman, Batman, Wonder Woman, The Flash, Green Lantern, Martian Manhunter, and Hawkgirl. The show thrived on character development, epic storylines, and top-notch animation, which appealed to both hardcore fans and newcomers to the DC universe.

One of the standout aspects of the Justice League show was its well-balanced ensemble cast. Each character was given ample screen time, allowing their personalities and motivations to shine. The show beautifully explored the dynamics between the heroes, delving into their strengths, vulnerabilities, and personal journeys. The interactions and banter between characters, especially Batman's stoic demeanor and Flash's witty remarks, added depth and entertainment value.

The story arcs in Justice League were epic in scale and embraced DC's rich comic book history. The series wasn't afraid to tackle weighty themes, moral dilemmas, and complex narratives. From iconic storylines like "Starcrossed" to "Justice Lords," the show provided thought-provoking plots that tested the heroes' mettle and delved into their human (and alien) nature.

Moreover, Justice League's animation quality was top-notch, combining traditional hand-drawn animation with modern techniques. The character designs were faithful to their comic book counterparts, and the action sequences were dynamic, fluid, and visually stunning. The show's attention to detail and vibrant art style set a high bar for animated superhero storytelling.

Now, turning our attention to Young Justice, which aired from 2010 to 2013, there's no denying its impact on the DC animated landscape. The show followed a younger generation of heroes, including Robin, Aqualad, Kid Flash, Superboy, Miss Martian, and Artemis. It introduced fresh storylines, character arcs, and a serialized format that allowed for deeper exploration of individual characters.

Young Justice excelled in its character-driven narratives, providing intricate backstories and emotional journeys for each hero. It delved into their growth, struggles, and personal relationships, building complex layers that endeared fans to the young team. The show also introduced a wider DC universe, incorporating fan-favorite characters like Red Arrow, Zatanna, and Blue Beetle.

The animation in Young Justice showcased a sleek, modern style with a dynamic color palette. It successfully captured the energy and fluidity of the action sequences, making them visually engaging. The show's serialized format allowed for intricate storytelling and long-term plot arcs that kept fans invested throughout the seasons.

Now, let's address the elephant in the room: why the Justice League show takes the crown. While Young Justice had its strengths, Justice League stands out as the superior series. The Justice League show captured the essence of the classic team, flawlessly balancing character development, compelling storylines, and stunning animation. It appealed to both longtime fans and newcomers, leaving a lasting impact on the DC animated landscape.

The Justice League show's well-established heroes, epic story arcs, and attention to detail set a standard that subsequent animated series still aspire to. It managed to strike a perfect balance between standalone episodes and overarching narratives, allowing for satisfying resolutions while maintaining long-term story progression. Those are my thoughts. What are yours?

#young #justice #dc #fan #fandom #world #anime #animation #plot #story #inkdsythe #art #tumblr

[coachingthenextgen]

Parents, I know you all have good intentions. We get it, your son or daughter is the next superstar athlete. But overstepping in your child's sports activities is harmful to not only their development in the game but also may severely impact the love that they have for the sport itself. To many times I have found myself having to coach the parents on the sidelines rather than coaching my players on the field.

“Every parent signs kids up for sports or activities with good intentions. [But] sometimes, there can be a line that’s crossed, where suddenly the parent becomes more involved or invested in the outcome, versus the goal of why they signed up their kids in the sport in the first place” (New York Post).

For 10 years I have coached soccer at the:

-Junior College Level

-High School Level

-Youth Level (U6-U13)

You may be surprised to learn that even the parents of my college athletes can have a negative impact on their child's growth and development. Although these parents want the best for their kids and have good intentions, without realizing it they are hindering the possibility for growth. Here are the 5 most common problems that I have seen parents be guilty of :

1: Putting too much emphasis on winning

Parents often get caught up in the desire for their child's team to win at all costs. This puts immense pressure on young athletes and takes away from the joy of playing the game. Focus on the long term development process rather than immediate results.

2: Over involvement during games

Parents sometimes become overly involved during games, shouting instructions or criticism from the sidelines. This can distract both the child and the coach, hindering the player's ability to focus and enjoy the experience.

3: Unrealistic expectations

Setting unrealistic expectations for your child's performance can lead to unnecessary stress and anxiety. Remember that each child progresses at their own pace and that the main goal should be personal growth and enjoyment.

4: Lack of communication with the coach

Some parents fail to establish open lines of communication with the coach. This can lead to misunderstandings and missed opportunities for constructive feedback and guidance.

5: Neglecting the importance of balance

Overcommitting children to multiple sports or excessive training sessions can result in burnout and physical or emotional exhaustion. It's crucial to allow time for rest, recovery, and pursuing other interests.

If you are a parent of an athlete and have found yourself guilty of any of these things, do not worry. We all want the best for our kids and if you can change your perspective and attitude you can make a positive impact on your child's development. Here are 5 things you can do to help keep your child invested and enjoying the sport:

Tip 1: Encourage effort and personal growth

Emphasize the value of hard work, dedication, and personal improvement rather than solely focusing on winning or losing. Celebrate your child's progress and achievements, regardless of the outcome.

Tip 2: Be a positive sideline presence

Cheer for your child and their teammates while maintaining a positive and encouraging attitude. Leave the coaching to the coach and refrain from excessive instructions or criticism.

Tip 3: Set realistic expectations

Understand that each child develops at their own pace and has unique strengths and weaknesses. Encourage them to enjoy the process, learn from their experiences, and set goals that are realistic and attainable.

Tip 4: Foster open communication with the coach

Establish a healthy line of communication with the coach. This allows you to understand their coaching philosophy, receive updates on your child's progress, and address any concerns or questions you may have.

Tip 5: Promote balance and well-being

Encourage your child to participate in a variety of activities and prioritize their overall well-being. Help them find a healthy balance between sports, academics, rest, and other hobbies, fostering their long-term enjoyment and development.

Remember, this is all about the KIDS. We had our chance when we were younger to play and enjoy the game, and now we have a great responsibility to pass on the love and joy that we once had on to our children and let them thrive! Good luck, and enjoy the journey.

-Coach B

#soccer #YouthSports #ParentingMistakes #SportsParenting #SupportiveParents #PositiveAthlete #YouthAthletics #SportsmanshipMatters #ParentCoachRelationship #GrowthMindset #EncourageEffort #HealthyBalance #PositiveSideline #AthleteDevelopment #RealisticExpectations #CommunicationWithCoach #AthleteWellBeing #SportsFamily #YouthSportsCulture #EnjoyTheProcess #ParentingTips

[healthcarebiodiversity]

Yoga Asanas Stances to Assist You With Weight Loss Quick

Yoga, and that implies the association is the antiquated Indian arrangement of mental, physical and otherworldly practices that currently has worldwide acknowledgment.

In the present time, many individuals partner Yoga with the actual practice or the asanas, which are a progression of stances frequently sequenced together in different styles.

The asana rehearses are essentially planned to develop fortitude and endurance, while additionally further developing adaptability, equilibrium, and coordination, and at last loosening up the body and brain.

The discipline has 5 fundamental standards:

Work out Diet Relaxing Unwinding Contemplation

Are Yoga Stances Really great for Weight reduction?

Yoga is a successful weight reduction instrument and when joined with good dieting can show positive outcomes.

Rehearsing yoga routinely can likewise quiet you and work on your emotional well-being. This prompts more careful and quality food decisions which straightforwardly helps with weight reduction.

Having said that, yoga expands your care and how you connect with your body. This will likewise assist you with settling on better food decisions and decrease your admission of unhealthy food. Yoga offers a variety of advantages, some of which include:

Expanded adaptability Better respiratory wellbeing Further developed energy and essentialness Supported digestion Worked on athletic wellbeing Expanded muscle tone Worked on cardiovascular wellbeing Weight decrease Stress the executives Stress can devastatingly affect your body and brain. It can uncover itself as agony, uneasiness, sleep deprivation, and the powerlessness to think. Most times, stress is the primary driver of weight gain. Yoga can assist you with adapting to pressure.

Actual advantages of Yoga, joined with pressure the board, assist an individual with getting more fit and keep up with great physical and psychological well-being.

Synopsis

Yoga, the antiquated craft of mending, has extraordinary remedial capacities. Yoga can assume an essential part in your general wellbeing and prosperity. While certain individuals declare by the advantages of yoga others are somewhat doubtful with regards to the effectiveness of yoga for weight reduction. In any case, they concur that yoga, joined with nourishment and diet can assume a positive part in one’s weight reduction venture. Keep in mind, your yoga practice is remarkable and individual to you. While performing yoga asana, its vital to get your stances right which can occur with exertion and practice.

Best 8 Yoga Asanas Stances for Weight reduction

Yoga requires diligence, tolerance and ingenuity. Its outcomes require investment.

These yoga presents center generally around building body adaptability and muscle tone. Both these are contributing elements towards a consistent weight reduction venture as they help muscle versus fat’s consuming limit.

Bulk is fundamental because of multiple factors. For instance, it guarantees a sound weight, diminishes the gamble of wounds, and constructs bone mass thickness.

A portion of the Yoga asanas and yoga tips for weight reduction are as given beneath.

1. Chaturanga Dandasana – Plank Posture

Chaturanga dandasana is the most ideal way to fortify your center. As basic as it looks, its advantages are monstrous.

It is just when you are in the represent that you begin to feel its power on your stomach muscles.

2. Trikonasana – Triangle pose

The trikonasana assists with further developing absorption as well as decrease the fat stored in the tummy and midriff. It animates and further develops blood course in the whole body. The parallel movement of this asana assists you with consuming additional fat from the midriff and fabricate more muscles in the thighs and hamstrings. It likewise further develops balance and focus.

3. Virabhadrasana – Warrior Posture

Conditioning your thighs and shoulders, as well as further developing your fixation has become simpler with the champion posture. The more you hold that represent, the better the outcomes. With only a couple of moments of Virabhadrasana, you will get more tight quads.

Fighter present is made to work on your equilibrium alongside conditioning your back end, legs, and arms. It likewise assists with conditioning your stomach and give you a level tummy in the event that you contract your abs while you stand firm on the situation.

4. Sarvangasana – Shoulder Stand Posture

Sarvangasana accompanies numerous advantages, from expanding solidarity to further developing absorption. In any case, it is most popular for supporting digestion and adjusting thyroid levels.

Sarvangasana or the shoulder stand fortifies the chest area, stomach muscles, and legs and reinforces the respiratory framework and advances rest.

5. Adho Mukha Svanasana – Downward Dog Posture

Adho Mukha Svanasana tones your entire body with some additional consideration regarding explicit muscles.

It assists with reinforcing your arms, thighs, hamstring and back. Holding this posture and focusing on your breathing connects with your muscles and tones them, as well as works on your fixation and blood course.

6. Sethu Bandha Sarvangasana – Bridge pose

The Scaffold present further develops muscle tone, processing manages chemicals and works on thyroid levels. It likewise reinforces your back muscles and lessens back torment.

7. Surya Namaskara – Sun Welcome Posture The Surya Namaskara or Sun Greeting accomplishes more than warm up the muscles and jump-start the system. It stretches and tones the greater part of the significant muscles, manages the midriff, conditions the arms, invigorates the stomach related framework, and balances the digestion.

8. Parivrtta Utkatasana – Turned Seat present The Parivrtta Utkatasana is likewise called the Yoga’s form of the squat. In any case, you should realize that it is somewhat more serious and tones the abs, works the quads and glutes.

The asana likewise upholds the lymphatic framework and the stomach related framework.

Power Yoga presents provide you with the advantage of yoga and that’s only the tip of the iceberg, including Helps consume calories, somewhat more than yoga for fledglings It supports your digestion It fortifies your general prosperity Valuable to develop fortitude, endurance, adaptability, and tone your body. It helps increment your focus It assists you with unwinding as pressure and stress are extensively diminished. The most solid type of Force Yoga starts with Surya Namaskara or Sun Welcome. You can play out the Surya Namaskara as a warm-up before you start your Power Yoga exercise meeting.

Surya Namaskara has gigantic advantages as it focuses on all the center muscles of your body.

Power Yoga Stances for Weight reduction

Power Yoga is a vivacious type of yoga that revives your brain and body.

A cardiovascular exercise develops both perseverance and fortitude. Power Yoga advances weight reduction and keep a solid body and a peaceful life. It likewise upgrades endurance, adaptability, and mental concentration.

Power yoga is a cutting edge type of yoga where the asanas increment your endurance, making areas of strength for you, and liberated from pressure. It is a strength-building exercise that gives an exercise to your entire body.

Healthcarebiodiversity Suggestion

While hoping to get more fit, yoga is for the most part not the principal exercise that one decides on. The explanation being that many types of yoga are polished exclusively for adaptability and unwinding. The significant thing is to pick the right kind of yoga, for example, power yoga to match your weight reduction objective. This alongside a solid eating regimen can help in weight reduction.

Work with a specialist to pick the right yoga routine and assist with getting your stance right so you can get greatest advantages from your yoga practice.

Conclusion

Yoga, an Indian act of psyche and body restoration, has huge advantages for all, from individuals who are overweight and need to shed load to the people who need to unwind.

Yoga helps with weight reduction as well as advances adjusted physical and mental prosperity.

#health #meantal #yoga

[pruning-the-minds-garden]

Layered Best Practices in Erotic Hypnosis

To start with, a lot of people have called erotic hypnosis inherently risky - said that there is always risk of abreactions, of unintended consequences, of things going awry even if everyone does everything right - and I tend to agree with them. The point of learning and practicing safe(r) play is not to take hypnosis from a place of risk to a place of safety, but to reduce the risk.

With that in mind, lets talk about how to do erotic hypnosis better. Lots of other people have, lots of other people will, but talking about it again can't but help so lets. This list is geared toward scenes that do not feature things like consensual non-consent or its technical cousins, by the way. Those are perfectly valid forms of play not meant to be cast aside by this, they just aren't what I am talking about right now.

Best practices are divided into four broad categories, in my mind. They are:

Preliminaries - things you do before a scene ever begins that make it possible to do things more safely

Preliminaries

Most of these boil down to being up front, being honest, and making sure that both hypnotist and hypnotee have the same understanding of and expectations from a scene/trance before it ever begins. Not doing those things may make you feel like mind controlling super-villain, and may even work as well (or, occasionally, better) some of the time, but Ipromiseyou that over the long term they are not to your benefit. If you want to buildgenuine rapport, which is ultimately the Coin Of The Realm when it comes to hypnosis, you want to build trust, and the only way you do that is by being trustworthy.

((Oh, if you are the kind of person who responds to that by saying that your subject is probably going to be discarded in a month anyway when you are done with them, that you can just make a good first impression and that's enough... well that's a pretty fucked up thing to say,innit? Might want to think about your life a bit harder. Oh, and do please contact me so I can warn people about you. You are why we can't have nice things.))

Here are some ways you can do that:

Take time before a scene ever starts, and in plain (non-hypnotic) language describe the things that are going to happen during the trance.

Go over the broad kinds of language (permissive/seductive versus authoritarian/Dominant) you are going to use, the techniques employed (progressive relaxation, eye fixation, confusion, fractionation, etc) and the triggers and.or post-hypnotic suggestions given.

Ask for - and make sure you receive - their straightforward, unreserved consent before the scene ever starts.

Thishasto follow a description of the scene, obviously. If they don't know what they are consenting to, then their consenting to it is pretty pointless (see the note about CNC above). Aside from that, it is useful to get their preliminary consent for two reasons - it will make it easier for them to drop into trance for you, and it will giveyouconfidence before the scene ever starts. Getting them to say, with their conscious mind and full critical faculties intact "Yes I want this" is a powerful signal to their subconscious mind. It means that when you start swinging the pocketwatch, you'll already be halfway there. It is also a powerful signal toyouthe hypnotist, that you are doing something they want and they want you to do it the way you are - so go full steam ahead! That makes everythingloadsbetter.

Do not stray from the plan/description

I know that it's tempting sometimes to go off-script during a trance, to respond to their droppingsowell by taking the next step in whatever plan you two have... but don't. Really. Just don't. They agreed to a certain set of things, a certain list of suggestions and topics and language. They invested their trust in you to not try to slip in some other stuff while their conscious mind is impaired. Violating that trust is anassaultupon them, even if it doesn't seem at all violent (again, see the note on CNC above). Violating their trust is pouring poison in the well, and even if it doesn't ruin this scene or trance, even if it doesn't undermine their trust in you or ruin your relationship... it's an awful, shitty, terrible, fucked up thing to do. Even if you mean well.

If things are going so well that you want to change the plan, then youhaveto get their conscious consent to the change. Bring them out of trance, give them a few minutes to return to themselves / get a drink of water (pro-tip: offer them a drink they don't like, and see if they say no. If they can't say no to you,give them more time), and then ask them to consent to the change in plan before taking them back down. That is time well spent, and if you think I'm lying about that go Google "fractionation".

Extrinsic Safeties

When people use the word "safeties" this is often what they think about. These are the special things that people do to enable them to do everythingelsemore safely. These are things like...

Safeword Suggestions

One suggestion I recommend you nearly always start with is a safeword that someone can use in trance to stop the scene. The standard "yellow/red" works fine here, with "yellow" being a suspension of the suggestions/scene and "red" being a complete deactivation/removal of them. The advantage of going with something common is that there is already an association formed in their mind, and that will make the suggestion stronger. Make sure to emphasize that if either their conscious OR sub-conscious mind objects they can call out that safe-word while in trance, and have it take effect.

Just like a safe-word in any other BDSM context, this is not so much a new scene-stopping super-power as it ispermissionfor them to use powers they already had. Their sub-conscious will already stop a trance in many if not most scenarios where they'd call their safe-word, but you taking the time to set this up gives them implicitpermissionto use it if they feel uncomfortable. I recommend after you install this suggestion, you get them to use it several times to feel the effects - just make sure that they don't "red" themselves out of their own safeword.

Adjusting yourself into trance

One thing that can really mess up a great trance is your leg falling asleep, or cramping, or that old knee pain or back pain flaring up. Some hypnotees pride themselves in being able to "work through" this, in being so entranced that they are able to respond to suggestions even while they hurt... but hypnotists, don't be that guy. Don't ask them to do that. There is a better way.

Instead, saying something as simple as "if you feel uncomfortable, if something hurts or falls asleep, then move to eliminate the barrier to you falling more deeply, and notice yourself disappearing farther and farther into trance" can eliminate the problem entirely. Tying moving or adjusting yourself to falling more deeply, tying comfort to trance, makes your hypnotee more comfortableandmore entranced - everybody wins!

... and isn't that what hypnokink should be all about? ;)

Intrinsic Safeties

There are two main elements to making your suggestions/triggers more safe - avoiding open triggers, and hypnotic word choice. There are some issues adjacent to these as well, but since they generally fall under this umbrella then I think you can reasonably extend these lessons as necessary to encompass other situations.

Avoiding Open Triggers

I read a story on Literotica once that involved the trigger that the subject would get more aroused every time she saw a plane flying overhead. It was a great story, and that suggestions was totally hot.

Well... real life is not Literotica. You should not dothatthing in real life, because it is as likely to end disastrously as stupendously. You might come home to a totally wet, horny, sex-crazed girlfriend/wife/(insert non-female pronouns here also) and that might be the point... or you might come home to a furious partner, a partner crying their eyes out, or something even worse. It's a risk that - unless you can controlallthe variables - is not worth taking. That's where the concept of "open triggers" comes in.

Open triggers are post-hypnotic suggestions that can be (and often will be) invoked by anyone, anywhere, regardless of context. You may think that something is properly controlled by making the key word "papaya"... but what if she goes shopping and there are papayas? You might think only you will touch her left shoulder and right hand at the same time, then whisper in her ear... but for a lot of people, that's called a hug and word of comfort. Be careful with the triggers you set, and if there isanydoubt whether they can wind up being misused, rephrase them. The easiest and best way to do that is simply to add a situational/circumstantial note like this:

"Every time I say/do (x) you will do (y). If you are in a situation that doing so would make you profoundly uncomfortable, put you in danger or risk something bad happening to you, then this will fail. If someone other than me says/does (x) then this will fail."

It pays to take the time to CY(sub's)A.

Hypnotic word choice

There are some words that the sub-conscious just does not process well. The most well-known example is negatives - no, not, won't, don't, etc - and that is often used to craft double-binds or other NLP language tricks for conversational hypnosis. In my experience, some of the others can vary with the subject. For instance, some subjects do not understand high-dollar, 34-point-SAT words while in a trance. Others, whose first language is not English, might revert to an even more basic understanding of the language when some of their conscious faculties are off the table, not grasping things like idiom or even metaphor. You have to watch out for these.

Negatives are easy to deal with - you simply remove them where you can, and where it pays to do so. Include them withintentand with the understanding that your subject may not hear that one word in your sentence. Craft your induction and hypnotic language, including your suggestions, around that notion (Notice how, in the above example, I didn't say "will not work" but instead said "will fail"? Like that).

Other consideration are similar, but harder to predict in advance. That is why your first trance with a new subject should not be an immediate deep dive into their limbic system - don't jump to making them cum with a gesture, believe themselves to have different genitalia, or become a circus animal on command! Take them down, and explore a little bit. Ask them questions, see if they understand you... test the waters. Even after that first trance, it is worth taking things slowly and testing them as you proceed. When implanting triggers, make sure that your understanding of how they should work and their understanding of what they ought to be doing is, more or less, the same. If it's not, then find the problem and fix it before moving on. There is no one-size-fits-all solution to that, and that's precisely why you should be taking things slowly throughout.

Aftercare

Once the triggers are set, the suggestions given, and all your pieces are where you want them... then what? Do you just clap your hands and say "Wake up!" then get to business? Well, sometimes yes! Lots of other times, in fact most of the time... no. You need to ease your subject back to consciousness, and then make sure that everything worked well, that they are feeling alright, and take care of any needs they might have. If this sounds similar to how one acts at the end of a scene of suspension bondage or impact play or some other fairly racy form of bondage or sadism... there's a reason for that.

Like most of the other elements of this list, there are two main parts to aftercare: closing the trance, and checking-in afterward.

Closing the Trance

Nearly all hypnotic training manuals I have read talk about counting up at the end of a trance, and that's often an essential part of closing a trance. As a subject gets more and more experienced with trance it will usually become less and less necessary to do a long count-up, but you still should. It also becomes more important the more deep you go into trance, but depth is a funny thing and lets talk about that for a second.

Because the mind is an inherently subjective thing, "depth" of trance is all relative. Someone who has never been in trance will have, their first time, gone by definition deeper than they have ever gone before. Someone who has been in a thousand trances may only be going a tenth as deep as that time a hypnotist took four hours and a team of others, in an ideal setting, to get them suuuuuuuuuuuuuuuuper deep. The experience of the subject, the nature of the trance, and the relationship between the hypnotist and the subject will all influence the subjective experience they have of how deep they went. All of that will, in turn, influence how much cognitive recalibration (no don't hit them in the head! That was a joke, people!) they need before going about their business.

When in doubt, give them a count of five. If they still seem out of it, let them sit for a minute and give them another count of five. If you are unsure whether they are fully conscious yet, ask them if their name is something ridiculous - if they are able to tell you "no" then there is a good chance they have heard the Windows start-up sound play in their head already.

It is also a good idea to suggest to them that they are feeling refreshed, revived and ready to go about their day, or something similarly positive. Framing the trance in a positive way will help them to come out of it without feeling groggy or drained. Also, give them permission to move or stretch or do anything else they may need after sitting or lying down for what may have been some time.

Check-In

After the scene is done, after you've finished making them dance to your tune and cum their figuratively-literal brains out, it's time to make sure they enjoyed it. It's also time to see which parts you might change, to make the next one even better.

There is no guide to the questions you should ask during this check-in, but a good place to begin is to ask them to tell you how they feel about everything. Make sure to ask for positives, but also for negatives. Ask if the induction worked, was effective for them, if the language felt right, if the suggestions were fun and in keeping with their kinks. Ask if there was anything they'd rather younotdo in the future, and keep a note of that too.

(Also - a limit is not a thing to be pushed unless they give you permission to do it. Them telling you they hate clowns is not license to slowly introduce clowns, in the hopes that they'll fall in love with them because your voice is just that awesome. Don't be that guy. Respect their limits and listen to them when they tell you what they are.)

After all that is done, talk with them about your thoughts on what your next scene might entail. Ask them what they want to do, what sorts of things they'd find sexy or fun, and go from there. The core of any hypnotic partnership is rapport, and building rapport is about building trust. Trust has to be founded on mutual respect, in turn, or else it doesn't really mean anything.

That is, in purely practical terms, why safeties are important. By using them assiduously you prove that you are trustworthy. That's the best way to have people trust you enough so that they can put their brains in your capable hands, and have lots of sexy hypnotic adventures in future.

Included in my Index of Writings on Safety & Consent. Read more on the topic, by me and by others, at the link!

#hypnokink #safety #best practices #consent