wokeupintheilluminati reblogged
gnegar
I present to you: Masculinity
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t’challa is a true bro
these men are ACTUAL ROYALTY, THEY CAN AFFORD A BIT OF FURNITURE
Steve: Black Panther, how did it happen
T’challa:
They’re the only 2 avengers with siblings ofc they aint sayin shit
aaliyah-appollonia
lmaoooo ^^^^^
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I’m not kidding when I say I screamed at the top of my lungs
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Historians: “Unfortunately, we don’t have many written sources and texts from old germanic cultures.”
Vikings, angrily crying and graffitting every flat surface in the Mediterranean they can get a chisel on: “WE’RE TRYING! OUR BEST!”
wokeupintheilluminati reblogged
norsecourse
Small Devotional Acts
Freya / Freyja
Norse goddess of love and beauty, sex, magic, passion and fertility, war, and death. Member of the Vanir, but was sent to live with the Aesir as truce.
❧ A goddess of love is very much a goddess a self-love. Take care of yourself; drink water, cook a healthy meal, take a longer shower, do a face mask, straighten your back and take a deep breath. Treat yo self.
❧ Dedicate the act of sex or masturbation to her.
❧ Make small donations to your local planned parenthood, NICU, fertility clinic, or any other agencies that are geared towards family planning and/or children, especially those in the wee beginnings of life.
❧ Read the news, see what’s going on in our world today. (Death and war have been prominent topics).
❧ Donate time or money to a local vet or shelter. If time, spend with cats in particular.
❧ Leave suitable food out for any strays, once again gearing this towards cats.
❧Do something you love.
❧ Get some fresh air, some sun.
❧ Take time to dress up and/or add in daily accessories; necklaces, rings, bracelets, hair clips, etc. Choosing a day to dress to the nines for “no reason” can also be done in her honor.
❧ Carpool! In multiple myths she allows others to use her cloak of falcon feathers in order to travel quickly between the realms, which is where this one comes from.
❧ Put offerings to her in your jewelry box, makeup-bag, etc
❧ Practice runes or other forms of divination in her honor, set out crystals if you’re able. If you practice witchcraft, dedicate a spell or small ritual to her.
❧ Choose room spray or perfume/cologne to wear with her in mind - scents that are light, floral, and fresh are the major ones I can think of.
❧ If anyone you know has passed during the line of duty, share their stories with her. If you don’t know anyone personally, offer support to those that have gone through such a loss.
❧ Light a candle for her, jasmine and rose are the first to come to mind, but any scent you’d like to share with her will do the trick!
Feel free to add your own! This post is subject to updates, but anything added from another source will get it’s due credit. You can request an additional Norse deity / figure here.
wokeupintheilluminati reblogged
Yet more proof Nazis are idiots
1. They appropriate ᛏ (the Tiwaz rune) as a symbol, which is named after the god Týr.
Týr’s biggest claim to fame: He’s disabled. He’s only got one hand because the other was bitten off by Fenrir the Great Wolf (one of Loki’s Monstrous Children).
2. They appropriate Mjölnir (Thor’s hammer) as a symbol.
Thor Odinson is mixed-race. His father is Odin, who the Vikings considered to be an Ás, and his mother is Earth, who is a Jötunn.
3. They claim to ascribe to a religion called “Odinism”.
Odin Borson the Allfather is the mixed-race disabled leader of the Æsir and any other deities residing in Asgard (Vanir like Njörd, Jotnar like Loki, etc).
His father, Bor, was an Ás and his mother was a Jötunn (aka Giant), meaning he’s part Æsir and part Jotnar, or mixed-race.
Odin gave up one of his eyes as the price for drinking from Mimir’s Well to gain wisdom, making him disabled.
3. a) Asgard is multicultural.
Uneducated people think Asgard is where the Viking gods came from. It’s not. The Viking gods hailed from many worlds, Asgard being just one of them.
They also hailed from Vanaheim, Helheim, and Jotunheim. There were also extremely powerful beings which came from Alfheim and Svartalfheim. Then there’s the Norns, who live at the Well of Urd by the roots of Yggdrasil, the Tree of Life. And there are, of course, the many creatures who live on Yggdrasil’s branches (my all-time favourite hands down being Ratatosk, the chipmunk who runs up and down Yggdrasil “spreading slanderous gossip”).
Slightly more educated people think Asgard is the home of the Æsir. That’s not entirely correct.
People who have actually read the Eddas and other Viking lore know that Asgard was the homeland of the Æsir, but that it wasn’t just populated by Æsir.
Njörd, Freyja, and Freyr were Vanir.
Skaði (Njörd’s wife), Járnsaxa (Magni’s mother), and Loki were Jotnar.
Odin, Thor, Þrúðr, Móði, Magni, and Baldr were mixed-race (Æsir-Jötunn).
Dark Elves were super good friends with the Æsir and made and cared for their weapons, so it’s not unreasonable to assume some might have settled in Asgard.
Hel undoubtedly would stop by for visits from Helheim to visit her dad (Loki).
The Dwarves would presumably be coming and going all the time (the only reason they couldn’t permanently settle there being the whole turns-into-stone-if-touched-by-sunlight thing).
3. b) There were plenty of women in power in Asgard.
Frigg could see the future and was highly respected for her abilities.
Freyja was so badass Loki and Thor once spent a good deal of time arguing about which of them was going to ask her for help because neither wanted to be the one she got mad at when she said no.
Hel ruled one of the lands of the dead and during Ragnarök commanded an army of all the dead souls in Helheim.
Idun was charged with one of the most important jobs in all of Asgard: Guarding the golden apples which granted the gods immortality.
Gefjun created the Danish island of Zealand.
The Valkyries were warriors and were charged with taking the souls of the chosen up to Valhalla, one of the underworlds (it’s possible they’d also take the chosen to Gimlí as well, though there’s very little known about the third underworld).
3. c) Loki was either intersex or nonbinary.
Loki once turned himself into a mare and gave birth to Odin’s eight-legged horse Sleipnir. He’s also known to cross-dress and use seiðr magic (which was considered “unmanly" and was used almost exclusively by women).
3. d) Thor has been known to crossdress convincingly enough to pass as a gorgeous babe.
No, really. He dressed as a bride to steal back Mjölnir when it was stolen from him by Thrym, king of the Jotnar. He was dressed convincingly enough that no one in the wedding party realized he wasn’t Freyja (who’s renown for her beauty) until it was too late.
Oh, and Loki went along as Thor’s serving maid to have his nephew’s back just in case.
wokeupintheilluminati reblogged
God of War reaction gifs ↳ a gift from the devs
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Prepared for anything. #UnfailingGoods
Shop the new spring catalog: http://fil.sn/MarchCatalog18
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How To Write a Group Of Villains - A Brief Summary
I always see lists on how to write villains alone, but never about groups. So I’d like to give a few pointers on how to write these characters from what I do know about them.
One thing I’ve noticed from all the stories I’ve read, video games I played, and movies I watched is that you can automatically pinpoint each individual within a group. They all have their own quirks and fall into common tropes. Tropes are not a bad thing as long as they are done well.
Here’s a list of all the tropes I’ve seen done in any type of media, both properly and poorly:
-The Leader:
Is usually the level-headed one in charge of all the other villains. May have a weird personality trait of their own, or depicted as completely serious. Either way, the leader does not mess around and is single-minded towards his/her/their goal.
*If you want to write this character as serious, you should be careful to not make them too bland. Explain their motives and show their drive to succeed in a subtle or obvious way, depending on how the story itself is written.
-The Crazy One:
*Cue maniacal laughter*
Almost every story I’ve seen tends to have a villain who’s sanity is questionable, or they simply aren’t sane at all. Whether it’s from their past or they chose to be that way, they tend to be the most entertaining to watch. For me, anyways. They are often reckless and quick to act, with little to no regard for the well-being of others (or even themselves). They can be used either for comedy relief or to make an already grave situation worse. It’s both of these most of the time. The Leader can have trouble keeping this character under control, since their actions can be unexpected.
-The Funny One:
Can also be a hybrid of The Crazy One, or they can be a separate chracter entirely. Not much I can say about this one. They like to make jokes and use quips in anything they say. May get on The Leader’s nerves.
-The Strategist:
Can also be The Leader, but does not have to be. They come up with all of the plans for the group (with approval from The Leader) and help to determine what the best course of action would be. Could also be considered ‘The Smart One’, since The Strategist is commonly depicted as a scientist or some other form of higher intelligence. This trait tends to make this character full of themselves and think they are above their cohorts (aside from The Leader, whom they may be afraid of). They usually despise the idea of failure.
-The Backstabber:
Can be any of these characters aside from The Leader. They often surface if they are not on board with The Leader’s plans. They will turn against The Leader, sometimes bringing other members of the group to join them. This will either cause the group to fall apart or will have The Leader remove this character from the group entirely (through death, exile, enslavement, etc).
-The Tank:
Is the most powerful of the group, or at least appears that way. Can sometimes be The Leader. Can either be depicted as the silent, serious type who doesn’t speak much (if at all), or the dense type who has to be told things multiple times. Even then, they may misinterpret the information and ruin The Leader’s plans.
-The Cruel One:
Can be any of these characters, or simply one separate individual. They are known for taunting and harassing the protagonist in several ways, ranging from mild to downright twisted and insane. They can push the protagonist to their breaking point. Sometimes they can even corrupt the protagonist by making them do something that goes completely against everything they believe in. This leads to the protagonist questioning their path and motives for their own primary goal.
-The Sympathetic One:
The member of the group who doesn’t seem to hate the protagonist as much as the other villains do. Still follows The Leader’s plan wholeheartedly, yet also seems to understand the protagonist’s plight. May or may not have some sort of important connection to the protagonist. Could be any of the characters in this list, even The Leader. Can be a separate individual as well.
-The Fallen Hero/Friend:
A member of the group who used to be close to the protagonist(s), but has now joined the villains. Whether it was willingly or because they had no other choice, they may either:
*Hate the protagonist(s)
*Want to join them again, but can’t for a specific reason
*Wish to leave their old life behind, cutting all ties with what made them who they were before.
*Once again, can be any of the characters on this list or another individual.
-Whenever you write any of these characters, keep these three things in mind:
- Give them all motives. I cannot stress this enough. It doesn’t have to be an essay’s worth of explanations for each and every villain, but they should all have some sort of reason as to why they’re even there. Otherwise, why did you put them into the story?
- Show, Don’t Tell. This is much easier when it comes to video games, tv shows and movies since you can literally show what’s happening without saying a word. When writing, give a clear and concise explanation of things involving the villains and their situations, but don’t start rambling about, let’s say, a villain’s favortie pair of socks for five pages. The story will become too much for a reader to digest, as well as lose the appeal. Make it short, sweet, and to the point. Your audience will thank you for that. But don’t be afraid to sneak in a one or two extra details for foreshadowing, if you want to make things more interesting.
- The villains can be likeable. Just because they aren’t who the audience should be rooting for, it doesn’t mean that you can’t give them a few redeeming qualities. Have one of them enjoy nature. Have them make the readers laugh with their antics, like hitting each other or robbing from some rich dude down the street. Make them have some human qualities so that the audience can relate to them. If one or two of them are unlikeable, that’s fine. But if the entire group is unlikeable to the point of being unbearable for the audience to watch/read, you are doing something wrong.
Thanks for listening. Feel free to add some opinions of your own!
wokeupintheilluminati reblogged
peter parker is GEN Z and that means he is OPTIMISTIC for LIFE, NOT a millenial, all of whom crave DEATH
Peter is gen z so he only wants death ironically
“Mr Stark I don’t wanna go”
“You told me the other day you wanted to Die”
[through tears] “that was a meme!!”
wokeupintheilluminati reblogged
band: sings about being in love me: can’t relate florence + the machine: sings about being a big tall tree and watching as the world ends and becoming an omnipresent goddess who lives in the woods with her dryad brethren me, with tears in my eyes: me too florence me too
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reeveskeanu-deactivated20181102
me every year judging every single outfit at the met gala like i know shit about Fashion:
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cottoncatking
IKEA bringing the SÅLT
that guys comment says so much about the american nationalism and attitudes towards other countries
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Source: justcatposts
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justawritingaid
Anonymous asked:
Hey I am currently writing a book that focuses on some heavier topics, how do I make sure I'm not romanticizing them?
Romanticizing can show up with more than just heavy topics, and it’s important to distinguish between romanticizing (which is often about situation) and character/narrator perspective (which is more about tone). It’s possible for perspective/tone to romanticize something– but it’s usually acceptable if done with meaning and purpose and/or if it’s accurate to an individual and how they think! However, it should still very much be kept in check and here are some of the ways it tends to pop up:
Wrong tone: The narrator’s tone doesn’t fit the event, usually propping it up in a “good” light when it’s clearly a wrong act. In general, an improper tone isn’t right to use– however it can also show narrator perspective REALLY well. A murderer is not going to narrate someone getting shot the same way a volunteer at an animal shelter would; someone who doesn’t see an act as “wrong” or “a big deal” won’t narrate it as such. Not all narrators are “ideal people” (they really shouldn’t be to be interesting) and their perspective should affect the tone of the description. So, look at your narrator and decide what kind of tone realistically fits for those heavy topics given who they are.
Ignorant character/narrator: This is related to tone in that a character will narrate based on what they think of life and situations– which can come from romanticized ideas from a community, culture, friends, etc. Romance is often romanticized (until the person enters a romantic situation and then the view is corrected), as is violence (especially the idea that it solves problems easily, when it really doesn’t). Not everyone has a clear view of reality and that can be reflected in writing. Some writers choose to have a more down-to-earth character to help correct this narrator– or at the very least show the reader that the narrator doesn’t have an accurate way of thinking.
No consequences, or unrealistic ones: This is the real issue behind romanticizing. Characters get away with things they shouldn’t have, reality doesn’t kick in when it makes no sense not to, or situations are just unrealistic in general. There are some characters who actively try to avoid consequences or just live in a way that lets them, and that’s okay as long as it’s made clear that it’s not normal nor an ‘easy escape’. You can have a character who thinks romantically about something, but then learns the reality later on because of consequences.
It’s important to realize that consequences can appear in multiple ways: social, economic, physical, emotional– realistic consequences touch on all of those elements (and more, I’m sure I forgot some). It’s easy for writers to focus on punishing a character for bad acts with events that humiliate or cause pain, but it’s often better to focus more on how the character’s life would be affected in more subtle ways (or not so subtle, depending on the reality behind the issue).
It’s often very powerful for a character with a set idea of something (a romanticized idea) to experience reality and change that thought– often more so than just having a character who knows what’s right 24/7.
General stories aren’t moral tales (unless you’re purposefully writing one, but I don’t think you are), and even if they were, sometimes bad people get away with bad things. While romanticizing is definitely bad, a degree of it can be true to certain aspects of life and it’s okay if you want your writing to reflect that in how your characters think. Romanticized situations and consequences are where the real trouble begins. It’s not the writer’s job to beat readers over the head with the idea that something is bad (if you want to, then write a moral tale instead of a story for entertainment) but realistic consequences are often the best way to avoid romanticizing while keeping an interesting story.
You can still have a character who avoids romanticized tone, ignorance, and suffers realistic consequences, but you want to be careful not to make them too ‘perfect’, particularly with thought and perspective. Everyone has something that they romanticize in one way or another, but it doesn’t necessarily have to be that heavy subject you’re writing about. It really depends on the story and subject as to what level of realistic romanticized perspective that you’re willing to work with.
Realistic consequences are the key! Perspective and knowledge can also play a part in avoiding romanticizing things, but you want to be careful to make sure accurate the narrator still has appropriate tone and knowledge for who they are.
Good luck with your story!
