#and it's a difficult balance to strike!

[hecatesbroom]

"I'll just write a drabble this time, I swear!" I said at 3 am, a couple days ago. I am now neck-deep in an introspective piece on Maude and Vivian's relationship, at 1.4k with no sign of stopping anytime soon

[sparrowlucero]

worst doctor who creature design?

c'rizz because it's really lame to have an alien main character in an audio only series just look like some dude. he could look like anything. the visuals of audio are not constrained by budget or practicality. why is he just a guy. they need to fix this.

[artbyblastweave]

🔥 New Vegas: Old World Blues

I do not think they gave appropriate weight to the racial implications of the Little Yangtzee internment camp and the use of its inmates as test subjects- particularly since, unlike similar sites in the franchise where the atrocity is long past, the specific perpetrators and overseers are still alive and are meant to come across as, if not sympathetic, at least massively charismatic

[hearttodevour]

the puppet is lying in a heap when the marionettist takes hold of its control.

the wires straighten as she pulls, running up to pulleys in the ceiling and back down. with fluid, almost human movements, the puppet stands up, hands clasped in front of it, facing its mistress.

"hello, pretty thing," she purrs. the puppet curtsies as the marionettist's deft fingers play its strings. it is a pretty thing, painted and lacquered wood in a short, frilly dress. its flawless face is fixed into the image of a serene expression.

"I'm feeling lonely. wouldn't you keep me company?" she steps closer to the puppet, and lifts up its chin with her free hand. she places a kiss on its cool lips.

the question is a jest, the answer predetermined. the puppet is hers, wholly and utterly and it would do just as she wished.

the puppet follows the marionettist in a few waltzing spins across the cluttered room, ending with her on the edge of the bed. the puppet kneels, impassive eyes watching its mistress strip one-handed. she spreads her legs to it, running her hand up her thigh.

the puppet leans in, hands on her inner thighs, and runs its segmented tongue between the marionettist's lips, flicking at the clit in rhythm to the minute twitches of the control. her deep, lingering breaths sound out in the quiet room.

"slower," the marionettist breathes, and without delay the puppet slows, with long licks and gentle circles. it's a nimble thing, precise in its servitude. the marionettist leans her head back.

"my pretty little toy," she says, biting her lip, then twitches with a sharp moan. "there," she says, and the puppet's tongue replicates its motion, growing faster with each flick. Soon its mistress lacks the breath for orders, but strings yank it to right where it is needed, force its tongue deeper inside her. the pretense falters and the puppet is reduced to an instrument of her pleasure, her fingers blurring in furious motion.

she orgasms and the puppet shudders and twitches and writhes in an echo of its mistress's thrashing. finally it falls limp on the floor. the marionettist pants, exhausted and euphoric. after some long moments, she reaches for the control, swaying from the ceiling. the puppet rises and goes to lie down next to her.

she wraps her arms around it, pulls it against her, and strokes its hair, smiling all the while.

[mariocki]

New Scotland Yard: Point of Impact (1.1, LWT, 1972)

"I thought they'd lumber you with it."

"Did you, why?"

"It's a touchy one, isn't it?"

"There's a policeman involved."

"Yeah, unpleasant."

"Always."

"You were bound to get it."

"Thank you."

"Would've never happened at all if it hadn't been for that blasted Law and Order Brigade turning up on the scene, bloody reactionaries."

"Look, spare me the catchphrases, will you? I don't understand what half of them mean, I don't suppose the people who bandy them about do either."

"Well, I happen to know what a reactionary is."

"Good. You must explain it to me in great detail. Some other time."

[bubble-popping]

stockholm syndrome au!techno must be on the clouds now like he finally has cdream's heart and the dependecy that comes with it

He's actually happier than he thought he'd be! It's what he's been working towards for months, yk?

More under cut :P

Obviously there's still some steps he wants to take, a kiss is just the beginning of his great ambitions, hehe. But, that little peck really takes him by surprise. He gets a surge of like, almost genuine emotion? It's elation, certainly, but also this wave of warmth in his chest that he hasn't ever really felt before.

C!Phil is his best friend, the only person he's ever truly cared about. He genuinely fears for his safety and respects his opinion a lot, which is why he caves pretty quick to the guy when Phil presses him on what he's doing. This is the only connection he can use as a comparison, and in all his life no one has even come close to it.

Yet, here he is, holding and kissing this guy who at first was just someone he saw as an equal on the battlefield and that he got a kick out of making fun of him, now someone that has Techno jumping through all these elaborate hoops and making meticulous plans just to keep him a secret away from everyone else. He thinks if Phil was ever in danger and needed to be hidden away for whatever reason, he'd do much of the same things he is now.

It took centuries for him to establish that level of connection and respect for Phil. C!Dream wormed his way into Techno's heart in less than a year.

[neixins]

in the deepest recesses of my heart lies the knowledge that gija would use embarrassing euphemisms to describe anything sexual, even in his head. however, i refuse to subject both myself and my beloved readers to that so i’m letting him say cock (and by say i mean think, let’s not get carried away here!). it’ll be good for him

[true-blue-sonic]

I consider my earliest writing of Silver (think New Beginnings and such) to be far too uwu bapy cinnamon roll, but now I'm wondering if I'm not taking things too much into the opposite direction by making him too grömpy instead🤔

[saltedcaramelchaos]

I keep forgetting that y'all don't know the lore I made up for my au LOL-

Like specifically in the case of Chip's statement, there's a lot going on there that will be elaborated on in 6 to 15 business statements, but I haven't explained it to anyone outside of DMs-

[gilfodile]

i don't have any new drawings to offer unfortunately but rn the concept i have for odette is that since her name's french she's clearly a vaugardian that moved to ka bue for whatever reason--so she likely follows change too. so her talk about it's part of why odile's so skeptical of the belief

[eleccy]

aa5 and aa6 spoilers here!

another reason why aa1, 2, 3 and 4 "feel" different from 5 and 6 - different writer. yamazaki isn't necessarily a bad writer, he did write some banger cases for ace attorney investigations 2 and i think also 1 as well. i'm not sure if aa5 and 6 are a result of too many cooks spoiling the broth, executive meddling or what, but... it does lose something.

shu takumi's writing is hallmarked by its lightheartedness, its focus and dedication to the comedic elements while never neglecting the emotional heart of the characters. it is characterized by simple, domestic events between family and friends. there are no bombs blowing up the courtroom, no dark age of the law (except for, well, rfta), no massive political revolutions. the stakes are relatively low and local, focusing instead on the family drama of the feys, the gramaryes, the angst of edgeworth, and how phoenix gets dragged into the tangle of their lives.

it is interesting and compelling storytelling because a LOT of storytelling time is spent on motive, characters, and how they feel about events. the funny moments endear you to the characters all the more, and the optional dialogue makes them seem more human and relatable. phoenix's snarky inner monologue and huge heart work together to grant him a distinct and unique character voice that makes you want to root for him. aa5 and aa6 try to focus more on grander stakes and simplified plotlines about good and evil, the lawyers v. the phantom who is unapologetically evil, the lawyers v. ga'ran who is fundamentally unsympathetic. it's not really as nuanced as say, morgan, who is definitely evil, but her motivation for being so is more fleshed out based on how jealous she was and her desire to elevate pearly to a higher status and escape being the branch family. the sense of urgency to events, and flat-ness of some of the humorous elements, causes you to connect with the characters less. phoenix is much less connected/engaged with trucy than he was in aa4, for example. his beanix personality is all but gone. apollo is also noticeably less connected with trucy whereas in aa4 they were joined at the hip. this is one of the more egregious examples but there are more, like klavier being reduced to a one-dimensional fanservice robot and a lack of explanation of any aa4 plot threads.

while the writing is not the best, i believe aa5 and aa6 do have some good things on offer. the stories and adventures are engaging, have some decent humor in them, and the pacing isn't bad. but the lack of takumi's input is really, really felt and makes them weaker entries in the franchise. i feel it is harder to get excited about replaying them than it is to get excited about replaying 1-2-3-4.

[an-absolute-nightmare]

the thing about social interaction is that it is an essential skill that i never learnt and whatever of it existed was only grievously impaired during the pandemic so i'm trying to learn it by aggressively throwing myself into social situations even though it is difficult. surely something will stick

[seiwas]

thank you to everyone who’s read my simon fic so far 🥺 i see some tags mentioning that they don’t follow cod and aren’t familiar with him at all besides maybe gifsets and edits—and i am so touched!!! that you’ve chosen to continue reading despite that 🥺 thank you so much 🥺

[aphelea]

god i love when characters have full conversations without communicating anything that they were intending to

[ladies-of-fortune]

Control your body language, control the world

Why is it so important?

Body language is everything. It’s the silent superpower that influences your success in every area of life. If you can't connect with people, progress becomes impossible. Whether it’s a first date, a job interview, or making friends, your body language does the heavy lifting. It’s not always what you know but who you know. Even if you have a one in a million idea, if no one likes you, it will stay stuck at zero.

We all unconsciously give off subtle signals that reveal our true thoughts and feelings. A mere twitch of someone’s face is all it takes to express displeasure. Mastering your own signals puts you in control of how others perceive you.

The resting bitch face conundrum

If your neutral expression looks angry, sad, or afraid, you have two options:

Adjust your behaviour to compensate - Put your energy into making sure your first impression negates the vibes your resting face gives off. Once you're on more comfortable terms, you can relax and people will know that expression is just your face.

Surgery - This is an option but it's a risky one. If you go down this route, I recommend getting a procedure to fix your mouth into a neutral position rather than a permanent smile. There's a chance you'll come out looking like the joker, and your range of emotions will be restricted.

Fake smiles are worse than not smiling

Please don't fake smile, it doesn't fool anyone. I've seen a fake smile directed at me that gave the distinct impression of an ape preparing to attack, and it's haunted me ever since. A genuine smile reaches your eyes and lights up your voice. It's an infectious, unconscious energy. If you can't muster a real smile, it's better to remain neutral and true to your emotions than have others detect a falsehood from you.

Be open with your body language

Don't mute your expressions and gestures. For some this may have arisen as a defence mechanism, but in adulthood it can make you appear unapproachable. Unlearning this takes time, but its worth it. Once you feel safe to express your true feelings, your authenticity will shine. Being yourself, regardless of others’ expectations, commands respect and attracts people who genuinely like you for you.

(Of course, being authentic doesn’t mean being a public menace. There’s a line.)

Win people over with your body language

Lean in slightly during conversations to show interest.

Nod or smile occasionally while the other person talks to encourage them to keep speaking.

Use your hands when you speak to display enthusiasm.

Don’t hide your hands—it makes people subconsciously think you’re up to something shady.

Maintain good eye contact. Too little, and you seem disinterested; too much, and you risk coming off as intense. Strike a balance by aiming for natural, consistent eye contact about 70% of the time, and break away occasionally to keep it casual.

Respect personal space. Standing too close can make people uncomfortable, while standing too far might seem aloof. Aim for about an arm’s length of distance and adjust based on the other person’s comfort level.

Learn to read others

Once you master your own body language, you can start picking up on what others are saying without words. Spot their tells, mirror their movements and like magic, you’ll become “one of them.” Without quite knowing why, people will feel comfortable around you. This makes any requests or difficult conversations you'll have with them in the future much easier.

Context is key

Body language isn’t one-size-fits-all. What works in a casual setting may not translate in a formal one. Leaning back in a chair might show relaxation with friends but could come across as disengaged in a job interview. Similarly, an enthusiastic wave is great for greeting friends but may seem unfocused in a serious business meeting.

Tailor your approach to the environment and the people you’re interacting with. A little adaptability goes a long way in ensuring your body language sends the message you want it to send.

[briarpatch-kids]

Let's talk mobility aids!

Canes

Canes are for when you need to take a little bit of weight off of one side of your body, need a little help with balance, or need a little extra stability when you walk. It's an easy mobility aid to find and get, and it's pretty easy to figure out how to use. Have the cane sized so the handle sits at wrist level, then hold it on the opposite side to the one that hurts. Match your cane strikes to the steps on the hurt side. It will hurt your arm, elbow, and shoulder sometimes, but having a properly sized cane will help.

Rollators

Rollators are kind of the "next step up" in support. They come with more restrictions, you get limited to ramps and stuff, but they're also the least restrictive wheeled mobility aid because they're light and easy to pick up and toss around. They also have a seat a lot of times and a basket so you don't need to carry stuff. They're for when you need a place to rest, something to lean on when you walk, better balance assistance than a cane, and less weight bearing than a cane. I also found that it helped me with fatigue quite a bit. There's two main kinds, euro style like the first, and regular like the second. There are other fancier ones but I'm covering the basics here.

Rollators are my favorite mobility aid and I've used everything from canes to a fancy high grade power chair. They're just the perfect balance of help and freedom. They provide so much support for how far they go.

Crutches

Arm crutches are pretty neat! They're a lot more ergonomic than a cane. In fact, some people use a single arm crutch as a cane. They distribute the weight a little better, so it's not all on your wrists, and they support you better than a rollator can. The major cons I found are that they take two hands to use so you can't carry much and I had a really hard time trying to learn to walk with them. A lot of people who use forearm crutches have other mobility aids and use the forearm crutches when they want to or need to walk.

Manual Wheelchairs

These are for when walking becomes more difficult than pushing a wheelchair. There's no weight being put on your legs and feet and depending on your needs, you can get really specific with your adaptations if you have a custom wheelchair verses a standard wheelchair. My first custom chair looked like a monster truck because i took in the woods and gravel, my second custom chair after I got sicker has a head rest, a backrest that holds me up, and a little electric box that I can attach that helps me push. The difference between getting a standard and custom wheelchair is dependent on how much money the user has, what kind of needs they have, and what kind of medical access they have. (One is not more "real" than the other.) I highly recommend getting a cushion for under your butt if you have a standard chair without a cushion, I used a standard full time for 6 months and a cushion made a huge difference.

Mobility scooters

Mobility scooters are for people who can't walk long distances, but can still walk with the help of a cane or unassisted. If you can walk around your house, but not really much else, a mobility scooter might be the aid for you! There's a lot of different styles and battery life lengths and handling abilities so try a few different scooters out if you can.

Powerchairs

Powerchairs come in a couple different types or "groups" depending on your needs. Group 1 is the kind of chair you're probably most familiar with. It's basically for someone who needs a powerchair to get around their house, the doctors, office, and grocery store. You can't do any custom seat cushions or anything, but it's for people who don't need it. Think of like... someone who can walk pretty okay still, it just hurts to walk or they're off balance or a little weak feeling. A lot of times more elderly people will use these, if you're more active look into group 2

Group two chairs are little more durable, a little more stable, sometimes you can switch the captains seats out for custom seating... They're what a full time powerchair user would use if they don't need specialty functions like tilt or recline. They also often have 6 wheels rather than 4 like the group 1 chairs have.

Group 3 powerchairs are reserved for specific diagnoses like muscular dystrophy, ALS, and other severe neurological and neuromuscular illnesses. These are also called "rehab" chairs because they're for making sure severely disabled people have quality of life. The tilt function is for pressure relief, though you can also get things like elevation so you can raise and lower your chair, and some of them can recline flat. There are other avenues of moving grade 3 power chairs beyond the joystick as well in case someone can't use their hands or doesn't have them. (Head controls, torso controls, and straw controls called sip and puff are alternatives.) They can go on a little worse terrain than group 1 and two chairs and go a little farther, but if they get stuck they weigh 350 lbs and it's awful.

There's a few other types of mobility aid that I don't know enough about, like ankle foot orthotics and gait trainers, but these are the basic "mobility aid" most people will come across.

If you use another type of mobility aid and want to educate people, add it on!!