Retiring this account.
Feel free to find me rambling about anime and shit over at ljnya âď¸

â

JVL

Kiana Khansmith
Today's Document
Claire Keane
Stranger Things
2025 on Tumblr: Trends That Defined the Year
I'd rather be in outer space đ¸
Keni

pixel skylines
noise dept.
we're not kids anymore.
Not today Justin
RMH
Misplaced Lens Cap
will byers stan first human second
YOU ARE THE REASON
wallacepolsom
Show & Tell

JBB: An Artblog!
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@cheesestorm
Retiring this account.
Feel free to find me rambling about anime and shit over at ljnya âď¸

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Flight Rising is down
for several hours. What else am I supposed to do at work today?!!!
but seriously excited for new breed/genes!! Underwater bbs!
Rewatching AtLA right now because my partner has never seen it (I know, I know). We've been together for 7 years and now was the right time.
We meet Toph next episode and I am so excited.
Ok minor detail but ...
So I noticed in A:TLA, and itâs carried over in LoK, that Airbenders always seem to have an advantage in a fight. And at first, it felt like plot armour, particularly in A:TLA.
But when Aang fought Bumi, he lost most of that advantage. And I realised that this wasnât just plot armour. Someone had sat and worked it out: nobody has had to fight Airbenders for generations.Â
None of the other nations have had to train to face them, or practised sparring with them, or anything. Apart from Bumi, no bender in the show has ever even met an airbender before Aang comes along. And in LoK, for the most part people still havenât. We never see fights between those who have (for e.g. we never see Tenzin and Lin fight); when Korra and Tenzin use airbending, its a unique fighting style that people arenât trained to manage.
Itâs a really small detail, and it fundamentally works to give the heroes an advantage (and make up for Aangâs young age and lack of combat experience), but I love how itâs an advantage in combat for completely logical reasons.
The detail in these shows is amazing.Â
You can see the same principle in play whenever somebody fights somebody who uses a completely unfamiliar style. Combustion benders and lavabenders arenât straight up more powerful, but theyâre pretty much always something you havenât dealt with which presents unique challenges. That red lotus lady with no arms is just a perfectly ordinary waterbender, but using forms and styles nobody else has seen before. Jet routinely smacks around benders and soldiers, but loses hard to the first person he met who had actually studied diverse styles of swordplay. When Toph invents metalbending, nobody can deal with that, but seventy years later the counters are pretty well known among people who might have to fight the cops.
And itâs why Azula, a genius prodigy who has thought long and hard about how to counter every kind of magic and martial arts out there, keeps getting messed up by a kid with a boomerang.
itâs also a detail from the second ever episode
aang straight up says to the fire nation guards on zukoâs ship âyouâve probably never fought an airbender beforeâ, because he in-universe figures out that, if what everyone around him is saying is true, and airbenders have been extinct for a century (or at least have gone to ground enough to make people think that) then he is a totally unknown figure in anyoneâs calculations
this has been brought up before but itâs also one of the reasons why hama is so thrown in her fight with katara - waterbending is about energy exchange, keeping things flowing, throwing your opponentâs power back at them and we see katara and hama do this in their fight. however, when katara is faced with a powerful blast from hama, she stands her ground and blows it apart:
[image ID: a gif of katara in the puppetmaster. she is a teenage girl with dark skin and hair and blue eyes, wearing a red outfit. she turns and throws her hand out, stopping a blast of water and turning it into a huge shield. the background is a dark forest. end image ID]
why do i bring this up?
because itâs a move - and a mindset - influenced by earthbending, which hama has never faced (she went from the south pole, to prison, to the fire nation). itâs an indication not only of kataraâs skill and power, but also how sheâs learned from her travels, and from toph
one of my favorite details of atla is how the main charactersâ fighting styles adapt as they take on new enemies and make new friends with other bending styles. iroh straight up tells zuko about how he developed a technique for redirecting lightning by studying waterbenders, but if you watch closely especially in the last season, thereâs a lot of this sort of thing happening unspoken with the gaang, using the bending forms of other elements like katara does above. it really shows the strength in differences and diversity coming up against a fascist regime that wants everyone to conform.
Look at Korra metal bending here
Itâs completely different than anything weâve seen from other metal benders, who bend metal with sharp movements like the derivative of earth bending that it is
But Korra is fluid. She is bending metal like itâs water. Because she is a water bender. And she is the first person in history to be able to bend both metal and water and so she is able to combine these styles into one and move seamlessly between them. This shows so beautifully how the Avatar is the embodiment of all bending
Every time I think this show has shown me all it canâŚ.it gives me more.
The airbending thing is also part of why Zaheer is such an effective combatant. Despite using a fighting style that he is in practical terms very new to, he still wins a lot of fights - some of itâs pure skill in combat in general, but a lot of it is because no-one that he fights really knows how to manage airbending.
Except other airbenders.
It makes it exceptionally satisfying when he duels Tenzin and is completely outmatched. We realise that Zaheer isnât really that good of an airbender; heâs just a good fighter outright and has a ruthless streak that other airbenders donât.
Just⌠shout out for Tenzin, poster child for Asskicking Equals Authority mentor trope.
Aang was a very good airbender, but he was also still a child. And by the time he was an adult, he had to split his attention among the other elements.
Tenzin was a fully grown adult who had practiced airbending, and nothing but airbending, for his entire life, and he took it seriously. And his focus was rewarded by being the best damn airbender in any season of this show. He was the master. And I really appreciated that the show let him be the master, and didnât feel the need to Worf Effect him to make Zaheer look like a bigger threat.
Me from September 2021: maybe I should come back to Tumblr...
Me from November 2022: no but fr this time lol
~~~~
Anyway this is LJ_nya / MoonriseRep from đŚ bird app. I've a lot of revamping to do.

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Oh hello
Thinking about returning to... tumblr of all places. Hmm.
Maybe archive this one? Hmm.
wow
here I am on tumblr!Â
Iâm still poking around now and then and idk if anyone who follows me is still active but hello!Â
im 900% sure korrasami would do sit up kisses
â twitter â
â ig â
this gets funnier every yearÂ
The year is 2042. Your daughter is awkwardly silent as she eats her dinner. âSomething wrong sweetie?â She sighs and puts down her fork. âI was digging really deep in AO3 last nightâŚWhy didnât you finish that coffee shop au?â It happened. Your past has come back to haunt you. Nay, it never truly left.
U CANNOT OUTRUN UR CRIME
OKAY BUT WAIT. This has happened to me. Recently. Because I am old and I have things out there from previous fandoms with previous pseuds and one day my teenager begins a rant at me about people never finishing any WIPs on the pit of voles (which he does not call the pit of voles because he has No Knowledge of such a thing but yet he still reads on which I didnât think anyone did any longer) and he points out an example to me of something I WROTE AND LEFT WIPing for ages and he has NO IDEA #1 that his mom wrote this and #2 How much it still haunts me to this day that it will. sit. there. for. eternity. because I am too lazy to pull it down.
oh my god
#why didnât you finish cleaning your room?#IDK MOM WHY DIDNâT YOU FINISH THE RON/DRACO MERMAID AU?Â
( @mrv3000 )
Reblogging for the last comment.
This is every single wlw on this fucking website, dont even deny it
I feel so attacked right now
jsyk the actresses are married in real life!

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lahore pigeons are some of the most visually appealing birds out there. like in terms of visual design. very minimalist, good contrast.
Too bad Lahore pigeons are a domestic breed and donât appear in the wild at all. Some equally balanced wild colorations include
Pygmy Falcon
Great Hornbill
Wallcreeper
and
Black-throated Loon
this is a good addition to this post. thank you for this birds educations
I would like to submit the following additions to the world of exceptional bird color design:
Cedar Waxwing
Red Crowned Crane
Brahminy Kite
Green Tree Swallow (I mean seriously - those are metallic teal feathers against stark white. Damn.)Â
Bali Mynah
And, last but certainly not least, the cutest fucking puffball on this planet earth:
The Korean Crow-Tit
Iâd also like to contribute some pretty awesome birds
Hooded Pitta (or as like to call them little olives)
Coua
Mot-Mot
The Blue Crown Pigeon (the biggest pigeon)
good post
@ilovegirlsalways
@candiceirae
Iâm fond of the Golden Breasted Starling,
the Golden Pheasant,
and the Oriental Dwarf Kingfisher.
I take your well-designed bird palettes and I raise you
The European Bee-eater
Character Development: Speech
Finding your characterâs voice is one of the most important things you can do to make your character more fully developed. It can often be the thing that sets your character apart and makes the reader easily able to identify them. Creating your characterâs voice breathes life into them.
What to think about:
Formal or informal
Can be shown with:
sentence structure/complexity (shorter vs. longer sentences, number of clauses, etc.)Â
contractions (e.g. yâall versus you guys, I am vs. Iâm)
word choice (simple or advanced; more poetic vs. more practical, blunt vs. subtle)
word order/syntax (can indicate dialect and/or formality)
Things to ask yourself:
- If my character speaks formally/informally, is there a reason?
- Does it indicate their status?
- Or is it a rejection of their status? (e.g. does your highborn character prefer to speak informally because they hate their position in life, or does your lower class character speak more formally to make themselves appear higher class?)
- Is the way they speak normal for their society? In other words, if your character is, say, an alien from a highly formal culture, they wonât think of themselves as speaking abnormally. But if they visit another, less cultured planet, theyâll stick out like a sore thumb.
Catchphrases
When done well, this can be amazing. When done awfully, it makes the reader sigh and roll their eyes in exasperation. So, be careful not to overdo it!
Catchphrases can include:
slang (e.g. wicked, if your character is from Boston, like Faith Lehane from Buffy: the Vampire Slayer)
exclamations/swears (âHellâs bells!â - Harry Dresden, âZoinks!â - Shaggy, âHoly ___, Batman!â - Robin at various times)
automatic responses (such as in response to how they are, e.g. âFive by five.â - Faith Lehane, or in response to a question they donât want to answer, e.g. âSpoilers!â - River Song)
greetings/goodbyes (âHello, sweetie.â - River Song, âWhatâs up, Doc?â - Bugs Bunny)
introducing themselves ( âThe nameâs Bond. James Bond.â - James Bond, âTrust me. Iâm the Doctor.â - the Doctor, âDenny Crane,â said repeatedly by Denny Crane)
an explanation/repeat phrase of some other classification (âDammit, Jim, Iâm a doctor, not a ________.â - Bones, âYour mission, should you choose to accept itâŚâ - Mission Impossible, âLive long and prosper.â - Spock, âSame thing we do every night, Pinky! Try to take over the world!â - the Brain)
A lot of times, these catchphrases can become inside jokes, and merely referencing them is enough (think: âItâs a bird! Itâs a plane! Itâs Superman!â or âHoly _______, Batman!â).
But sometimes, it can feel a little forced (like Miss Martianâs constant use of âHello, Megan!â all the time in Young Justice). You want to use these catchphrases sparingly, and when they make sense. While you and I might say âfudgeâ or another such exclamation any time we trip, the reader does not want to read that twenty times in the same chapter because your character is a klutz. This is the art of writing, not the hyperrealism of writing. You want it to mean something, so use it only when needed.
Things to ask yourself:
- Does this character really need a catchphrase? How will this help establish character?
- Does the catchphrase come from the type of place they live or things they do? For instance, Harry Dresden is a wizard, so when he swears he says, âHellâs bells,â which reminds us of his job and difference from those around him. This wouldnât be the same if he simply said, âDang it,â any time he swore.
- Is there a reason they have a catchphrase? Is it deliberate or unconscious on their part?
- Is there a way you can flip the catchphrase and use it to signal a shift in the story or an unexpected twist (e.g. signifying that somehow your character as switched bodies with another person, like Faith from Buffy: the Vampire Slayer; alternatively, that something isnât right with the character, because of certain events, and theyâre not saying their usual catchphrase)?
Verbal Tics*
Verbal tics are sounds that are not really words, more like filler, that get used almost unconsciously in everyday speech. Words like âehm,â âuh,â and so on are all verbal tics. (Various internet sites assure me that throat clearing and sniffing can also be included here, but I leave that up to you.) For this section, however, I am also including words, but only those words that are filler. I am also including alterations to the text that represent how someone is speaking.
Now, I know that in any writing guide you read, they want you to NOT, NOT, NOT use regular tics like these in dialogue. Itâs annoying, repetitive, annoying, serves no purpose, annoying, and so on. In a sense, they are very much right. Donât use verbal tics for every character! But using them to distinguish one character (or a couple, in different ways) can work very well if done right.
Verbal tics can be:
words (examples: âYou donât wanna mess with us, see, âcause weâre dangerous, see,â or âSo, I went to the mall yesterday, and there was this dress, so I bought it, soâŚâ or even âLike, Iâm not even sure what Vanessa was, like, wearing at that party last night?â)
filler sounds (e.g. âeh,â âum,â âuh,â âer,â âhrrgh,â âurk,â and so on)
messing with the letters and format of the sentence (e.g. dragging out the letter, making every word separated for a slow speaker, running words together to indicate speed, etc.)
Examples of verbal tics (this is a section in which examples are very helpful, so here you go):
Damian Wayne, the current Robin at DC Comics: uses the distinctive sound âttâ in his appearances to express his emotions, even - tt - other comic series that he guest-stars in
Asmodeus from the Redwall series: drawsss out the letter ssss becaussse he isss a ssssnake
The Flash, at various points in DC Comics: speakswithallthewordstogetherbecauseheâstalkingsofast!!!
Canada, from the Hetalia anime: ending every sentence like a true Canadian, eh?
Things to ask yourself:
- What purpose would a verbal tic have for my character? Do they really need one?
- Is the verbal tic connected to an emotion, or is it involuntary? (Generally, in real life, it is involuntary, but once again, this is art, and so it can have meaning, if you so choose!) What emotion might it be connected to?
- Are they aware of it? Are they embarrassed by it? Do people make fun of them for it?
- Is it part of their dialect/culture?
- Is it a recent thing or have they always done it?
- Where is the balance between making it seem like a realistic tic and annoying my reader with the repetitiveness?
*I am not referring to any medical diagnoses here, although if you want to go right ahead and use medically diagnosed tics for a character, please feel free to! However, this section does not deal with those, as I am not an expert, although I understand there might be some confusion due to the terminology I have used. Please let me know if there is a different term I should be using instead, as I couldnât find one anywhere. Thanks!
Ways of addressing others
The way that your character addresses other characters says a lot about how they view and respect those around them, in addition to their personality. In addition, if you establish a character addresses others in a certain way (say, by last name only), then when they break this pattern, the reader knows it is important.
Different ways of addressing others:
nicknames (either a shortening of someoneâs name, even if itâs not usually shortened, or a name reflecting some characteristic of theirs - e.g. âJaneâ to âJanie,â or âShorty,â or Tony Starkâs brand of nicknames, like âCapsicleâ or âRock of Agesâ)
titles (similar to nicknames, but more formal - e.g. a character referring to people by their rank, job, familial relations, etc.)
last name onlyÂ
full name only (never shortened, includes first, last, and middle names)
no nicknames (never refers to a character by anything other than whatâs printed on their birth certificate, can be combined with others on these lists, especially the previous two)
familial referencing (e.g. Aragorn, son of Arathorn)
insults (ranging from harmless to aggressive, can be combined with the first one on this list, not always swears)
by physical/personal characteristics [epithets]** (e.g. by gender, hair color, eye color, traits - for instance, âboy,â âyou, redhead!â or âthe only one of you with any spineâ)
** This one tends to work best in stories set in older times or in sci-fi/fantasy. Epithets can be insults, but the epithets I am thinking of are more Homeric in nature.
Things to ask yourself:
- Is there a reason behind my characterâs decision to address people in this way? Does it indicate a lack of trust? A need to crack jokes?
- What does this say about my characterâs background? Is this the normal way to address people where they come from? Is it abnormal to do so in the place they are now?
- Does my character evolve from speaking this way? Do they start speaking in a different way, either deliberately or unconsciously? Why?
Accents
Accents are tricky. There are several different ways to write accents (Iâm currently working on a post that explains them further), but basically no matter how you write an accent, there are a few things you can do to portray the accent.
slang (e.g. barbie = barbecue in Australian slang)
word order/syntax (e.g. âIâm after going to Maryâsâ = âI just went down to Maryâsâ in Hiberno-English)
contractions (Iâve versus I have, or yâall versus ye vs youse vs you and so on)
idioms (words or phrases that do not have equivalents in other dialects/languages/places)
diction (words meaning different things, like âchipsâ in American English and in British English)
verbs (e.g. âainât,â âbe,â ârunnin,â or mixing up tenses)
Keep in mind:
- be RESPECTFUL of whatever accent youâre trying to portray, especially if itâs not your accent
- donât overdo the accent because it might end up sounding stereotypical (and that is not respectful - see above)
- you should get a feel for the accent youâre trying to write. Listen to the music, read something in that accent, watch/listen people talk in the accent until you hear the rhythm and way people with that accent talk.Â
Things to ask yourself:
- Is the way I am portraying this accent as accurate as it is within my power to make it? (In other words, have I done my research?)
- How does my character feel about their accent? Are they in a place where their accent is normal? Are they in a place where they stand out because of their accent?
- Continuing on that thought, how noticeable is their accent? Is it the equivalent of someone from, say, Boston going somewhere else in Massachusetts, or the equivalent of that person from Boston going to California, or the equivalent of that same person going to London? Each one becomes more and more noticeable the farther the person goes from their home.
- Has my character made an attempt to hide their accent? Deliberately intensify it? Or do they just not care?
- Does it get stronger or weaker based on their emotional state?
Emotion
The emotions your character normally expresses when theyâre speaking say a lot about their general emotional state. In addition, if there is a change in their emotional state, readers will be able to know that just from the way they talk (though context and body language are always useful!)
You can show emotion in speech through:
speed (if theyâre easily excited, they might talk fast! and with a lot of exclamation points! But if theyâre sad a lotâŚwell, they might talk a bit more slowly and take their timeâŚkind of like Eeyore.)
word choice (is it generally positive? negative? Or somewhere in between?)
reactions to other charactersâ dialogue (are they generally patient and wait for the other person to finish? Or do they jump in because theyâre so excited about something the other person has said?)
volume (are they loud? Quiet? Are they normally quiet but get loud when theyâre angry? Or vice versa?)
understandability (not necessarily stuttering or stumbling over words, but can be; are their procession of thoughts/logic easy to understand? Is their conclusion sensible? Are they understanding others easily or do they need clarification? For instance, if your character is easily excited, maybe their dialogue comes in a jumble of words that is hard to understand. Maybe theyâre so angry theyâre not listening to anything the other person is saying, and their dialogue reflects that.)
punctuation/capitalization (are they unsure of themselves and what theyâre saying a lot, so they use a lot of question marks like this? Are they aggressive in their emotions and so THEY SHOUT LIKE THIS!!! Are theyâŚkind of thoughtful and take the time toâŚexpress themselves correctlyâŚor are they - well - I mean are they - like - the kind of people who - you know, backtrack and correct themselves a lot?)***
***Again, you want to be careful not to overdo this, as it can get annoying AND lose the effect it has on the reader. If one of your characters SHOUTS. EVERYTHING. THEY. SAY. THEN WHEN SOMETHING REALLY IMPORTANT HAPPENS TO THE CHARACTER AND THEY GET VERY EMOTIONAL AND SHOUT, ITâS LOST A TON OF EMOTIONAL IMPACT ON THE READER. Like the end of that sentence. Did it make a big impact on you? It should - it was the entire point of the sentence. But it was lost amidst all of the other capitalized words. The same thing goes for any type of repeated punctuation/capitalization for a character - you want to make sure it counts.
Things to ask yourself:
- Why does my character express this emotion generally?Â
- What does it say about their outlook on life?
- What does that say about how they view other people?
- Does their dialogue rely on these techniques too much when trying to show their emotions? How can I combine these with their body language?
Focus/Fixations
This is a pretty simple one. Focus can be organization of thoughts - basically, what idea(s) can they or want to focus on. A character that is very focused might be a practical person who is focused on the here and now, and their plans for whatever situation theyâre in. A character that is less focused might be someone who thinks of several things at once, which reflects in their dialogue.Â
Fixations are the things that their minds keep coming back to. So for example, if a character is worried about how they did on a test, throughout the story their dialogue might keep returning to that subject or referencing it. For instance: âHey, when do you think weâre getting that test back?â or âWow, this is pretty hard. Almost as hard as that test we took.â You want to make it less obvious than this, of course! (A good example is Anya from Buffy: the Vampire Slayer and her obsession with making money.)
Ways to show focus/fixation:
number of ideas/topics in their dialogue at a time
relevance of topics to the present
relevance of topics to the past/future
how they react to people who do not share their focus/fixation (e.g. a focused person finds it annoying when a person who is not focused keeps interrupting them, or a person who is less focused finds it annoying that a person who is focused is paying too much attention to one thing)Â
Things to ask yourself:
- How focused are they when talking?
- Do they think of a million things at once, or just one at a time?Â
- What are some short-term fixations they might have? Some long-term?
- Why might they be focused/not focused? Why might they have these fixations? What do these fixations say about their character?
- Do the focus/fixations change over time? How? Why? Does it reflect a change in their character?
- Am I making my character too focused/fixated on something? Is it detracting from or adding to the story or the character arc?
How others see them vs. how they see themselves
This one is probably the broadest one on the list. There arenât specific things you can do to get this across (itâs more of a general thing), but itâs a cycle that you should keep in mind.
Your character sees themselves in a certain way. For instance, they might think of themselves as helpful, or kind.Â
The way that they see themselves can influence why they do things (e.g. if they see themselves as a person who doesnât go on adventures, like Bilbo Baggins, they will refuse to go on an adventure.)
The actions that they take influences how other characters see them, but the other characters do not necessarily see your characterâs perception of themselves (e.g. in the Hobbit, Bilbo sees himself as helpful and averting war by giving the Arkenstone to the Elves. He thinks he is being a good friend. However, Thorin sees it as a betrayal and thinks Bilbo is disloyal and not a good friend. Both of them at the time of their actions think they are right.)
How other characters see your character influences how they treat your character (e.g. Because Thorin thinks Bilbo has betrayed him, he threatens Bilbo and rejects him as a friend. Bilbo escapes with his life, but only through the help of the other dwarves. Again, to each character, their own actions are justified and so their dialogue reflects their belief that they are right. So, when they talk to each other, both of them think that they are right and the other is wrong, and you can see this in their dialogue.)
How they treat your character influences how your character sees and reacts to these people, and can influence your characterâs perception of themselves (e.g. Because Thorin rejected Bilbo and called him a traitor, Bilbo is bewildered and believes for a time that Thorin cannot be saved, and he feels like he failed).
The cycle continues.
All of this is reflected in their dialogue to each other.
Knowing how each of your characters see each other and themselves will influence their dialogue and reactions to each other. Characters can misunderstand each other, underestimate someone, or help someone feel better about themselves, just to name a few things.Â
Things to ask yourself:
- How does my character see themselves? Why? Are they one hundred percent correct?
- How do other characters see my character? Why? Are they one hundred percent correct?
- Does my character have any idea of other peopleâs perceptions of them? If so, do they care? Is my character correct about what they think other people think about them?
- Will my characterâs perspective of themselves/other people change? Why and how? Will other charactersâ perspectives of my characters change? Why and how?
- How do all these reactions to each other influence the story?
Hope this helped! Let me know if there are any questions.
- Riona
MLIS 1331: Post-It Notes, Flags, Paperclips on Every Page & Your Sanity.
I went to my first Anime Boston this past weekend with my girlfriend. It was such a good time!!
[edit: to clarify, Iâm the Human Luna]

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The Story of Romeo and Juliet Condensed Into a Single GIF
Sometimes my dad is such a jerk.Â