Woooow epic pix :O my god.. This is sooooooo *-*
Slayed me…
artist and colorful version -> http://www.pixiv.net/member_illust.php?mode=medium&illust_id=61785994

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pixel skylines
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2025 on Tumblr: Trends That Defined the Year

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KIROKAZE
★
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@matchabearlivesinashoe
Woooow epic pix :O my god.. This is sooooooo *-*
Slayed me…
artist and colorful version -> http://www.pixiv.net/member_illust.php?mode=medium&illust_id=61785994
Following this excellent revelation of Y.en Pr.ess’s translation, I went to find some instances of Chuuya’s—sorry, Chuoya’s—name being mentioned, and this is what I did with my time instead of writing/translating/being a productive member of society.
“Still up to no good huh, Dazai!”
The sound of footsteps on the stairs followed that exclamation, but Dazai didn’t need that to confirm who it was. In horror, he turned his head and said, after a disbelieving pause, “That voice……”
“This scene is fantastic,” the Port Mafia executive, Nakahara Chuoya, said. “Better than a billion-dollar artwork, even.”
(Nakahara Chuoya’s First Appearance, Chapter Ten, Bungou Stray Dogs)
“Fight me, Dazai.”
There was no compromise in his eyes as the mafia executive glared at Dazai. Dazai looked back at him silently, the broken shackles hanging from his wrists.
“I’ll destroy each and every plan you have,” he continued, his index finger hooked in an obvious challenge to the other man.
“……Chuoya……” Dazai raised both his wrists, the look in his eyes as uncompromising as Chuoya’s.
“Ah?”
Dazai snapped his fingers, and before Chuoya could understand what he was up to, the shackles fell apart like flimsy tissue, falling to the ground with sad clangs as though they realised how futile they had been—when faced against the pin in Dazai’s hand.
(Nakahara Chuoya Confronting Dazai Osamu, Chapter Ten)
Dazai let out a little laugh, the smile on his face a clear taunt. “What’s this, giving up? ‘Chuoya hunted by the organisation owing to me’—that would have had a marvellous ring to it too.”
Chuoya gritted his teeth, feeling the taunting words jabbing at him, but unable to do anything about this situation he had been forced into. “Damnit……”
(Nakahara Chuoya’s Defeat, Chapter Eleven)
“Cheers, but one amendment.” Dazai’s grin was as infuriating as ever when Chuoya turned to look at him. “My current dream is committing a lovers’ suicide with an exquisite woman, so there’s not even a smidgen of joy to be gained being killed by you. Sorry ‘bout that.”
He certainly didn’t sound sorry at all. And Chuoya was no longer surprised by what the man said. Without even sighing, he said, “Ah, that so……then next time I’ll find a beautiful woman who wants to commit suicide.”
Dazai’s beam was something altogether revolting. It even seemed as though he was sparkling. “Chuoya……so you’re really a nice bloke all along?” he said with hope and wonder in equal parts.
“I meant I want you to hurry up and die, idiot.”
(Dazai Osamu’s Realisation of Nakahara Chuoya’s Niceness, Chapter Eleven)
Looking at the man standing upside down on the ceiling, it clicked for Yosano. “That sort of Special Ability……” Yosano said with a dangerous expression. “You’re the ‘Gravity Manipulator’, Nakahara Chuoya, aren’t you?”
(Yosano Akiko and Miyazawa Kenji Fighting Nakahara Chuoya, Chapter Twenty Two)
“Only one, meaning……” Chuoya looked up with sudden understanding. “You intend to use ‘Corruption’?”
Dazai might have been laughing before, and even now there was still a smile on his face. But his voice was hard when he said, “We’re termed ‘Double Black’ due to once using ‘Corruption’ to annihilate an enemy organisation, together with their buildings, in a single night.” Those dark eyes that seemed to capture not even a spark of light narrowed. “Yet……should I be tardy in supporting, Chuoya will die. The choice belongs to you.”
(The Old Double Black Facing a Pinch, Chapter Thirty One)
Happy Holidays @dazzai!
Lost train
Osamu Dazai (太宰治)
Week 1 Day - 3 Coffee Shop
Atsushi was in the coffee shop with Dazai while Akutagawa seemed to be stalking Atsushi 0w0
@shinsoukoku-week
My idol
This will never not be funny.
a hero for the ages
“らいおんろぐ” BY 黒まふらー
Illustration SOURCE & ARTIST
Permission to repost given by the artist ~ Do not repost
Helpful things for action writers to remember
Sticking a landing will royally fuck up your joints and possibly shatter your ankles, depending on how high you’re jumping/falling from. There’s a very good reason free-runners dive and roll.
Hand-to-hand fights usually only last a matter of seconds, sometimes a few minutes. It’s exhausting work and unless you have a lot of training and history with hand-to-hand combat, you’re going to tire out really fast.
Arrows are very effective and you can’t just yank them out without doing a lot of damage. Most of the time the head of the arrow will break off inside the body if you try pulling it out, and arrows are built to pierce deep. An arrow wound demands medical attention.
Throwing your opponent across the room is really not all that smart. You’re giving them the chance to get up and run away. Unless you’re trying to put distance between you so you can shoot them or something, don’t throw them.
Everyone has something called a “flinch response” when they fight. This is pretty much the brain’s way of telling you “get the fuck out of here or we’re gonna die.” Experienced fighters have trained to suppress this. Think about how long your character has been fighting. A character in a fist fight for the first time is going to take a few hits before their survival instinct kicks in and they start hitting back. A character in a fist fight for the eighth time that week is going to respond a little differently.
ADRENALINE WORKS AGAINST YOU WHEN YOU FIGHT. THIS IS IMPORTANT. A lot of times people think that adrenaline will kick in and give you some badass fighting skills, but it’s actually the opposite. Adrenaline is what tires you out in a battle and it also affects the fighter’s efficacy - meaning it makes them shaky and inaccurate, and overall they lose about 60% of their fighting skill because their brain is focusing on not dying. Adrenaline keeps you alive, it doesn’t give you the skill to pull off a perfect roundhouse kick to the opponent’s face.
Swords WILL bend or break if you hit something hard enough. They also dull easily and take a lot of maintenance. In reality, someone who fights with a sword would have to have to repair or replace it constantly.
Fights get messy. There’s blood and sweat everywhere, and that will make it hard to hold your weapon or get a good grip on someone.
A serious battle also smells horrible. There’s lots of sweat, but also the smell of urine and feces. After someone dies, their bowels and bladder empty. There might also be some questionable things on the ground which can be very psychologically traumatizing. Remember to think about all of the character’s senses when they’re in a fight. Everything WILL affect them in some way.
If your sword is sharpened down to a fine edge, the rest of the blade can’t go through the cut you make. You’ll just end up putting a tiny, shallow scratch in the surface of whatever you strike, and you could probably break your sword.
ARCHERS ARE STRONG TOO. Have you ever drawn a bow? It takes a lot of strength, especially when you’re shooting a bow with a higher draw weight. Draw weight basically means “the amount of force you have to use to pull this sucker back enough to fire it.” To give you an idea of how that works, here’s a helpful link to tell you about finding bow sizes and draw weights for your characters. (CLICK ME)
If an archer has to use a bow they’re not used to, it will probably throw them off a little until they’ve done a few practice shots with it and figured out its draw weight and stability.
People bleed. If they get punched in the face, they’ll probably get a bloody nose. If they get stabbed or cut somehow, they’ll bleed accordingly. And if they’ve been fighting for a while, they’ve got a LOT of blood rushing around to provide them with oxygen. They’re going to bleed a lot.
Here’s a link to a chart to show you how much blood a person can lose without dying. (CLICK ME)
If you want a more in-depth medical chart, try this one. (CLICK ME)
Hopefully this helps someone out there. If you reblog, feel free to add more tips for writers or correct anything I’ve gotten wrong here.
How to apply Writing techniques for action scenes:
- Short sentences. Choppy. One action, then another. When there’s a lull in the fight, take a moment, using longer phrases to analyze the situation–then dive back in. Snap, snap, snap. - Same thing with words - short, simple, and strong in the thick of battle. Save the longer syllables for elsewhere. - Characters do not dwell on things when they are in the heat of the moment. They will get punched in the face. Focus on actions, not thoughts. - Go back and cut out as many adverbs as possible. - No seriously, if there’s ever a time to use the strongest verbs in your vocabulary - Bellow, thrash, heave, shriek, snarl, splinter, bolt, hurtle, crumble, shatter, charge, raze - it’s now. - Don’t forget your other senses. People might not even be sure what they saw during a fight, but they always know how they felt. - Taste: Dry mouth, salt from sweat, copper tang from blood, etc - Smell: OP nailed it - Touch: Headache, sore muscles, tense muscles, exhaustion, blood pounding. Bruised knuckles/bowstring fingers. Injuries that ache and pulse, sting and flare white hot with pain. - Pain will stay with a character. Even if it’s minor. - Sound and sight might blur or sharpen depending on the character and their experience/exhaustion. Colors and quick movements will catch the eye. Loud sounds or noises from behind may serve as a fighter’s only alert before an attack. - If something unexpected happens, shifting the character’s whole attention to that thing will shift the Audience’s attention, too. - Aftermath. This is where the details resurface, the characters pick up things they cast aside during the fight, both literally and metaphorically. Fights are chaotic, fast paced, and self-centered. Characters know only their self, their goals, what’s in their way, and the quickest way around those threats. The aftermath is when people can regain their emotions, their relationships, their rationality/introspection, and anything else they couldn’t afford to think or feel while their lives were on the line.
Do everything you can to keep the fight here and now. Maximize the physical, minimize the theoretical. Keep things immediate - no theories or what ifs.
If writing a strategist, who needs to think ahead, try this: keep strategy to before-and-after fights. Lay out plans in calm periods, try to guess what enemies are thinking or what they will do. During combat, however, the character should think about his options, enemies, and terrain in immediate terms; that is, in shapes and direction. (Large enemy rushing me; dive left, circle around / Scaffolding on fire, pool below me / two foes helping each other, separate them.)
Lastly, after writing, read it aloud. Anyplace your tongue catches up on a fast moving scene, edit. Smooth action scenes rarely come on the first try.
Reblogging to read this wisdom later yo
Yo, as an Rper, this is fucking fantastic!
Bad books on writing tell you to “WRITE WHAT YOU KNOW”, a solemn and totally false adage that is the reason there exist so many mediocre novels about English professors contemplating adultery.
Joe Haldeman (via rachelfershleiser)
I cannot reblog this enough, this is hilarious to me.
(via inkblot101)
休息 by 釜本
To write novels is to write about humans
文豪 Stray Dogs ス ト レ イ ド ッ グ ス
Four years ago, back when the darkness of night was a far bluer hue than now…
role swap elise and mori?
Mafia boss Elise would be kind of interesting.