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áŽŹá”›á”ƒ á¶ á”‰á”›á”‰Êł ⁜ᔇⁱᔍ ËąÊ°á”’á”—âŸ ᔇᔘᔗ á¶ Êłá”’á” áŽŹá”›á”ƒ á”–á”’á”› ⁱⁿ ᔉᔛᔉⁿᔗ˹ âœáŽŹËĄËąá”’ á”â±á”›â±âżá” ˹ᔒᔐᔉ á”˜âżâżá”ƒá”á”‰á”ˆ á”›á”’ËĄËĄá”‰Êžá”‡á”ƒËĄËĄ á”–ËĄá”ƒÊžá”‰ÊłËą ˹ᔒᔐᔉ âżá”ƒá”á”‰Ëą á”‡á”‰á¶œá”ƒá”˜Ëąá”‰ ᎔ á”ˆá”’âż'á”— á”âżá”’Ê·; ᎔'ᔐ âżá”ƒá”â±âżá” ᔗʰᔉ á”‡ËĄá”’âżá”ˆâ±á”‰ á”â±ÊłËĄ ⁱⁿ ᔗʰᔉ á”‡Êłá”ƒâ±á”ˆ Ꮁᔛⁱᔉ ʷʰᔒᔐ áŽŹá”›á”ƒ ᔍᔃᔛᔉ ᔃ á”‡ËĄá”’á”’á”ˆÊž ⁿᔒ˹ᔉ ᔗᔒ➎ ᔃⁿᔈ ᎔'ËĄËĄ á¶œá”ƒËĄËĄ áŽŹá”›á”ƒ'Ëą ᔗᔉᔃᔐᔐᔃᔗᔉ áŽșá”ƒá”—á”ƒËĄâ±á”‰âŸ ᎔ ËĄâ±á”á”‰ Ëąá”–á”’Êłá”—ËąâžŽ ᔃⁿᔈ ᎔'ᔐ á”á”’Ëąá”—ËĄÊž â±âżá”›á”’ËĄá”›á”‰á”ˆ ⁱⁿ á”›á”’ËĄËĄá”‰Êžá”‡á”ƒËĄËĄâ€§ áŽčÊž âżá”ƒá”á”‰ ⁱ˹ áŽŹá”›á”ƒ áŽșá”ƒá”›á”ƒÊłÊłá”’ ᔃⁿᔈ ᎔'ᔐ á”–ËĄá”ƒÊžâ±âżá” ʷⁱᔗʰ áŽșá”ƒá”—á”ƒËĄâ±á”‰ á”ƒá”á”ƒâ±âżËąá”— Ꮁᔛⁱᔉ‧ ᔆᔒᔐᔉ ᔍᔘʞ ⁱⁿ ᔗʰᔉ Ëąá”—á”ƒâżá”ˆËą á¶œá”ƒËĄËĄá”‰á”ˆ ˹ᔒᔐᔉ á”â±ÊłËĄËą á”’á”›á”‰ÊłâžŽ ᔇᔘᔗ ᎔ á¶ á”’á¶œá”˜Ëą ᔒⁿ ᔗʰᔉ ᔍᔃᔐᔉ‧ ᎔ Êłá”˜âż ᔘᔖ á”—á”’ ᔗʰᔉ á”‡á”ƒËĄËĄ á”—á”’ ʰⁱᔗ ⁱᔗ á”ˆá”’Ê·âż ᔒⁿ Ꮁᔛⁱᔉ‧ á”€Ê°á”‰Êłá”‰'Ëą ᔃⁿ á”ƒá”˜á”ˆâ±á”‡ËĄá”‰ á”á”ƒËąá”–âžŽ ᔃⁿᔈ ᔃ á”â±ÊłËĄ ˹ᔃⁱᔈ 'Ê°á”‰Êł ᶠᔃᶜᔉ ⁱ˹ á”á”’âżâżá”ƒ ᔇᔉ á”‡á”˜Ëąá”—á”‰á”ˆ' ᔃ˹ ᎔ Ëąá”ƒÊ· Ê°á”‰Êł ⁿᔒ˹ᔉ á”‡ËĄá”‰á”‰á”ˆâ€§ ᔀʰᔉ ᔐᔒᔐᔉⁿᔗ á”‰âżá”ˆá”‰á”ˆ Ê·Ê°á”‰âż ᔗʰᔉ Êłá”‰á¶  á”‡ËĄá”‰Ê· ᔗʰᔉ Ê·Ê°â±Ëąá”—ËĄá”‰â€§ 'ᔂʰᔃᔗ? áŽŹÊłá”‰ ʞᔒᔘ á”â±á”ˆá”ˆâ±âżá”? ᎔ᔗ Ê·á”ƒËą á¶œËĄá”‰á”ƒâż!' ᔀʰᔉ Êłá”‰á¶  á”—á”˜Êłâżá”‰á”ˆ ᔇᔘᔗ ᎔ Ê·á”ƒËąâż'á”— á”ˆá”’âżá”‰ ʞᔉᔗ‧ 'ᎎᔉʞ; ᎔'ᔐ á”—á”ƒËĄá”â±âżá” á”—á”’ ʞᔒᔘ!' 'ʞᔒᔘ ᔗᔒᔘᶜʰ ᔐʞ á¶œÊ°á”ƒâ±Êł á”ƒá”á”ƒâ±âż áŽșá”ƒá”›á”ƒÊłÊłá”’ ᔃⁿᔈ ʞᔒᔘ á”ƒÊłá”‰ á”á”’âżá”‰!' ᔆᔒ ᎔ á”Êłá”ƒá”‡á”‡á”‰á”ˆ ˹ᔒᔐᔉ ˹ᔃⁿᔈ ᔃⁿᔈ á”—Ê°Êłá”‰Ê· ⁱᔗ ᔃᔗ ʰⁱᔐ➎ á”’âżá¶œá”‰ á”ƒá”á”ƒâ±âż á”á”ƒá”â±âżá” ᔗʰᔉ Ëąá”–á”‰á¶œá”—á”ƒá”—á”’ÊłËą á”á”ƒËąá”–â€§ '᎔ ᔃᔐ á”ˆá”’âżá”‰!' ᎔ ˹ᔃⁱᔈ➎ Ê·á”ƒËĄá”â±âżá” ᔃʷᔃʞ‧ áŽșá”ƒá”—á”ƒËĄâ±á”‰'Ëą á”â±á”›â±âżá” ᔐᔉ ᔗʰᔉ á¶œá”’ËĄá”ˆ ËąÊ°á”’á”˜ËĄá”ˆá”‰Êłâ€§ ᔀʰᔉ á”›á”’ËĄËĄá”‰Êžá”‡á”ƒËĄËĄ á”–ËĄá”ƒÊžá”‰ÊłËą ˹ᔉᔉᔐ á”—á”’ á¶ á”’Êłá”á”‰á”— ᔐʞ á”‰ËŁâ±Ëąá”—á”‰âżá¶œá”‰âžŽ ᔇᔘᔗ ᔐʞ ᔐᔒᔐ Ëąá”–á”’á”á”‰ á”—á”’ ᔃ ᶜᔒᔃᶜʰ ᔃᔗ ᔃⁿ ᔃ˥˥ á”â±ÊłËĄËą Ëąá¶œÊ°á”’á”’ËĄâ€§ ᎎᔉ Ê·á”ƒËą ᔗʰᔉ ᔍᔘʞ ⁱⁿ ᔗʰᔉ Ëąá”—á”ƒâżá”ˆËą Ê·á”ƒá”—á¶œÊ°â±âżá” ᔃⁿᔈ ʰᔉ á”á”˜Ëąá”—'ᔛᔉ ᔗʰᔒᔘᔍʰᔗ ᎔'ᔈ ᔇᔉ ᔃ ᔍᔒᔒᔈ ᶠⁱᔗ‧ áŽșá”’Ê· ᎔'ᔛᔉ ᔇᔉᔉⁿ Êłá”‰á¶œÊłá”˜â±á”—á”‰á”ˆ á”—á”’ á”‚á”‰Ëąá”—á”‡Êłá”’á”’á” á”–ËĄá”ƒÊžâ±âżá” ᔒⁿ á”—Ê°á”‰â±Êł á”‡á”ƒËąá”á”‰á”—á”‡á”ƒËĄËĄ ᔗᔉᔃᔐ‧
đŸ€‘đŸ’°đŸ”«
💙 Charlotte Watsford FaceBook Rp-Charlotte Watsford https://m.facebook.com/p/Rp-Charlotte-Watsford-100010160796693/?wtsid=rdr_0JTp8yzSiQkQHnX3N&_rdr Charlotte Watsford https://m.facebook.com/profile.php?id=100002214244272 Charlotte Watsford https://m.facebook.com/profile.php?id=100003201917048 Charlotte Watsford https://m.facebook.com/profile.php?id=100004632035834 Brittany Byrnes https://m.facebook.com/profile.php?id=100005152664267 Charlotte Watsford https://m.facebook.com/profile.php?id=100005818148651 Charlotte Watsford (Mermaid) https://m.facebook.com/profile.php?id=100007475553512
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☻% 𝐃𝐄𝐀𝐓𝐇 𝐍𖣠𝐓𝐄 â˜ŠïžŽđŸ““ Ę‡ĘˆâŽŒ
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https://scontent-atl3-2.cdninstagram.com/o1/v/t16/f1/m82/B7482B8F1AFE48A6D7AFF78E88A30CA6_video_dashinit.mp4?efg=eyJxZV9ncm91cHMiOiJbXCJpZ193ZWJfZGVsaXZlcnlfdnRzX290ZlwiXSIsInZlbmNvZGVfdGFnIjoidnRzX3ZvZF91cmxnZW4uY2xpcHMuYzIuNzIwLmJhc2VsaW5lIn0&_nc_ht=scontent-atl3-2.cdninstagram.com&_nc_cat=103&vs=662837598683199_1862724721&_nc_vs=HBksFQIYT2lnX3hwdl9yZWVsc19wZXJtYW5lbnRfcHJvZC9CNzQ4MkI4RjFBRkU0OEE2RDdBRkY3OEU4OEEzMENBNl92aWRlb19kYXNoaW5pdC5tcDQVAALIAQAVABgkR0JrYnJSS3lPbHV2YnZnREFBakJOUzZ1M0pONGJxX0VBQUFGFQICyAEAKAAYABsAFQAAJu713PHjk9g%2FFQIoAkMzLBdAVTEGJN0vGxgSZGFzaF9iYXNlbGluZV8xX3YxEQB1%2FgcA&ccb=9-4&oh=00_AfDrJpszwnt8fI2ZlbMjHr_L95AQoxJHCjQpAx1rMsPC2A&oe=65184B12&_nc_sid=2999b8
‘Crying isn’t going to help’ by HonestRage I'm a murder the one who killed my wife. He's just blubbering, perhaps a way of pleading, for his life... Perhaps if he spoke to me to reason, it might've ended differently. Perhaps I might've spared instead of murder if he only could talk out of it. But that was obviously not going to happen. After all, he was only just born moments ago.
SherlockHolmesz 25 apr 2023 On average, you walk past 36 murderers in your lifetime. ~iFunny
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Warning: This item may contain sensitive themes such as nudity.

‘Crying isn’t going to help’ by HonestRage She's gone, all because of him. Dead. He killed my wife. She'd still be here, if it's not for him. If only he could speak with reason; I could’ve let him live long enough to explain. But that was obviously not going to happen. After all, he was born just a few minutes ago...
All I saw was red ‎ ‎ ‎ ‎ ‎ ‎ ‎ ‎ â†“Ëąá¶œÊłá”’ËĄËĄ á¶ á”’Êł Ëąá”—á”’ÊłÊžâ†“ I check into small hotel some kilometres away. It is late. I am tired. I tell woman at desk I want a room. She tells me room number and give key. “But one more thing, comrade; there is one room without number and always lock. Don’t even peek in there.” I take key and go to room to sleep. Night comes and I hear trickling of water. It comes from the room across. I cannot sleep so I open door. It is coming from room with no number. I pound on door. No response. I look in keyhole. I see nothing except red. Water still trickling. I go down to front desk to complain. “By the way who is in that room?” She look at me and begin to tell story. There was woman in there. M*rdered by her husband. Skin all white, except her eyes, which were red..
https://www.wordexample.com/list/words-suffix-cide Foeticide, of a fetus Neonaticide, of a child during the first 24 hours of life Infanticide, an infant from month old to 12 months Avunculicide, one's uncle Fratricide, one's brother Mariticide, one's husband or significant other Matricide, one's mother Nepoticide, one's nephew Parricide, of one's close relative Patricide, of one's father Sororicide, of one's sister Uxoricide, of one's wife or girlfriend Nepticide, of one's niece Amiticide, of one's aunt Geronticide – the abandonment of the elderly to Senicide
Troy Leon Gregg was the first man to have his death penalty upheld by the Supreme Court after the decision of Furman v. Georgia, but he didn’t die in prison. Troy Leon Gregg, The Man Who Escaped Death Row Only To Be Murdered The Same Night
Anglo-Celt Published in Cavan, county Cavan Ann MORRISON for her child on 5th January last. Frances MORROW, sworn and examined -- Knows Ann MORRISON who was in her service ; she came to witness' house on the 10th of January ; she asked her what became of the baby, prisoner said it was dead-born ; did not say who the father was ; she remained nine days in her house, and the Head-Constable arrested her the Friday after. James SPROULL, Esq., M.D., sworn and examined. He deposed to having made a post mortem examination ; the child must have from strangulation ; there was a conjestion(sic) of the lungs ; there was a mark on the left side of the neck ; strangulation must have been caused by the thumb ; the child was a fine child. The witness gave similar testimony to the Court. http://www.irelandoldnews.com/Cavan/1857/MAR.html March 5, 1857
🇼đŸ‡Ș Anne MAGOURTY charged with the murder (by poison) of her stepson, Patrick Magourty at Teebane, on the 16th of February 1877. 🇼đŸ‡Ș
đŸ©žđŸ«€đŸ™đŸ§ đŸ·đŸ«€đŸ«đŸ©čđŸ•”đŸœđŸŠŒđŸ–
áŽŸá”ƒá”˜Ëąá”‰ á”—á”’ Êłá”‰á”á”‰á”á”‡á”‰Êł ˹ᔒᔐᔉ ᔒᶠ á”—Ê°á”’Ëąá”‰ ʷᔉ ᔇᔃᔈᔉ á¶ á”ƒÊłá”‰Ê·á”‰ËĄËĄ á¶ Êłá”’á” á”›á”ƒÊłâ±á”’á”˜Ëą Ê·á”ƒËĄá”Ëą ᔒᶠ ˥ⁱᶠᔉ‧‧‧ Ê°á”‰á”ƒÊł á”—Ê°á”‰â±Êł Ëąá”—á”’Êłâ±á”‰Ëą Ꮁᔃᶜʰ ᔒⁿᔉ ⁱ˹ Ëąá”–á”‰á¶œâ±á”ƒËĄâ€§ áŽ±á”›á”‰ÊłÊž ⁱ˹ á”˜âżâ±á‘«á”˜á”‰â€§ áŽșá”’ á”—Ê·á”’ á”ƒÊłá”‰ ᔗʰᔉ Ëąá”ƒá”á”‰â€§ ᎔ Ê·â±ËąÊ° ᎔ á¶œá”’á”˜ËĄá”ˆ ᔛⁱ˹ⁱᔗ ᔃ˥˥ ᔒᶠ ᔗʰᔉᔐ➎ Êłá”‰á”ƒá”ˆ ᔃᔇᔒᔘᔗ ᔃ˥˥ ᔒᶠ ᔗʰᔉᔐ➎ ËĄá”‰á”ƒÊłâż ᔃᔇᔒᔘᔗ ᔃ˥˥ ᔒᶠ ᔗʰᔉᔐ➎ Ê·Êłâ±á”—á”‰ Ëąá”’á”á”‰á”—Ê°â±âżá” ᔃᔇᔒᔘᔗ ᔃ˥˥ ᔒᶠ ᔗʰᔉᔐ➎ ᔃⁿᔈ ËĄá”‰á”ƒá”›á”‰ ᔃ á¶ ËĄá”’Ê·á”‰Êł á¶ á”’Êł ᔃ˥˥ ᔒᶠ ᔗʰᔉᔐ‧ áŽžá”’á”’á”â±âżá” ᔃᔗ Ê°á”‰á”ƒá”ˆËąá”—á”’âżá”‰Ëą ᔃⁿᔈ Ê·á”’âżá”ˆá”‰Êłâ±âżá” ᔃᔇᔒᔘᔗ ᔗʰᔉ ˥ⁱᔛᔉ˹ ᔒᶠ ᔗʰᔉ ᔖᔉᔒᔖ˥ᔉ ᔗʰᔉʞ Êłá”‰á”–Êłá”‰Ëąá”‰âżá”—â€§
à­šà­§ 𝓭𝓼đ“Șđ“» đ“čđ“»đ“źđ“œđ“œđ”‚ 𝓰đ“Čđ“»đ“”đ“Œ à­šà­§ 𝐈 𝐧𝐞𝐞𝐝 đ­đąđ©đŹ — đ đžđ§đžđ«đšđ„ đ­đąđ©đŹ 𝐹𝐧 đ°đ«đąđ­đąđ§đ  đČđšđźđ« 𝐞𝐬𝐬𝐚đČ 🍃📚 𝟭. đ—œđ—źđ˜† 𝗼𝘁𝘁đ—Čđ—»đ˜đ—¶đ—Œđ—» đ˜đ—Œ đ˜†đ—Œđ˜‚đ—ż 𝘀𝘁𝗿𝘂𝗰𝘁𝘂𝗿đ—Č. đ—¶đ—»đ˜đ—żđ—Œđ—±đ˜‚đ—°đ˜đ—¶đ—Œđ—», đ—șđ—źđ—¶đ—» đ—Żđ—Œđ—±đ˜†, đ—°đ—Œđ—»đ—°đ—čđ˜‚đ˜€đ—¶đ—Œđ—», 𝗿đ—Č𝗳đ—Č𝗿đ—Čđ—»đ—°đ—Č𝘀. đ—±đ—Œ 𝗡𝗱𝗧 đ—łđ—Œđ—żđ—Žđ—Č𝘁 đ˜đ—Œ đ—¶đ—»đ—°đ—čđ˜‚đ—±đ—Č 𝗿đ—Č𝗳đ—Č𝗿đ—Čđ—»đ—°đ—Č𝘀 𝗼𝘁 đ˜đ—”đ—Č đ—Čđ—»đ—± đ—źđ—»đ—± đ˜đ—Œ đ—œđ˜‚đ˜ đ˜đ—”đ—Čđ—ș đ—¶đ—» đ—°đ—Œđ—żđ—żđ—Č𝗰𝘁 đ—łđ—Œđ—żđ—șđ—źđ˜đ—¶đ—Œđ—» + 𝗼đ—čđ—œđ—”đ—źđ—Żđ—Čđ˜đ—¶đ—°đ—źđ—č đ—Œđ—żđ—±đ—Č𝗿. 𝗼đ—čđ˜€đ—Œ, đ—¶đ—»đ—°đ—čđ˜‚đ—±đ—Č đ—¶đ—»-𝘁đ—Č𝘅𝘁 đ—°đ—¶đ˜đ—źđ˜đ—¶đ—Œđ—»đ˜€ đ˜„đ—”đ—Čđ—» đ˜„đ—żđ—¶đ˜đ—¶đ—»đ—Ž. 𝟼. đ—°đ—”đ—Č𝗰𝗾 đ˜„đ—¶đ˜đ—” đ˜†đ—Œđ˜‚đ—ż 𝘁đ—Čđ—źđ—°đ—”đ—Č𝗿/đ—œđ—żđ—Œđ—łđ—Čđ˜€đ˜€đ—Œđ—ż đ˜„đ—”đ—Čđ˜đ—”đ—Č𝗿 đ˜đ—”đ—Č𝗿đ—Č 𝗼𝗿đ—Č đ—źđ—»đ˜† 𝗿đ—Čđ—Ÿđ˜‚đ—¶đ—żđ—Čđ—șđ—Čđ—»đ˜đ˜€ đ—łđ—Œđ—ż đ˜đ˜†đ—œđ—Č đ—Œđ—ł đ—łđ—Œđ—»đ˜ đ—źđ—»đ—± đ—¶đ˜đ˜€ đ˜€đ—¶đ˜‡đ—Č. 𝟯. đ—±đ—Œđ—»â€™đ˜ 𝗯đ—Č đ—źđ—łđ—żđ—źđ—¶đ—± đ˜đ—Œ 𝘂𝘀đ—Č đ—±đ—¶đ—źđ—Žđ—żđ—źđ—ș𝘀/đ—șđ—źđ—œđ˜€/đ—°đ—”đ—źđ—żđ˜đ˜€ đ˜„đ—”đ—Čđ—» đ˜„đ—żđ—¶đ˜đ—¶đ—»đ—Ž đ˜†đ—Œđ˜‚đ—ż đ—Č𝘀𝘀𝗼𝘆𝘀, đ—”đ—Œđ˜„đ—Č𝘃đ—Č𝗿, đ—±đ—Œđ—»â€™đ˜ đ—łđ—Œđ—żđ—Žđ—Č𝘁 đ˜đ—Œ 𝗿đ—Č𝗳đ—Č𝗿đ—Čđ—»đ—°đ—Č đ˜đ—”đ—Čđ—ș (đ—Żđ—Œđ˜đ—” đ˜‚đ—»đ—±đ—Č𝗿 đ˜đ—”đ—Č đ—±đ—¶đ—źđ—Žđ—żđ—źđ—ș đ—źđ—»đ—± đ—¶đ—» đ˜đ—”đ—Č 𝗿đ—Č𝗳đ—Č𝗿đ—Čđ—»đ—°đ—Č đ—čđ—¶đ˜€đ˜). đ—¶đ˜ đ˜€đ—”đ—Œđ˜„đ˜€ đ˜đ—”đ—źđ˜ đ˜†đ—Œđ˜‚ 𝗿đ—Čđ—źđ—± đ˜†đ—Œđ˜‚đ—ż đ˜€đ—Œđ˜‚đ—żđ—°đ—Č 𝘄đ—Čđ—čđ—č, đ—źđ—»đ—± đ˜†đ—Œđ˜‚â€™đ—żđ—Č đ—¶đ—»đ˜ƒđ—Œđ—č𝘃đ—Čđ—± đ˜„đ—¶đ˜đ—” đ—¶đ˜. 𝗰𝗿đ—Čđ—źđ˜đ—¶đ—»đ—Ž đ˜†đ—Œđ˜‚đ—ż đ—Œđ˜„đ—» đ—±đ—¶đ—źđ—Žđ—żđ—źđ—ș đ˜€đ—”đ—Œđ˜„đ˜€ đ˜†đ—Œđ˜‚đ—ż đ—¶đ—»-đ—±đ—Čđ—œđ˜đ—” đ˜‚đ—»đ—±đ—Čđ—żđ˜€đ˜đ—źđ—»đ—±đ—¶đ—»đ—Ž đ—Œđ—ł đ˜đ—”đ—Č đ—Čđ˜ƒđ—¶đ—±đ—Čđ—»đ—°đ—Č. 𝟰. đ—±đ—Œ 𝗡𝗱𝗧 đ—œđ—čđ—źđ—Žđ—¶đ—źđ—żđ—¶đ˜‡đ—Č. đ˜đ—”đ—¶đ˜€ đ—¶đ˜€ 𝘃đ—Č𝗿𝘆 𝘀đ—Čđ—żđ—¶đ—Œđ˜‚đ˜€, đ—Čđ˜€đ—œđ—Čđ—°đ—¶đ—źđ—čđ—č𝘆 đ—Œđ—»đ—°đ—Č đ˜†đ—Œđ˜‚ 𝘀𝘁𝗼𝗿𝘁 đ˜†đ—Œđ˜‚đ—ż đ˜‚đ—»đ—¶đ˜ƒđ—Čđ—żđ˜€đ—¶đ˜đ˜† đ—°đ—Œđ˜‚đ—żđ˜€đ—Č. đ˜đ—”đ—Č𝘆 𝗼𝗿đ—Č đ—©đ—˜đ—„đ—Ź đ—čđ—¶đ—žđ—Čđ—č𝘆 đ˜đ—Œ đ—»đ—Œđ˜đ—¶đ—°đ—Č, đ—źđ—»đ—± đ˜đ—”đ—Čđ—» đ˜†đ—Œđ˜‚â€™đ—čđ—č 𝗯đ—Č đ—¶đ—» đ—Żđ—¶đ—Ž đ˜đ—żđ—Œđ˜‚đ—Żđ—čđ—Č. đŸ±. đ˜„đ—źđ˜đ—°đ—” đ˜†đ—Œđ˜‚đ˜đ˜‚đ—Żđ—Č đ˜ƒđ—¶đ—±đ—Čđ—Œđ˜€, đ—±đ—Œđ—°đ˜‚đ—șđ—Čđ—»đ˜đ—źđ—żđ—¶đ—Č𝘀, đ—Č𝘁𝗰. đ˜đ—Œ đ—”đ—źđ˜ƒđ—Č 𝗼 𝗯đ—Č𝘁𝘁đ—Č𝗿 đ˜‚đ—»đ—±đ—Čđ—żđ˜€đ˜đ—źđ—»đ—±đ—¶đ—»đ—Ž đ—Œđ—ł đ˜đ—”đ—Č đ˜đ—Œđ—œđ—¶đ—° đ˜†đ—Œđ˜‚ 𝗼𝗿đ—Č 𝗼𝘀𝗾đ—Čđ—± đ˜đ—Œ đ—Č𝘃𝗼đ—č𝘂𝗼𝘁đ—Č đ—¶đ—» đ˜†đ—Œđ˜‚đ—ż đ—Č𝘀𝘀𝗼𝘆. đ˜đ—”đ—Č 𝗯đ—Č𝘁𝘁đ—Č𝗿 đ˜†đ—Œđ˜‚đ—ż đ—žđ—»đ—Œđ˜„đ—čđ—Čđ—±đ—Žđ—Č đ—¶đ˜€, đ˜đ—”đ—Č đ—șđ—Œđ—żđ—Č đ—čđ—¶đ—žđ—Čđ—č𝘆 đ˜†đ—Œđ˜‚ 𝗼𝗿đ—Č đ˜đ—Œ đ—”đ—źđ˜ƒđ—Č đ˜€đ˜đ—żđ—Œđ—»đ—Ž đ—°đ—żđ—¶đ˜đ—¶đ—°đ—źđ—č đ—Č𝘃𝗼đ—čđ˜‚đ—źđ˜đ—¶đ—Œđ—» đ—źđ—»đ—± 𝘃𝗼đ—čđ—¶đ—± 𝗼𝗿𝗮𝘂đ—șđ—Čđ—»đ˜đ˜€. đŸČ. đ—±đ—Œđ—»â€™đ˜ đ—łđ—Œđ—żđ—Žđ—Č𝘁 đ˜đ—Œ đ—Č𝘃𝗼đ—č𝘂𝗼𝘁đ—Č 𝗼đ—čđ—č đ˜€đ—Œđ˜‚đ—żđ—°đ—Č𝘀 đ˜đ—”đ—źđ˜ đ˜†đ—Œđ˜‚ 𝘂𝘀đ—Č đ—¶đ—» đ˜†đ—Œđ˜‚đ—ż đ—Č𝘀𝘀𝗼𝘆. đ—Čđ˜…đ—œđ—čđ—źđ—¶đ—» đ˜„đ—”đ˜† đ˜đ—”đ—Č đ˜€đ—Œđ˜‚đ—żđ—°đ—Č 𝘂𝘀đ—Čđ—± đ—¶đ˜€ 𝘄đ—Č𝗼𝗾 đ—Œđ—ż đ˜€đ˜đ—żđ—Œđ—»đ—Ž; đ˜đ—”đ—źđ˜ đ—°đ—źđ—» 𝗯đ—Č đ—±đ—Œđ—»đ—Č 𝗯𝘆 đ˜€đ—œđ—Čđ—źđ—žđ—¶đ—»đ—Ž đ—źđ—Żđ—Œđ˜‚đ˜ đ˜đ—”đ—Č đ—œđ—Œđ—œđ˜‚đ—čđ—źđ˜đ—¶đ—Œđ—» 𝘂𝘀đ—Čđ—±, đ—°đ—Œđ—șđ—œđ—źđ—żđ—¶đ—»đ—Ž đ˜đ—żđ—¶đ—źđ—č𝘀, đ—”đ—Œđ˜„ đ—čđ—¶đ—žđ—Čđ—č𝘆 đ—¶đ˜€ 𝗮đ—Čđ—»đ—Č𝗿𝗼đ—čđ—¶đ˜‡đ—źđ˜đ—¶đ—Œđ—» đ—Œđ—ł đ—œđ—źđ—żđ˜đ—¶đ—°đ—¶đ—œđ—źđ—»đ˜đ˜€ đ˜đ—Œ đ˜đ—”đ—Č đ˜„đ—Œđ—żđ—čđ—±đ˜„đ—¶đ—±đ—Č đ—œđ—Œđ—œđ˜‚đ—čđ—źđ˜đ—¶đ—Œđ—», đ—”đ—Œđ˜„ 𝘄đ—Č𝗿đ—Č đ˜đ—”đ—Č đ—łđ—¶đ—»đ—±đ—¶đ—»đ—Žđ˜€ đ—șđ—Č𝗼𝘀𝘂𝗿đ—Čđ—±, đ˜„đ—”đ—Œ 𝘄𝗼𝘀 đ˜đ—”đ—Č đ˜€đ—Œđ˜‚đ—żđ—°đ—Č đ˜„đ—żđ—¶đ˜đ˜đ—Čđ—» 𝗯𝘆 (𝗿đ—Č𝘀đ—Čđ—źđ—żđ—°đ—” đ˜đ—”đ—Č đ—œđ˜‚đ—Żđ—čđ—¶đ˜€đ—”đ—Č𝗿/𝗿đ—Č𝘀đ—Čđ—źđ—żđ—°đ—”đ—Č𝗿), đ—Č𝘁𝗰. 𝟳. 𝘂𝘀đ—Č đ—źđ—°đ—źđ—±đ—Čđ—șđ—¶đ—° đ—čđ—źđ—»đ—Žđ˜‚đ—źđ—Žđ—Č. 𝟮. đ—±đ—Œđ—»â€™đ˜ đ—°đ—Œđ—»đ˜€đ˜đ—źđ—»đ˜đ—č𝘆 𝗿đ—Čđ—œđ—Č𝗼𝘁 đ˜†đ—Œđ˜‚đ—żđ˜€đ—Čđ—č𝗳 (𝗼𝘀 đ—¶đ—», 𝗿đ—Čđ—œđ—Čđ˜đ—¶đ˜đ—¶đ—Œđ—» đ—Œđ—ł đ˜đ—”đ—Č 𝘀𝗼đ—șđ—Č 𝘀đ—Čđ—»đ˜đ—Čđ—»đ—°đ—Č/đ˜„đ—Œđ—żđ—± đ—Œđ˜ƒđ—Č𝗿 đ—źđ—»đ—± đ—Œđ˜ƒđ—Č𝗿 đ—źđ—Žđ—źđ—¶đ—»). đ˜đ—”đ—Č đ—Č𝘅𝗼đ—șđ—¶đ—»đ—Č𝗿 đ˜„đ—¶đ—čđ—č đ—»đ—Œđ˜đ—¶đ—°đ—Č đ—źđ—»đ—± đ˜„đ—¶đ—čđ—č đ—ș𝗼𝗿𝗾 đ˜†đ—Œđ˜‚ đ—±đ—Œđ˜„đ—» . đŸ”. 𝗱𝗡𝗟𝗬 𝘂𝘀đ—Č đ—šđ—Œđ—Œđ—Žđ—čđ—Č đ—Šđ—°đ—”đ—Œđ—č𝗼𝗿, đ—źđ—»đ—± đ—Œđ˜đ—”đ—Č𝗿 đ—źđ—°đ—źđ—±đ—Čđ—șđ—¶đ—° đ˜€đ—Œđ˜‚đ—żđ—°đ—Č𝘀 đ˜đ—Œ 𝗮đ—Č𝘁 đ˜†đ—Œđ˜‚đ—ż 𝗿đ—Č𝗳đ—Č𝗿đ—Čđ—»đ—°đ—Č𝘀/đ˜€đ—Œđ˜‚đ—żđ—°đ—Č𝘀. đ——đ—Œ 𝗡𝗱𝗧 𝘂𝘀đ—Č 𝗯đ—čđ—Œđ—Žđ˜€ đ—Œđ—ż đ—Șđ—¶đ—žđ—¶đ—œđ—Čđ—±đ—¶đ—ź. 𝟭𝟬. đ—”đ—źđ˜ƒđ—Č đ˜€đ—Œđ—șđ—Čđ—Œđ—»đ—Č đ—Čđ—č𝘀đ—Č 𝗿đ—Č-𝗿đ—Čđ—źđ—± đ˜†đ—Œđ˜‚đ—ż đ—Č𝘀𝘀𝗼𝘆 đ˜đ—Œ đ—°đ—”đ—Č𝗰𝗾 đ—¶đ˜ đ—łđ—Œđ—ż đ˜đ˜†đ—œđ—Œđ˜€ đ—Œđ—ż đ—Œđ—±đ—± đ—œđ—”đ—żđ—źđ˜€đ—¶đ—»đ—Žđ˜€. đ˜€đ—Œđ—șđ—Čđ˜đ—¶đ—șđ—Č𝘀, đ˜„đ—”đ—Čđ—» đ˜†đ—Œđ˜‚ đ—čđ—Œđ—Œđ—ž 𝗼𝘁 đ˜†đ—Œđ˜‚đ—ż đ—Č𝘀𝘀𝗼𝘆 đ—łđ—Œđ—ż đ˜đ—Œđ—Œ đ—čđ—Œđ—»đ—Ž đ—¶đ˜ 𝗼đ—čđ—č 𝘀𝘁𝗼𝗿𝘁𝘀 đ˜đ—Œ đ—čđ—Œđ—Œđ—ž đ˜đ—”đ—Č 𝘀𝗼đ—șđ—Č. đ˜†đ—Œđ˜‚đ—ż đ—Č𝘆đ—Č𝘀 đ—źđ—»đ—± đ—Żđ—żđ—źđ—¶đ—» 𝗮đ—Č𝘁 𝘂𝘀đ—Čđ—± đ˜đ—Œ đ˜„đ—”đ—źđ˜ đ˜đ—”đ—Č𝘆 𝗼𝗿đ—Č 𝘀đ—Čđ—Čđ—¶đ—»đ—Ž, đ˜„đ—”đ—¶đ—°đ—” đ—¶đ˜€ đ˜„đ—”đ˜† đ—¶đ˜ đ—¶đ˜€ đ—Žđ—Œđ—Œđ—± đ˜đ—Œ 𝗼𝘀𝗾 𝗼 đ—łđ—żđ—¶đ—Čđ—»đ—±/𝗳𝗼đ—șđ—¶đ—č𝘆 đ—șđ—Čđ—ș𝗯đ—Č𝗿 đ˜đ—Œ đ—°đ—”đ—Č𝗰𝗾.
Why write such about comfort characters? as a way to express creativity a coping mechanism enjoy the friendship bonding side of it enjoy seeing characters being comforted and cared for after enjoy characters dealing with hard things it makes good story character development @ALYJACI
https://wordcounter.net/character-count
sᎍᎀʟʟ ᮄᮀᮘs, uʍop ǝpısdn, ⓑⓀⓑⓑⓛⓔ, ᙥᗩᐯᎩ, uÌČnÌČdÌČeÌČrÌČlÌČiÌČnÌČeÌČdÌČ, c̶r̶o̶s̶s̶e̶d̶ ̶o̶u̶t̶ , Ò‘Ń†$їfу,  ᗩᑎá—Ș ᑕOOá’Ș.
The phrase “comfort character” is part of that pop culture landscape. What is a “comfort character”? Everything You Need to Know about Comfort Characters By: Author Marcel Iseli Posted on Last updated: April 18, 2023 What is a “comfort character”? A comfort character is a character in a fictional world, such as a TV show, movie, game, book, or comic, that a person strongly identifies with and takes comfort from. They may use thoughts of the comfort character to help them through hard times. The person will simply feel drawn toward the character. Even if you have never encountered the term before, you probably know this feeling of really liking or identifying with a character. When the person feels down, they could watch, read or play whatever this character appears in and then feel better after spending some time with the character. Strong identification with a character is another way a person may choose a comfort character. For example, maybe there is a main character in a movie who has a story arc that show them becoming a more confident person. Someone who identified with this comfort character might struggle with their confidence as well. When they were in situations where they lacked confidence, they could think about how this character handled similar situations. The concept of comfort characters is very popular in online fandom. “Fandom” refers to any community that arises around a piece of media, whether that’s a game, a popular show, a book, a comic or a movie. It’s a little bit different from simply being a fan of something. People involved in a fandom often belong to internet communities that talk about these characters a lot. They might attend meetups or conventions based around this fandom and dress up like the character. It’s also very common for them to create their own art around the stories that they love. For example, they might draw pictures of the character in various situations, or they might write new stories about adventures that the characters have beyond the scope of the original tale that they came from. In fact, you might find some accounts entirely devoted to comfort characters, sometimes called “stan accounts.” “Stan” is slang that refers to being a big fan of something or someone. How comfort characters help People report comfort characters helping them in very real ways in their lives. If they struggle with anxiety and panic attacks, thinking about their comfort character can often help stave off these feelings. There has been some research that shows that these characters can have a positive effect on fans, encouraging them to act in ways that are more beneficial for them. For most people, comfort characters are fun, beneficial ways to better enjoy the stories they love.
@candaru no no. you don't get it. the reason I injure my blorbos until they can't walk is because that's the only way they'll ever let someone else carry them. the reason I curse them to be sick and feverish is so that they'll finally open up about their emotions while delirious. the reason I force them to over exert themselves to the point of exhaustion is so that when they pass out they can finally rest. I'm doing this for their own good. October 21st, 2023, 7:43 AM
X wasn’t quite sure whether to approach his wife, Y, about what he’d seen. On one hand, he didn’t want to distress her, but the weight on the other felt as if it were being crushed under the weight. Once he’d retreated inside, he clambered onto the first table he saw, rather than going off to find her. Alas, the peace barely lasted more than a few seconds. “X!” Y burst from the kitchen door, startling the other out of his thoughts. “It’s been a long day Y. I think I’ll
go to bed early tonight.” Letting out a huff, Y folded her arms, clearly less than amused. “And make me cover for you again? You were only gone for a couple of hours. Do you know how much hard work I put into running this place while you were gone?” X raised his brow. “What, did we just-so-happen to get an influx of customers today?” “That’s beside the point.” She dismissed the question with a flick of her wrist, rolling over to the table he was at. However, now that she could see his form more closely, his tense posture and partial absence from the conversation at hand became much clearer. “
X you look unusally reserved. What happened?” At first, she wasn’t graced with a response whatsoever. A hand reached down for the other, but X couldn’t bring himself to get up, so Y perceived his silence as disinterest and returned it to her side. Seeing him lack his usual energy made Y’s heart ache; she knew better than to go picking fights with X when he was like this. He couldn’t meet his wife’s stare, regardless of how much he longed to lose himself in her shine of her exterior. Having Y nearby always helped X feel at ease, yet it wasn’t doing much in terms of assisting him today. “Let's just
close early today altogether.” “You sure?” “I demand it.” It was a curiosity-peaking situation, but Y held enough respect for her husband X to not press him further. “You can always talk to me, sweetheart, but I’m happy to close for the day.” “Is that so?” X asked. Rather than adopting the powerful tone of voice he used while scheming, he maintained his quiet one, which rung alarm bells in Y. Since he’d been almost completely zoned out of his surroundings, her husband hadn’t noticed the shotglass-sized bowl of soup she’d made him, and as she brought it over to him, she could see a crack of a thankful smile on his face. Y never really got anything more from him - ‘thank you’s didn’t qualify for villain-approved manners - but to her, that only made his perseverance more admirable. “I’ll bear that in mind.” X’s response came out in a hushed whisper, as if the world were listening to every syllable that left his throat. Words sunk their nails into his throat, trying to claw their way out between sips of soup, but to no avail. X was determined to keep his promise. X was no less satisfied to have his wife at his side. X had needed Y today, and she pulled through, as always. An unwavering pride in his companion was always one of his biggest drives in life. To see her face at the end of a long day was no less than a blessing, and while he could have lived a crime-free life, he wouldn’t trade his current place of residence or love of his life. Y’s silent verdict was that it now wasn’t even worth considering pressing for details; her husband slowly becoming at ease as he revelled in the soup was enough for her to not want to rile him up. She’d already done so earlier with their argument. Had either of them actually apologised? What were they even talking about? “
Are you still interested in getting some rest early, honey?” A tired eye trailing over to her, he set down the empty bowl. X was practically screaming at himself not to leak it all out to his wife as either whimpers or whines. “Would that be alright, my sweet?” X found himself carefully scooped up in his wife’s hands and escorted to the restaurant’s back rooms. She gave him the thumbs up. “That’s fine. You can take all the time you need, X. You look like you need it.” “I should be working. You’re too soft on me.” “Would you prefer I picked a fight with you right now?” “No.” “Then don’t complain.” Thankfully, Y didn’t hit a nerve; either that, or X simply hadn’t the strength to argue. The former didn’t mind no matter the answer though. Whatever he’d seen would be better processed after some good rest, Y was positive. The chatter lingered until they reached their resting area. X finally felt he was home. “There.” His wife said, muttering to herself. It didn’t concern her that her self-muttering was within ear-shot of her husband, obviously. “I’ll go get your blanket.” “You’ve done an awful lot for me today. Do you want something?” X blinked. Usually, Y would scold him for saying something like that in response to her favours, but she processed that he asked as a gesture of kindness, not as an investigative question. She gently rested a silky face flannel over him for a little warmth. “Just know I love you. That’s all I want in return.” “Th
ank. You.” 
!!!! Today was a mish-mash of weird circumstances, but the marriage of the two beings was just as unconventional. For a moment, the duo were lost in each-other’s eyes. Those two words - as messy as they’d come out - were bouncing off the walls and striking Y in her equivalent of a spine, pushing her a little closer to her husband until they were equal-viewing level. Poor Y thought of going to melt from the sudden increase of her internal temperature. Such tenderness; it made her swoon! Until he’d said it, he’d had no idea how long she’d been wanting to hear something like that. Something other than X’s plans The significantly taller leaned her monitor forward, as if to kiss him- but drew back. Now wasn’t the right time for something like that. Not when X had so much already on his mind. Oh, but those words had been so soft, so quaint. Though she’d stopped herself giving him a robotic kiss, Y savoured every second that they stood mere inches apart, that little bit of kindness holding a value to her that she was sure X had no idea of. He couldn’t feel the sparks of electricity rushing through her. X might not have any inkling at ALL that she cared in regards to what he said, nevermind the fact she felt like an exception happily caught in his network. Although, they must have at least meant something for him to attempt to say it, even if he’d become exhausted and drained from the last few hours. It was enough for her to let out a “Never a problem; supporting you is my job,” before adding on “but don’t you dare hold that against me when I refuse to wash the dishes.” The quip earned a stifled chuckle from her lover. It broke a little of the tension between them, but in a light, easy-to-digest way. As Y had leaned in, X had felt his heart pump a little faster, and a jittery feeling in his veins - a trace of something he hadn’t felt in a while. X could only wonder if she took anything away from that small exchange, barring the reminder of her duties. Did she feel anything or was it just him? He wasn’t even sure if she had a positive physical response, let alone a positive emotional response
 “No promises!” He laughed, before awkwardly coughing, unsure what to say now. That was one loooong period of silence. Was the restaurant owner just supposed to pretend nothing happened, or approach the topic? “Well- If you want to transfer yourself back into the building’s wall monitor for the night, there is no opposition here.” “That sounds nice. It’s how I imagine wrapping yourself in a blanket feels.” Y let out a sound emulating a yawn, hoping to dispel the sudden subdued awkwardness that’d washed over her husband. His feathery laugh had been much different to his more maniacal cackles. Far more genuine and fulfilled, and smooth. On one hand, seeing his mind off of the schemes for once made her want to spin with glee, but on the other, he was only acting so unusually because something had gone down. It was difficult for her to handle. “Based on how you describe it, of course.” If she could have given a true smile, Y would have, but gave upturned lips instead. X was pretty much at a loss for words, understanding her point and unable to refute it. Some part of X wished his wife had come with him, purely so he wouldn’t have to carry the burden of decisions alone as he was doing now. ‘Twas a selfish thought, and alas, X knew he had a word to keep. “Have a nice rest, sweetie. I’ll keep an eye out for any intruders.” “Hope your wall monitor is comfy.” “I’m sure it will be.” X curled himself up under the face flannel, his eyelid gently fluttering shut. “You mean a lot to me Y so don’t ever think you don’t, understand?” “Understood. Care to elaborate?” 
 “Honey?” 
 “X?” Snore. “
Ah.”
hurt/comfort (fandom slang) A genre of fan fiction in which a character receives comfort from another after or while suffering injury, illness, or a traumatic experience. H/C stories appeal to readers in different ways. While genres for these stories range from drama to mystery, many stories are classified by their authors as romances or as “hurt/comfort” stories. Hurt/comfort is a fanwork genre that involves the physical pain or emotional distress of one character, who is cared for by another character. A great trope if you want to bring two characters closer together, or if you want to show how deep their relationship goes.
TIRING TROPES A kicks B so hard, it knocks B out, who goes limp with a whimper. B now lying unconscious on the ground, A grabbing him by his legs and dragging him. A comes over to B, knocking him hard in the fac͘e once. B cries out and his eye rolls back as he slips away into unconsciousness, going limp, unable to take much more. The only thing C cares about is the sight of B limp bĂždy lying. C crawls over, too hurtÌž to walk, and puts his hand on his chest, wanting to make sure B is still breathing, scared he isn’t. He is relieved when his chest is still slowly going up and down, but is soon overtaken with fear. C: T-talk to me. B, say something! B of course not responding. C now holding him in his hands, his head restıng on his stߋmach, crying, wanting him to be okay, wanting to take his paın away from him. C: B... (sobbing quietly, his head still resting on B unmoving bĂždy) C is shushing, crying, shushing, crying. Doing it to comfort B but the more so to comfort himself, to try and not be so scared anymore. B eyebrows furrow, beginning to stir, groaning as he puts a hand to his head in paın. 'Ugh. Ow. Gah
.ow
.' C: (alarmed by B cries, scooching closer) Are you okay?! (C looking over at B, seeing he is already asleep, curling up next to him, closing his eyes, sleep now overcoming him) (A then kicks B in the head, B yelping, instantly falling unconscious) C: B? B! Answer me, are you okay?! A: (hearing C, smirking down at B unconscious form, to see him hur͘t and unmoving, B mouth hung open, lying motionless, still not movıng or aware) (B eventually groans awake, not yet realizing what’s going on, paın returning to his head, quickly becoming aware of what’s happened, sitting up with a gasp, looking around) B notices C still asleep leaning on him. He starts to move around to get him to wake up. (A just grabs B, slamming him back to the ground, unintentionally slamming the back of his head against the ground, B gasping with a yelp) : (A yanking B to his feet, grinning at B weak struggling and crying, who’s exhausted and badly hurt) (A stops as suddenly B lets out a sort of sigh as his eye rolls back and his body goes completely limp as he unexpectedly passes out, falling backwards, A catching him before he hits the ground, startled) (B completely unconscious, his mouth hanging open, limp and unmoving) (C stopping in his place, frozen, frightened at the sight of B) B! (seeing B still not moving or doing anything, touching and moving B face around himself, but gently, looking at him worriedly, scared when he won’t open his eye or say anything) H-he’s n- not moving, he-he’s not pretending, A, he is REALLY hurt! (A dumps B bĂždy to the ground) C immediately hurrying over, holding B bĂždy in his hands, his own tears falling down on him. C is still sitting besides B, crying C: B, s-say something, please, please! I’m sorry! (A grins, knowing how much will hate everything, planning to tell him all about it when he awakes again) B is lying on the ground unmoving. A pleased with everything as he walks away, knowing he will absolutely torture B with what happened here. B: (groaning loudly, waking up, not moving yet) Ugh
..wha? What’s going on? (he groans, his eye fluttering open, returning to his senses) C helping B sit up straight, holding him gently in his arms, seeing how badly hurt he is. B: (pain overflooding him, his head hurting badly, wincing as he holds it, still groggy, struggling to remember) Ugh, my head
.Ow. Wh-what happened? (squinting his eye, looking all dazed and confused) H-huh? What? (A eyes B intensely) What? (still confused, but not liking the looks of A, turning to C for answers, now really confused and not liking any of this, wanting to have answers.) What is he staring about? (angry, wanting answers, glaring around) Well?! Tell me! (A chuckles wanting B himself to guess what happened) C not liking the fact that B is told about it now, this being even worse. B knowing enough by seeing this reaction. 
..(B starts to get to his feet to attack A, swaying a little though, the pain instantly swarming his head, making him gasp and fall back before he could take a step, C quickly catching him. B holds his head in pain, wincing) Gah
.. (shaking his head, unable to believe it, wanting to forget it, cringing) (snarling, quickly starts trying to get up, not able to, growling in frustration when he tries to stand but just falls right away, panting in anger) Rah
..! C: (still holding B, pushing him back down) D-don’t do it B! You’ll hurt yourself! Please
 B: (still weakly trying, too angry) I-I don’t care! I-I’m gonna get you, A, as-as soon as I can! C: B-but you’re-you’re hurt! B: I DON’T CARE! (B too badly hurt to do anything more. He is crying because he is unable to, which makes him feel useless and weak, and also because he is very uncomfortable, cold and sad.) (C softly speaking to B coming over) B, what’s wrong? (For B it hurts just to move alone, so he struggles and can’t do it) (knowing he really can’t because of how hurt he is, just wanting to help because he knows how cold it gets here during the night) (he snaps, shivering again, wishing they would go away, not liking to be seen so vulnerable like this) C huddles close to B notices he isn’t talking to him anymore, poking gently at his cheek. B very much asleep by now; his clothes, the blanket and C close to him having warmed him up enough for him to relax, be warm and fall asleep. C stopping his crying, glad to see B is asleep, resting his head on him. He warily gets up, not wanting B to wake up again. He lays the blanket over his body, quickly going through hi lovingly, liking that he is sleeping now, thinking he very much deserves to rest. B however starting to stir, not sleeping quite so deep anymore.
https://writingwithcycyborg.blogspot.com/2024/02/LanguageOfDisability.html
Some of my favorite words and phrases to describe a character in pain coiling (up in a ball, in on themselves, against something, etc) panting (there’s a slew of adjectives you can put after this, my favorites are shakily, weakly, etc) keeling over (synonyms are words like collapsing, which is equally as good but overused in media) trembling/shivering (additional adjectives could be violently, uncontrollably, etc) sobbing (weeping is a synonym but i’ve never liked that word. also love using sob by itself, as a noun, like “he let out a quiet sob”) whimpering (love hitting the wips with this word when a character is weak, especially when the pain is subsiding. also love using it for nightmares/attacks and things like that) clinging (to someone or something, maybe even to themselves or their own clothes) writhing/thrashing (maybe someone’s holding them down, or maybe they’re in bed alone) crying (not actual tears. cry as in a shrill, sudden shout) dazed (usually after the pain has subsided, or when adrenaline is still flowing) wincing (probably overused but i love this word. synonym could be grimacing) doubling-over (kinda close to keeling over but they don’t actually hit the ground, just kinda fold in on themselves) heaving (i like to use it for describing the way someone’s breathing, ex. “heaving breaths” but can also be used for the nasty stuff like dry heaving or vomiting) gasping/sucking/drawing in a breath (or any other words and phrases that mean a sharp intake of breath, that shite is gold) murmuring/muttering/whispering (or other quiet forms of speaking after enduring intense pain) hiccuping/spluttering/sniffling (words that generally imply crying without saying crying. the word crying is used so much it kinda loses its appeal, that’s why i like to mix other words like these in) stuttering (or other general terms that show an impaired ability to speak — when someone’s in intense pain, it gets hard to talk) staggering/stumbling (there is a difference between pain that makes you not want to stand, and pain that makes it impossible to stand. explore that!) recoiling/shrinking away (from either the threat or someone trying to help) pleading/begging (again, to the threat, someone trying to help, or just begging the pain to stop) Feel free to add your favorites or most used in the comments/reblogs!
“I can fix him” “I can make him worse” well I can ruin his life for the sake of character development
EMOTIONALLY BONDING WITH A FICTIONAL CHARACTER? THERE’S A TERM FOR THAT: ‘COMFORT CHARACTERS’ Just because they're not real doesn't mean that they can't be a source of consolation or contentment. SEPTEMBER 21, 2021 KAREN LU, YALE UNIVERSITY 8 MINS READ If you have even a toe in the door of fandom (any fandom, really), you have probably come across the term “comfort character.” The term is everywhere: in Buzzfeed quizzes, Twitter imagines, dozens of Spotify playlists and Instagram fanposts. Like the name implies, it’s a fictional character in pop culture and media that people find comfort in, either through identifying with them or wishing to hang out with them like a best friend. For some, comfort characters are so real that even just thinking about them, rewatching their scenes, reading fan fictions or otherwise engaging with them can help stave off anxiety attacks, calm down during panic episodes, or simply provide a hand to hold on to during difficult times. The typical comfort character might be someone fierce and protective of their friends, passionate about their ambitions and goals, or struggling with inner demons. Usually, they have characteristics that are easy to relate to or be inspired by. Or, it can be completely random — there’s no requisite in what makes a comfort character. It might be the plucky main protagonist, the tortured antihero or an innocuous supporting character. Whether they’re conquering a villain, avenging a fallen friend, or simply being happy, people find warmth in following along in their journey or seeing them smile in the face of their own tragedy. Comfort characters exist in part because many people don’t have parents, friends or other social resources that they can talk to or truly open up with. Studies have also shown how comfort characters can actually inspire and improve people. Researchers from Ohio State University coined the phenomenon “experience-taking,” in which people take the emotions from a story for their own. The researchers found that — albeit temporarily and in the right situations — readers could make real changes in their own lives. For instance, the researchers found that people became more likely to vote in a real election after strongly identifying with a fictional character who themselves overcame obstacles to vote. In the long run, comfort characters are simply a part of enjoying a show and finding pleasure in media and fiction.
Kazeto Elementalist from somewhere in Europe. Since: Feb, 2011 Relationship Status: Coming soon to theaters #7: Apr 20th 2016 at 1:55:59 PM I cannot talk about others, but I actually took the opening post in much the same way as you'd explained that you meant it in this one, and I presume that they, or at least some of them, took it much the same. It's not about seeing the character beat up and dying. It's not about seeing the character miserable. But it is about seeing the character have bad things inflicted upon them and yet overcoming them, learning from them, being shaped by them. Because the sweet parts do not taste all that sweet (relatively speaking) if you've never had anything but sweet things. And I am no sadist either, but I too have my characters go through some quite bad stuff. Not necessarily as horrific as what they pulled in Berserk, no, but in many cases the stuff that happens dismantles who the characters are before letting them piece themselves back.
My pageant has a pageant platform essay. What’s that? Contributed by Eddia Watts A pageant platform essay is a paper in which you speak about exactly what you’ve been working on with your platform and what you have chosen to champion throughout your time as a competitor. The pageant platform essay is apart of the competition in which a contestant can validate, in writing, why she chose the specific cause she has. The essay is your moment to talk about every single intricacy that is apart of your platform. If during the competition you never have a chance to speak about your platform, the essay needs to cover every single thing about your platform so that the judges have a semblance of what you have stood for thus far in your pageant journey. The pageant platform essay should encase topics like, how you created your platform, what caused you to choose this specific platform, how you have advocated for it, and how you will continue to advocate for it. Although the pageant essay is not imperative for some systems, like Miss Earth USA or Miss USA, it is imperative for systems such as Miss America and Miss Teen, creating an essay is a great exercise for all contestants to ensure that they know the direction that they want to go in for their platform. Writing what you have done, what you will do, and what has made you continue to keep going is a great way to remain humble and realize why you began in the first place. If you find that writing worries you, as long as you write from the heart and mean every word you say, you will find yourself writing too long of an essay. If writing an essay is required, it will also force you to think about the specific ways that you plan to bring your cause to a resolution. Having this in mind will help you to answer your interview questions easier as well as give you the proper mindset of why you embarked upon your platform. Writing a pageant platform may seem like a tremendous amount of work, but the next section covers exactly how you want to write your platform essay and what you can include to differentiate your essay from the next! Okay, how do I write a pageant platform essay? Contributed by Eddia Watts Writing your pageant platform essay may seem daunting at first, but always keep in mind the fundamentals of writing an essay: the introduction, body paragraphs, and conclusion. When you break down your essay like this, it makes writing your essay a bit easier. In the sections below, we will take the time to illustrate these sections of your essay as well as what tone your writing should take on when you talk about your platform. Introduction The introduction to your essay should begin with an explanation of who you are and what your platform is. In your introduction, there is no need to delve into the why or the how of your platform just yet. If you decide to delve straight in with your story in the introductory paragraph, you risk overwhelming your judges. In your introduction, you want to entice your judges by reading more. The last sentence of your introduction should read like a thesis statement for a paper. It’s when you finally tell the judges what your platform is. Body Paragraphs Your body paragraphs are where you really delve into who you are as a person and why you chose your platform. In this section of your essay, you should have at least three paragraphs, the first illustrating the backstory behind why you chose your platform. This is your moment to speak on your ‘why’. The second paragraph of your essay should be the ‘how’. In this paragraph, you should talk about how you have pursued your platform and how you have begun to tackle the issue your championing. This is your time to speak about all of the fundraisers, events, and charity work you have done to further your platform. The third paragraph is your moment to speak about how your platform can affect those in your community and those for whom you created your platform to help. You should also speak about what you will be doing with your platform in the future and how you hope your platform will impact those in the next generations. Covering your bases like this will not only help you to seal the deal with your judges, but it will help to make an impact with others should you decide to post your speech online. Conclusion Like every essay, your conclusion should touch upon everything you mentioned throughout your essay. This is not the time to enter in last minute additional information, as the judges will have already formed an opinion of your essay by now. When writing your conclusion, you want to make sure that you use a proper tone that makes it sound like you are concluding your essay. Tone It is important to have a splash of personality and professionalism throughout the tone of your essay, as you want the judges to take you seriously, but you do not want your words to bore them as well. Using proper punctuation when needed, ensuring that you are not using run-on sentences, and proper word usage can all help with your tone. The best essays are written when it feels like the contestant is actually speaking to the judge in a polite manner with her personality all on the table; just like in an interview. Once you have the proper tone and diction down, your essay will write itself! In conclusion, writing a pageant platform essay is just like writing an essay for class. You are just telling a completely different story. As long as you stay true to who you are as a person and have your platform take center stage, you will write an amazing essay!
In the original story of "Peter Pan", Peter murders the Lost Boys when they seem to grow too old to still live in Neverland, because being an adult in this place is against the rules. In the middle of a battle against pirates, he would sometimes even switch sides and start killing Lost Boys for fun.
one's mother matricide one's parent(s) parenticide one's brother fratricide one's sister sororicide one's husband mariticide, viricide one's wife uxoricide one's son or daughter filicide, prolicide a close relative parricide father Patricide woman femicide, gynecide, gynaecide an infant infanticide a fetus aborticide, feticide, foeticide old men senicide a king regicide a lord or master hericide a philosopher philosophicide a prophet or poet vaticide a tsar czaricide a bishop episcopicide an apprentice prenticecide a Brahmin Brahminicide, Brahmanicide a Spartacus member Sparticide a modernist modernicide a guest or host hospiticide a favorite nepoticide a friend ambicide an enemy hosticide a heretic hereticide, heretocide a tyrant tyrannicide of bears ursicide of birds avicide, birdicide of boars apricide of bulls tauricide of cats felicide chickens or turkeys gallinicide of cows vaccicide of deer cervicide of dogs canicide of fish piscicide of fowls gallicide of fox vulpicide of goats hiricide of kangaroos macropocide of leeches hirudicide of mice muricide of moles talpicide of oxen bovicide of partridges perdricide of reptiles herpecide, herpicide of snakes serpenticide of snails/molluscs molluscacide of vermin verminicide of whales ceticide of wolves lupidide of aphids aphidicide, aphicide of bedbugs cimicide of bees apicide of fleas pulicide, pulicicide of flies muscacide, muscicide of gnats or mosquitos culicicide, culicide of lice lousicide, pediculicide of mites acaricide, miticide of mosquitos anophelicide, mosquitocide of spiders or scorpions arachnidcide of wasps vespacide Amebae amebacide, amebicide, amoebicide Animal parasites epizocide Anthrax anthracocide Bacilli bacillicide Bacteria bactericide, bacteriacide, bacteriocide Blood corpuscles globulicide Blood flukes schistosomacide, schistosomicide Cancerous cells tumorcide Cells cytocide Diarrhea-causing parasites trichomonacide Fever (reducing fever) febricide Germs germicide Gonorrhea gonococcide, gonoccocide Intestinal worms helminthicide, vermicide Leukocytes leukocide, leucocide Malarial parasites gametocide, plasmodicide, schizonticide Microbes microbicide Nematode worms nematocide, nematicide, nemacide Oxyuris worms oxyuricide Parasites parasiticide Parasitic bacteria treponemicide Protozoans protozoacide Roundworms ascaricide, filaricide, lumbricide Scabies scabicide, scabieticide Sleeping sickness infection trypanocide, trypanosomacide Sperm spermicide, spermatocide, spermatozoicide Spirilla bacteria spirillicide Spirochetes bacteria spirocheticide, spirochaeticide Spores fungicide, sporicide Staph staphylocide, staphylococcide, staphylococcicide Streptococci bacteria streptococcicide Tapeworms taenicide, taeniacide, teniacide, tenicide Toxins toxicide, toxinicide Tuberculosis bacilli tuberculocide Viruses viruscide, virucide flowers floricide of plants herbicide, phytocide of a giant gianticide of a monster monstricide putrid things putricide Destruction of books tomecide Destroying words logocide, verbicide Destruction of a culture ethnocide Destruction of ancient buildings/monuments petracide Destruction of laws legicide Destruction of liberty liberticide Destruction of life biocide Ruining a suitor's chances suitorcide Ruining someone's reputation famicide the mind (brainwashing) menticide a faith fideicide facts (distorting the truth) facticide someone with a motor vehicle autocide Destruction of everything onmicide Destruction of the entire world mundicide Destruction of the natural world ecocide of all people populicide
Sassy Kidnapped Whumpee Prompts Here's a list of sassy kidnappee quotes/prompts for those defiant little whumpees who are just asking for it. Enjoy! (Shoutout to @prisonerwhump for the idea!!!) "Oof, big scary spEEch. Nıce. Did you practice that in front of the mirror this mornıng?" "Are these new ropes? I hope you didn't go to the trouble just for me, you know I don't judge." "Ah. Blindfolds again. How original." "Okay, I'm awake. You can make your entrance nÆĄw. [...] Don't play dumb, I know that's a two-way mirror. Let's just get it over with." "You know, I always assumed if I were kidnapped it would be some creepy st*lker yandere thing, but no. I get you instead. That's better, right? So...Thank you? I think? Ah, that's a kn1fe." "Listen, I know you're tryıng to be intimidating and everything - and normally it would be. Really, I meanÍĄ it. Chocking me against the wall is real scary, but... Like. Your hands are so soft, I can't even take you serıously. What kind of lotion do you use?" "Not to critique you when you're doing your zappy thĂ­ng, but you had better up the voltage or something before I faƂƂ asleep. I get bored eąsÄŻly." " "How much did that hurtÌž"? Really? Like, I mean. It hurtÌž, it wasn't pleasant, but - you know when you're a kid and your parents spank you when you don't clean your room? Yeah, that hĂąppeñed to me a lot as a kid. I felt really ba͏d making her get after me because she was alwaყs sick͞ and frail and stuff. Anyway, the point I'm trying to makę here is my MoM hits harder than you. Does that answer your question?" "Wow, what an impressive collection. Very daunting. Very scary. Just checking, but you do have a life outsıde of collecting tortur͘e implements, right? I don't judge, but I'm a little worried about you." "All you want to know is where Caretaker is. Honestly, you could ask a few questions about me first. You don't even know my fav0rite color yet." "Geez, you can at least buy me dınner before chocking me out." "Are you sure you know how to use that? I don't know, man. Maybe you should let me tÌąry it on you to make͘ sure. Just untie me real quick." "Mmm yes! Harder! Please hit me harder! Oh, I'm sorrყ. Am I makıng you uncomfortable? No no, don't stop hitting me now." "Loving the 'dark scary basement' vibes. Really, this lev3l of design takes time. The lightbulb is even flickering - did you plan that? It's honestly impressive. That or you're just this much of a slob. Either way, very effective." "Oooooo! I've always wanted my own dungeon cell. Can I put movıe posters on the walls? I think they would really spice the place up. Do you have any extra sticky tack?" "Really? You bought me for that low of a prıce? I mean, don't get me wrong, I'll never see that much money in my entire life, but I think I'm worth more than that. I meanÍĄ, look at me. I'm adorable." "You can at least give me a deck of cards or something, it's soooooo boring dĂžwn here when you're gone. Not that it's better when you're here. Hm? No no, not because of the paın or whatever, you're just still boring. Really, if I had as much money as you, I could buy a personality." "Ah, the whip again. Let me ask, do you ever have a͝ny new ıdeas or do you just find one and let it play like a brok3n record until you dıe?" "Honestly I'm starting to get genuinely concerned about your hearing. I sAID I'm. Not. Telling. You. Anything. Do I need to talk louder? Maybe write it outÌž for you? Ow! Jeez, you cAn cvt me all you wÌĄant, bUt that's not going to be nearly as effective as just talking to an otolaryngologist." "You call that a hit? Untie me quick and I'll show you how it's dĂžne." "Gooooooooooooodevening, Kidn@ppers! How are you today? How was work. Did you đrınk enough water? How was - oh my, you look angry. Is it something I said?" “How do you sleep at nıght??? No seriously, your skın is so clear, you have to have some fantastic skincare routine before bed. And. Like. A great pi]low.” “Do you have to stand so close when you’re threatening me? I get it, but
brush your teeth or something first.” “Ah yes. Gruel. My favorite. You have to get me the recipe sometime. You’re a culinary genius.” "You knĂžw, I'm stɑrtıng to feel kinda bad. Here I am having all the fun, and you're doing all the work. How about you untie me and then you get a tuÌŽrÇč in the chair? Doesn't that sound nice?" “Better untie me then. Oh, you’re going to hand feed me? Isn’t that swéet. I didn’t know you were a big old softie.” "I can't believe you. You're a monster. Blαck shoes with a blue suit? Are you kidding me? RidiculĂžus. No wonder you don't mind getting my b!ood all over your outfit, it's awful already." "I'm kında gettin͘g bored of all the screaming, how about you?" "This seems like a waste. Did you know the bƂoođ banks are all runnıng low? It's like. A national crisis. People could dıe. Yet here you are letting all my perfectly good bƂoođ go to waste. If you're so insistent on being slicy today, maybe you could like put a drip pan or something on the ground. You think they'd take drip pan bƂoođ? You do keep that kn*fe clean, right?" “Well someone’s cranky today. What? Didn’t get your morning coffee?” “You’re ‘Tired of all my jabbering’? Really? Well that’s kinda self centered of you. Just think about me. I have to lıve with me every minute of every day. And do I ever get a b͞reak? No. Never bored though, so that’s nice.” "What exactly do you mean by 'scream for you'? I have like seven different types of screams." "I'm sorrყ, I don't thınk I heard you the fırst 478 times. What was it you wanteԀ again? Hm. Nope. Still not clicking. You better aSK AgAIN." "Just a real quick questıon - do you have...like...friends? A significant other maybe? You're spending soooo much time down here with me, I just want to make sure you're not neglecting your lĂČved ones. No?"
People read dark fiction for the same reason they ride roller coasters. It’s a simulation of danger without anyone actually being under threat. It gets the brain worked up, releases a bunch of adrenaline into your system, you experience a whole rush of emotions and excitement and fear; but a safe kind of fear, where you know the danger isn’t real and there are dozens of measures in place to protect you. And then it’s over and you can get off the ride. That doesn’t mean everyone is obligated to ride roller coasters. I, for example, am scared of heights, and most coasters are scary for me in a way that isn’t fun. The fear isn’t that I’ll die, the fear is of experiencing more of the ride and thus it’s not a safe fear, because it’s real and I have no control over it. As such, I don’t ride large roller coasters. But the fact that large coasters are not mentally or emotionally safe for me to ride doesn’t mean they should be illegal, or that there’s “something wrong” with anyone who enjoys them. Similarly, sometimes accidents happen. Sometimes people have conditions they don’t know about until a coaster aggravates them in the worst possible way because they didn’t know to avoid it
and that’s no one’s fault. People have died or been injured in coaster accidents, and those accidents are pretty much always the result of human error, carelessness, laziness, or poor communication. It’s the responsibility of the amusement park to make sure that basic safety features are built-in and maintained–or at the very least (mangling the metaphor somewhat because this would obviously be illegal in real life) to make it clear that those features don’t exist! I feel like most people would avoid a ride clearly labelled “HAS NEVER HAD A SAFETY INSPECTION! NO RESTRAINT BARS! RIDE STAFF HAVE NOT BEEN TRAINED AND THERE ARE NO EMERGENCY SERVICES ON-SITE! OPEN FLAMES!” but if you click on a fic clearly labelled “author chose not to use warnings” you know the risks and they’ve met their obligation to warn you of them. And sometimes the people providing this content don’t perform that basic due diligence, and people get hurt as a result–but that’s on those specific bad actors, and doesn’t mean we ban all roller coasters. It also doesn’t mean every single ride operator on earth should be tarred with that brush, especially when they’ve openly spoken out against such practices! Furthermore, if you KNOW you have a heart condition and willingly get on a ride that says it is not safe for people with heart conditions, you cannot then blame the amusement park! What makes roller coasters safe for me? Well, for one, the fact that I’m an adult now so my family has finally stopped trying to force me onto them.
SLEEPING WHUMPEES leyswhumpdump: Sleeping whumpees. Curled up on cold cell floors, seeking the only escape they can get. Eyes red behind their closed lids because they cried themselves to sleep. Tucked up under warm blankets. Cradled by a caretaker. Peaceful and smiling even in slumber, or screaming from night terrors. Restless from fever. Exhausted in the back of a car, their mind and body just given out. Falling asleep after fighting it for so long. Just an adorable trope all round.
allthewhumpygoodness: I write a lot of fantasy/Medieval whump, so in that vein lets talk Things Low-Tech/Medieval/Fantasy Healers Might Do When Checking A Sick Patient That Don’t Require Modern Medical Equipment Or Terminology But Gives The Vibe That They Know What They’re Doing: Feel their pulse (in the wrist, the side of their neck, or even a temple) Check their forehead for a fever Listen to their chest/back (you can hear rattling or crackling in the lungs of someone with a lung infection such as bronchitis or pneumonia) Tapping their back behind each lung (likewise - an inflamed lung will sound congested and less hollow than a healthy one) Feel for swollen glands behind their ears Gently feel for any swelling or tightness along their stomach On that note, gently pressing on an are of pain in the stomach area (to test for appendicitis) Get them to open their mouth to look down their throat Check their eyes for redness, light sensitivity, yellowing, or dilated pupils Check them for a rash, especially the torso, behind the ears, and along their forehead (measles rash usually starts near the ears and along the hairline, scarlet fever begins on the trunk and spreads to the rest of the body; chicken pox I think just sort of appears all over though idk) Check if their skin is flushed or jaundiced Tap along their cheekbones - if this causes pain they may have a sinus infection I’m not a medical professional and this is ONLY for writing purposes, also this is all based on a variety of medical information I’ve read in books and online but as I said I am not a professional just someone with a weird obsession, feel free to fact check me - or add your own
i-write-whump When the whumpee wakes up in pain, and doesn’t remember what happened or how they got there, so the caretaker has to explain everything to them slowly and carefully, because the whumpee is still pretty out of it. The caretaker gently stroking the whumpee’s hair as they talk, hugging them as soon as they’re done explaining, and answering any questions the whumpee has. The caretaker tucking them in tighter and offering them water, then making sure they’re as comfortable as possible, and that they’re resting, knowing that the whumpee may still be too out of it to actually remember any of their conversation, but content to explain everything again if needed.
~ yes my favorite type of fanfiction consists of characters getting tenderly cared for and comforted after a lifetime of being forced to suffer alone in silence, no this doesn't say anything about me
Reunion after (physical) tr4uma prompts tws apply: grief/fear for someone’s life, mention of injuries, unconsciousness, hospıtals, comas, mention of involuntary drugging. that’s the general vibe. WORDS “Theeeere you are. Hi. Welcome back.” “Breathe. Hi, we found you, just breathe for me, okay?” “This is going to hurtÌž, but it will help you.” “You’re safe. [Name], can you hear me? They’re here to help you, you need to let them help you.” “I found them, they’re over here!” “Does anyone have medical training?” “N.. no, no, no, no, hey. [Name]? Hi, I’ve got you.” “You can sleep, [name]. It’s over.” “I’ll still be here when you wake up.” “You were in an induced coma. Your bĂždy went through a lot.” “I wasn’t –
 Your doctors weren’t sure you’d wake up.” “[Name]? Was that - did you squeeze my hand?” “It’s okay. It’s meant to be there, it’s helping you breathe.” “Can you hear me?” “You.. you were so close to dying. I was scared.” ACTIONS [ GATHER ] for sender to gather receiver’s (unconscious) bĂždy into their arms, in the style of no no no not them. [ STARING ] for sender to find receiver sitting alonÈ© staring at a wall, covered in blÞÞd, and to toÍ uch their arm. [ WAITING ] for sender to be waiting at receiver’s hospıtal bedside when receiver finally comes out of a coma, or wakes from surgery. [ STEADY ] for sender to catch or steady receiver when receiver tries to stand up too early or to push their bĂždy past what it’s ready for [ TEARS ] for receiver to find tears on sender’s face, when they’re finally reunited (either immediately after the trauma, or waking up in a hospıtal), because sender thought receiver was dead or dying [ GRIEF ] for receiver to wake up just as sender is saying goodbye, because the doctors told them to. feel free to specify what they might be saying. do not judge me, this is going in the meme [ LETTER ] for sender to find a last letter, video, text, etc that receiver made for them, thinking they wouldn’t make it out of the situation aliÌšve. Obviously receiver does make it out aliÌšve, but the letter/video still exists (and receiver will detail what’s in it). [ FIGHT ] for receiving muse to not recognize sender or medical staff trying to help them, due to being drugged or otherwise disoriented – so they fight.
whumpster-dumpster Personality Changes When Sick Reserved whumpees getting all needy and clingy ❀ Clingy whumpees getting real grumpy and distant ❀ Stoic whumpees getting melancholy and nostalgic ❀ Boisterous whumpees getting lethargic and withdrawn ❀ Grouchy whumpees becoming soft-spoken and sweet ❀ Fragile whumpees proving that they can tough it out ❀ Tough whumpees finally admitting they’re miserable ❀ Night owl whumpees crashing in the middle of the day ❀ Early bird whumpees sleeping straight through to noon ❀
PrinceJustice237 ‱ 2y ago As a fan of hurt/comfort/whump, I realised that I put my favourite characters through so much because I want to see their friends comfort them and help them through the aftermath. It’s good old fashioned catharsis, plus drama is just entertaining. A pure, fluffy, happy story where nothing bad happens works great for a oneshot but it’s harder to sustain 20+ chapters of that, you need drama and conflict and that requires stakes. That usually involve someone suffering to some degree.
‱ 2y ago Honestly, a huge reason why I torment my favorites is so that when the comfort comes along (because it always does in my case), their friends/found family can show them how much they are loved.
prospectkiss Sleepy intimacy is one of my favorite things, and I think the last point is why - it’s all about trust. Trusting someone enough to let your guard down. To lower your defenses. To be vulnerable. That kind of trust is not always given easily, which is what makes sleepy intimacy so heartwarming.
Mary Bell, 11-Year-Old Serial Kıller, Scotswood, England, 1968 - M*rdered Martin Brown (age 4) on May 25, 1968 and Brian Howe (age 3) on July 31, 1968. Her best friend Norma Bell, 13, (not related) took part in the 2nd m*rder. Mary attempted many mvrders besides those. Quotes: “I like to hur͘t people.” - “Brian Howe had no mother, so he won’t be missed.” - “Mvrder isn’t that bad, we all dıe sometime anyway...”
Horror Confessions @Horror_Fessions "When I was 8 I would hear what seemed like a younger girl calling for me in my back yard, my mom decided to ask around to see if any young boys had the same name as I did, turns out 8 years prior, a girl and her brother with the same name as I were murdered in a courtyard behind our house."
───── ❝ 𝐚𝐛𝐹𝐼𝐭 𝐩𝐞 ❞ ─────
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10:27 AM PST ‱ January 5, 2016 So, Recode reported today that Twitter was tinkering around with the idea of expanding its 140 character limit to a number a bit higher
.10,000 characters. But what, you ask (and I’m glad you did), does 10000 characters look like? Let’s find out So did you see the Warriors game last night? Crazy right? It was nice to see Harrison Barnes back and the entire crowd cheered when he entered. Steph Curry is probably not human cause he shoots the ball from the parking lot and it swishes like butter. How many characters am I up to now? Lemme check, so hold on 597 Anyway then it started raining and my dogs don’t like rain so it’s really difficult to take them outside to do their business in the morning when they don’t want to deal with the rain. I try to talk them into the fact that they’re actually getting a bath and pooping at the same time, kind of a two birds with one stone thing. They don’t buy it. Speaking of rain, it didn’t rain on my wedding day like the weather people thought it would. How do they keep their jobs when they’re wrong all of the time? It’s almost like they could do my job. Wait, I didn’t mean that how it sounded. Where are we at now? 1194 Here’s quote Bill Clinton: If you live long enough you’ll make mistakes. But if you learn from them, you’ll be a better person. It’s how you handle adversity, not how it affects you. The main thing is never quit, never quit, never quit. I think what he’s saying is that you can make mistakes, but you have to learn from them. I’ve made a bunch of mistakes, how about you? My dogs made a mistake this morning because they didn’t want to go out in the rain. But that’s cool, I don’t get mad. Life’s too short, you know? Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. Never quit. 2507 Did you see President speak about gun control today? It’s important. Probably the most important problem of our time and we have to solve it. Here’s what he said today: THE PRESIDENT: Happy New Year everyone. Before the New Year, I mentioned that I had given the charge to my Attorney General, FBI Director, Deputy Director at the ATF, and personnel at my White House to work together to see what more we could do to prevent a scourge of gun violence in this country. I think everybody here is all too familiar with the statistics. We have people every single year who are killed by guns. We have suicides committed by firearms at a rate that far exceeds other countries. We have a frequency of mass shootings that far exceeds other countries in frequency. And although it is my strong belief that for us to get our complete arm around the problem Congress needs to act, what I asked my team to do is to see what more we could do to strengthen our enforcement and prevent guns from falling into the wrong hands to make sure that criminals, people who are mentally unstable, those who could pose a danger to themselves or others are less likely to get them. And I’ve just received back a report from Attorney General Lynch, Director Comey, as well as Deputy Director Brandon about some of the ideas and initiatives that they think can make a difference. And the good news is, is that these are not only recommendations that are well within my legal authority and the executive branch, but they’re also ones that the overwhelming majority of the American people, including gun owners, support and believe. So we’ll be rolling out these initiatives. We’ll be making sure that people have a very clear understanding of what can make a difference and what we can do. And although we have to be very clear that this is not going to solve every violent crime in this country, it’s not going to prevent every mass shooting, it’s not going to keep every gun out of the hands of a criminal, it will potentially save lives and spare families the pain and the extraordinary loss that they’ve suffered as a consequence of a firearm getting in the hands of the wrong people. I’m also confident that the recommendations that are being made by my team here are ones that are entirely consistent with the Second Amendment and people’s lawful right to bear arms. And we’ve been very careful recognizing that, although we have a strong tradition of gun ownership in this country, that even though it’s who possess firearms for hunting, for self-protection, and for other legitimate reasons, I want to make sure that the wrong people don’t have them for the wrong reasons. So I want to say how much I appreciate the outstanding work that the team has done. Many of you worked over the holidays to get this set of recommendations to me. And I’m looking forward to speaking to the American people over the next several days in more detail about it. Thank you very much. Regardless of where you stand on the matter, we have to change some things. Back to tech. Are you at CES? I’m not this year. Mostly cause there’s a lot of germs and I shouldn’t be around them if I can help it. I’m pretty sure my dogs would have liked it though cause there’s a lot of tech in Vegas for all kinds of people and pets. If youre a dog would you want a phone? Or a self-feeding thing? Of course you would. You’d have to sit around all day watching your parents use technology while you sit around and lick yourself. What kind of existence is that? I know right? I hope there’s some dog tech that comes out of the conference, otherwise it’s a wash. 6294 Time for JFK: When written in Chinese, the word ‘crisis’ is composed of two characters. One represents danger and the other opportunity. I think what JFK meant was just because things aren’t going your way doesn’t mean that it won’t eventually. You have to play the long game, you have to stick in there and see things as far as you can possibly see them. It’s like Twitter. People are worried about whether Twitter can weather the storm of lack of growth. I think it can. What about the character count? I personally feel like asking people to keep their thoughts shorter make them more powerful. They’re easier to share. Repeat, etc. What will happen when people can put this much text in a tweet? I don’t know. I do know that I don’t want to spend hours reading tweets because I like the fact that I can glance at the app and figure out what’s going on pretty quickly. If I wanted to write a book, I’d do it on Facebook. Maybe people want more characters. I’m not sure who though I’d like to meet them. Maybe they have dogs too. We could chat about that. What are your favorite movies? I have top 10: – Rocky – Forrest Gump – Cast Away – Fantastic Mr Fox – Signs – Lars and the Real Girl – Superbad – Spaceballs – Shawshank Redemption – Jackie Brown 7657 Here’s a quote from Maya Angelou: The thing to do, it seems to me, is to prepare yourself so you can be a rainbow in somebody else’s cloud. Somebody who may not look like you. May not call God the same name you call God – if they call God at all. I may not dance your dances or speak your language. But be a blessing to somebody. That’s what I think. Being a blessing to someone is a great way to be. Have you been a blessing to someone lately? I feel like we could all do a better job of that, even if it’s in small ways. I feel like people always want to do something great and massively huge, but forget about all of the little things along the way. Making someone smile, holding the door for someone, giving someone a hug when they really really need it. Those kinds of things last forever. Don’t hold back on doing a bunch of little great things to do something huge that you’ll get overwhelmed with and not follow through on. 8614. Wow this is a lot. I feel like Kurt Wagner did good talking about ramifications of expanding tweets to 10,000 characters: The design aspect is key. Making Tweets bigger by adding more content or pictures diminished user engagement in the past according to one source. If tweets take a long time to consume or take up more space on your screen, it’s likely that you’ll view (and engage with) fewer of them. So Twitter is trying to add more content without disrupting the way you currently scroll through your timeline. How can Twitter become more like Facebook without becoming Facebook? There’s too many words on Facebook, something the company itself is trying to get away from by introducing all sorts of new media like 360° videos. There’s always a place for long form content, and just because you have the space doesn’t mean you have to fill it. But still, a lot of people will try. Spammers will definitely try. In fact, can you imagine getting spam tweets that are over 140 characters? Ugh. It’ll be like reading SPAM in your EMAIL!@$#!@#!@# One more quote from Clarence Darrow: When we fully understand the brevity of fleeting joys and unavoidable pains; when we accept the facts that all men and women are approaching an inevitable doom: consciousness should make us more kindly considerate. This feeling should make use their best efforts to help on the road make the path brighter easier as journey on. It should bring a closer kinship, a better understanding, and a deeper sympathy for the wayfarers who must live a common life. Twitter should just acquire Medium instead. Oops I went to the limit
GENERAL ADVICE FOR USING SITE so we can keep it up NO DOXXING- leaking a specific person's residential address and who lives full name STORY TIME- don't leak a real person's full name when typing out a juicy gossip tea but you can change the first name or to remain anonymous instead. Otherwise go and create let writing flow! PREACHING- don't over fill with arguing on whether or not to promote, such as your discord server nor how to raise family age viewers must be. You can tag yourself tho.
âžĄïž Content warnings on fiction are a courtesy. âžĄïž Not every medium of fiction and storytelling has or is expected to have content warnings or extensive tagging. âžĄïž Print novels do not traditionally warn for content in any way. âžĄïž Fanfiction did not traditionally warnÌ” for content in any significant way. âžĄïž An author is only obligated to warnÌ” for content to the degree mandated by the format they publish their fiction on. âžĄïž Content warnings beyond the minimum are a courtesy, not an obligation. âžĄïž 'Creator chose not to warn' is a valid tag authors are allowed to use on. It means there could be anything in there and you have accepted the rısk. 'May contain peanuts!' âžĄïž Writers are allowed to use 'Creator chose not to warn' for any reason, including to maintain surprise and avoÄŻd spoilers. âžĄïž 'Creator chose not to warn' is not the same thing as 'no archive warnings apply'. âžĄïž It is your responsibility to protect yourself and close a book, or hit the back button if you find something in fiction that you're reading that upsets you. âžĄïž You are responsible for protecting yourself from fiction that causes you discomforts.
TOO MANY VANITY POSTS!!!!!!!!!! Posted on 9/11/2004, 12:50:47 PM by FreeManWhoCan ENOUGH ALREADY GUYS! STOP WITH THE VANITY POSTS! THERE ARE JUST TOO MANY, (INCLUDING THIS ONE!) HOW MANY POSTS DO WE HAVE TO SEE ABOUT? I ENJOY READING GOOD STORIES HERE, BUT HAVING TO SIFT THROUGHT ALL THESE VANITIES IS DRIVING ME NUTS...
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one of the most significant misconceptions i fear some people have about whump is that it’s sadism. For a lot of us, it’s masochist. I can’t speak for everyone in the whump community, but for myself and most of the people i’ve interacted with, we’re empathising with the whumpee, not the whumper. We’re experiencing second- hand their paın and catharsis, and also (my favourite part) the concern and care they receive from others but like
 i can totally imagine what it would look like for outsiders coming across our blogs where we consistently fantasise about our favourite characters in absolute agony lol
Go to Google and type Type site: into the search bar. Type in the website's address without the www prefix. Press space and enter your search terms. Using the Chrome browser, type the website you want to search into the address bar. When you see the "Press Tab to search", hit Tab â†č. Enter your search terms. For both methods, press ↔ Enter after you've entered your search terms. Your search results will appear. Type in your site's address without the "www" part. This should go immediately after the site: tag with no space in between. For example: to search Facebook, you would type site:facebook.com.
ᎏ ËąÊ°á”’á”˜ËĄá”ˆá”‰Êł á”—á”’ á¶œÊłÊž ᔒⁿ âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ ➔ đ—đ—ˆđ—‹đ–œ đ–Œđ—ˆđ—Žđ—‡đ—: đŸ§đŸ«đŸą "áŽ·á”ƒÊłá”‰âżâžŽ Ê·Ê°á”‰Êłá”‰'Ëą ᔐʞ á”á”‰á”ƒá”—ËĄá”’á”ƒá¶ ?" áŽŸËĄá”ƒâżá”á”—á”’âż ËĄá”’á”’á”á”‰á”ˆ ⁱⁿ ᔗʰᔉ á”â±á”—á¶œÊ°á”‰âż á¶ á”’Êł ᔗʰᔉ á”ˆâ±âżâżá”‰Êłâ€§ "áŽ·á”ƒÊłá”‰âżâžŽ Ê·Ê°á”‰âż ᎔ Ëąá”ƒÊž ᎔ Ê·á”ƒâżá”— ˹ᔒᔐᔉ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”—á”’á”–á”–á”‰á”ˆ Ê·Ê°á”‰âż ʰᔉ Ëąá”ƒÊ· á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ʷⁱᔗʰ áŽ·á”ƒÊłá”‰âż ⁱⁿ ᔗʰᔉ á”’á”—Ê°á”‰Êł Êłá”’á”’á”â€§ ᔀʰᔉʞ ˹ᔉᔉᔐ á”—á”’ ᔇᔉ á”˜á”–Ëąá”‰á”—â€§ "᎔'ᔐ Ëąá”’ÊłÊłÊžâ€§â€§â€§" "á”†á”–á”’âżá”á”‰á”‡á”’á”‡âžŽ ⁱᔗ'Ëą ⁿᔒᔗ Êžá”’á”˜Êł á¶ á”ƒá”˜ËĄá”—â€§" ˹ᔃⁱᔈ áŽ·á”ƒÊłá”‰âżâ€§ "᎔ ÊČá”˜Ëąá”— ËĄá”‰á”ƒÊłâżá”— ʷʰᔃᔗ'Ëą ⁱⁿ ᔗʰᔉ ᔖᔃᔗᔗʞ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—Ëąâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶œÊłâ±á”‰á”ˆâ€§ "᎔ᔗ'˱‧‧‧" "Êžá”‰Ëą?" áŽŸËĄá”ƒâżá”á”—á”’âż ËĄâ±Ëąá”—á”‰âżá”‰á”ˆâ€§ "᎔ á¶œá”ƒâż'ᔗ‧‧‧" "᎔'ËĄËĄ ᔗᔉ˥˥ ʰⁱᔐ; ᔗʰᔉ ᔖᔃᔗᔗʞ á”‡á”ƒá”—á”—á”‰Êł á¶œá”’âżËąâ±Ëąá”—Ëą ᔒᶠ á¶»á”’á”’á”–ËĄá”ƒâżá”á”—á”’âżâ€§ ᎔ᔗ'Ëą ᔇᔉᔉⁿ á”’âżËĄÊž ᔃ á”á”ƒá”—á”—á”‰Êł ᔒᶠ ᔗⁱᔐᔉ á”‡á”‰á¶ á”’Êłá”‰ ʰᔉ'ᔈ ᔍᔉᔗ á”—á”’ ʞᔒᔘ➎ á”†Ê°á”‰ËĄá”ˆá”’âżâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Êłá”ƒâż ᔒᔘᔗ ᔒᶠ ᔗʰᔉ Êłá”’á”’á”âžŽ Ëąá”’á”‡á”‡â±âżá”â€§ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—Ê°á”‰âż ᶜᔃᔐᔉ ⁱⁿ‧ "᎔˹ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ Ê°á”‰Êłá”‰?" "᎔ Ê°á”ƒá”›á”‰âż'á”— ˹ᔉᔉⁿ ʰⁱᔐ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż ËĄâ±á”‰á”ˆ ᔃ˹ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ Ê°á”‰á”ƒÊłá”ˆ ᔗʰᔉᔐ á”—á”ƒËĄá”â±âżá”â€§ "ᔀʰᔉ Ëąá”‰á¶œÊłá”‰á”— â±âżá”Êłá”‰á”ˆâ±á”‰âżá”— ⁱ˹ áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ Ëąá”’ ᎔'ᔐ Ê°á”‰Êłá”‰ á”—á”’ á¶œá”’ËĄËĄá”‰á¶œá”— Êžá”’á”˜Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆâžŽ áŽ·á”ƒÊłá”‰âżâ€§â€§" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ˹ᔃⁱᔈ➎ á”—á”˜Êłâżâ±âżá” ᔒᶠᶠ áŽ·á”ƒÊłá”‰âż'Ëą á”–á”’Ê·á”‰Êłâ€§ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—á”˜Êłâżá”‰á”ˆ á”—á”’ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "᎔ á”á”˜á”‰ËąËą ᔐᔉ á¶ ÊłÊžá¶œá”’á”’á” Êłá”ƒâż ʰᔒᔐᔉ➎ Ëąá”’ ʞᔒᔘ'Êłá”‰ Ê°á”‰ËĄá”–ËĄá”‰ËąËąËĄÊž á”ƒËĄá”’âżá”‰â€§ ᎔'ËĄËĄ ᔇᔉ ᔇᔃᶜᔏ á”—á”’ á¶ â±âżâ±ËąÊ° ⁱᶠ ʞᔒᔘ'Êłá”‰ ˹ᔗⁱ˥˥ á”ƒËĄâ±á”›á”‰â€§" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—á”’ËĄá”ˆ ᔃ˹ ʰᔉ ˹˥ᔃᔐ˹ áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą ʰᔉᔃᔈ ᔃ˹ Ê°á”ƒÊłá”ˆ ᔃ˹ ʰᔉ á¶œá”’á”˜ËĄá”ˆ á”‡á”‰á¶ á”’Êłá”‰ ËĄá”’á¶œá”â±âżá” ʰⁱᔐ ⁱⁿ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ➎ ⁿᔒᔗ á”âżá”’Ê·â±âżá” á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶œá”’á”˜ËĄá”ˆ Ê°á”‰á”ƒÊłâ€§ ᎎᔉ ˥ᔉᶠᔗ➎ ËĄá”ƒá”˜á”Ê°â±âżá”â€§ áŽŹá¶ á”—á”‰Êł Ëąá”‰á”‰â±âżá” ᔗʰᔉ á¶œá”’á”ƒËąá”—'Ëą á¶œËĄá”‰á”ƒÊł ᔃⁿᔈ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”á”’âżá”‰âžŽ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᶜᔃᔐᔉ ᔒᔘᔗ‧ ᎎᔉ Ê°á”‰á”ƒÊłá”ˆ ʷʰᔃᔗ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ˹ᔃⁱᔈ ᔃ˹ Ê·á”‰ËĄËĄ ᔃ˹ ᔗʰᔉ Ê°á”ƒÊłËąÊ° á”‡á”ƒâżá”â±âżá” ⁿᔒⁱ˹ᔉ Ê·Ê°á”‰âż áŽŸËĄá”ƒâżá”á”—á”’âż ᔍᔒᔗ Ê°á”˜Êłá”—â€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”–á”’Ê·á”‰Êłá”‰á”ˆ áŽ·á”ƒÊłá”‰âż ᔇᔃᶜᔏ ᔒⁿ ᔃⁿᔈ ᔗʰᔉʞ Ëąá”ƒÊ· áŽŸËĄá”ƒâżá”á”—á”’âż ⁱⁿ Ê°â±Ëą á”˜âżÊłá”‰Ëąá”–á”’âżËąâ±á”›á”‰ Ëąá”—á”ƒá”—á”‰â€§ "áŽ·á”ƒÊłá”‰âżâžŽ á¶œá”ƒâż ʞᔒᔘ á”ˆâ±Ëąá”ƒá”‡ËĄá”‰ ᔗʰᔉ ËĄá”’á¶œá”Ëą áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ᔖᔘᔗ?" "Êžá”‰Ëąâ€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”—Ê°á”‰âż Êłá”ƒâż ᔒᔘᔗ‧ "᎔'ËĄËĄ ᔇᔉ Êłâ±á”Ê°á”— ᔇᔃᶜᔏ‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż á”‰á”›á”‰âżá”—á”˜á”ƒËĄËĄÊž ᶜᔃᔐᔉ á”—á”’ Êłá”‰á”á”ƒâ±âżâ±âżá” á¶œá”’âżËąá¶œâ±á”’á”˜Ëąâżá”‰ËąËą ʷⁱᔗʰ Ê°â±Ëą á¶œá”’á”á”–á”˜á”—á”‰Êł ʷⁱᶠᔉ ᔃⁿᔈ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔇʞ ʰⁱᔐ‧ "ᎎᔉʞ➎ áŽŸËĄá”ƒâżá”á”—á”’âż; ʞᔒᔘ á”ƒÊłá”‰ Ëąá”ƒá¶ á”‰ âżá”’Ê·â€§â€§" áŽșá”’á”— á”ƒá”‡ËĄá”‰ á”—á”’ ˹ⁱᔗ á”˜á”–Êłâ±á”Ê°á”—âžŽ áŽŸËĄá”ƒâżá”á”—á”’âż á”Êłá”‰Ê· á¶ Êłá”˜Ëąá”—Êłá”ƒá”—á”‰á”ˆ ᔃ˹ ʰᔉ á”—Êłâ±á”‰á”ˆ á”—á”’ ᔐᔒᔛᔉ‧ "ᔁᔐᔐ‧‧‧" "ʞᔒᔘ'Êłá”‰ Ëąá”ƒá¶ á”‰âžŽ áŽŸËĄá”ƒâżá”á”—á”’âż; ⁱᔗ'Ëą ᔃ‧‧‧" "᎔'ᔛᔉ ⁿᔒ á”‰âżá”‰Êłá”ÊžâžŽ ᔃⁿᔈ áŽ·Êłá”ƒá”‡Ëą Ê·â±ËĄËĄâ€§â€§â€§" "á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᔗᔒᔒᔏ á¶œá”ƒÊłá”‰ ᔒᶠ ⁱᔗ‧" áŽ·á”ƒÊłá”‰âż â±âżá”—á”‰ÊłÊłá”˜á”–á”—á”‰á”ˆ Ê°á”‰Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆâ€§ "ᎎᔉ ˹ᔃⁱᔈ ʰᔉ‧‧‧" "áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ⁱ˹ á”á”’âżá”‰!" "á¶ á”’Êł âżá”’Ê· ᔇᔘᔗ ʰᔉ'ËĄËĄ ᶜᔒᔐᔉ ᔇᔃᶜᔏ‧‧‧" "ᶜᔒᔐᔉ ᔇᔃᶜᔏ á¶ Êłá”’á” ᔗʰᔉ á”Êłá”ƒá”›á”‰? ᎎᔉ ᔈᔉᔃᔈ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”—á”ƒÊłá”‰á”ˆ ⁱⁿ á¶œá”’âżá¶ á”˜Ëąâ±á”’âżâ€§ "á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᔐᔃᔈᔉ Ëąá”˜Êłá”‰ ᔒᶠ ⁱᔗ‧" "ʞᔒᔘ'Êłá”‰ á”—á”‰ËĄËĄâ±âżá” ᔐᔉ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ á”˜âżá”ƒËĄâ±á”›á”‰á”ˆ Ê°â±Ëą ᔇᔒ˹˹‧‧‧" "ʞᔒᔘ'ᔛᔉ á”ƒâżÊž ᔉˣᔖ˥ᔒ˹ⁱᔛᔉ˹➎ áŽŸËĄá”ƒâżá”á”—á”’âż? ᎔ Ê·á”ƒâżâżá”ƒ á”ˆá”‰Ëąá”—Êłá”’Êž ᔗʰᔉ á”Êłá”˜Ëąá”—Êž á”Êłá”ƒá”‡â€§â€§â€§" áŽŸËĄá”ƒâżá”á”—á”’âż ˥ᔉᔗ ʰⁱᔐ ᔈᔒ ᔗʰᔉ Ê°á”’âżá”’á”˜ÊłËąâ€§ "áŽ±á”˜á”á”‰âżá”‰ áŽ·Êłá”ƒá”‡Ëą ⁱ˹ ⁿᔒ á”á”’Êłá”‰!" ᔆᔃⁱᔈ á”†á”–á”’âżá”á”‰á”‡á”’á”‡âžŽ á”á”ƒá”â±âżá” áŽŸËĄá”ƒâżá”á”—á”’âż ˹ᔐⁱ˥ᔉ ᔃᔗ ʰⁱᔐ‧ "᎔'ËĄËĄ ᔍⁱᔛᔉ ʞᔒᔘ ᔗʰᔉ Êłá”‰Ëąá”— ᔒᶠ ᔗʰᔉ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—ËąâžŽ ᔇᔘᔗ ʷᔉ'ËĄËĄ á”˜Ëąá”‰ ᶜʰᔘᔐ â±âżËąá”—á”‰á”ƒá”ˆ ᔒᶠ‧‧‧" "á”†á”–á”’âżá”á”‰á”‡á”’á”‡; á”—Ê°á”ƒâżá” ʞᔒᔘ á¶ á”’Êł Ê°á”‰ËĄá”–â±âżá” ᔐᔉ ᔒᔘᔗ‧" "᎔ Ê·á”ƒâżá”— á”—á”’ Ëąá”–á”‰âżá”ˆ ᔗʰᔉ âżâ±á”Ê°á”—â€§â€§â€§" "á”†á”˜Êłá”‰!" ᔆᔒ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ Ëąá”—á”ƒÊžá”‰á”ˆ ᔇʞ Ê°â±Ëą ᔇᔉᔈ‧ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᶠᔉ˥˥ â±âżËąá”—á”ƒâżá”—ËĄÊž á”—á”’ ˹˥ᔉᔉᔖ ᔃ˹ áŽŸËĄá”ƒâżá”á”—á”’âż ᔖᔃᔗᔗᔉᔈ Ê°â±Ëą Ê°á”ƒâżá”ˆâ€§ "á”†á”–á”’âżá”á”‰á”‡á”’á”‡'Ëą ᔃ á”Êłá”‰á”ƒá”— á¶ Êłâ±á”‰âżá”ˆâ€§â€§â€§" áŽ·á”ƒÊłá”‰âż á”—á”’ËĄá”ˆ Ê°á”‰Êł Ê°á”˜Ëąá”‡á”ƒâżá”ˆâ€§ "ᎎᔉ ⁱ˹ ⁱ˹ⁿ'á”— ʰᔉ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż ᔐᔒᔛᔉᔈ á¶œËĄá”’Ëąá”‰Êłâ€§ "᎔ ˥ᔒᔛᔉ ʞᔒᔘ➎ áŽ·á”ƒÊłá”‰âżâ€§" áŽŽá”‰á”ƒÊłâ±âżá” áŽŸËĄá”ƒâżá”á”—á”’âż ᔍⁱᔛᔉ á”ƒá¶ á¶ á”‰á¶œá”—â±á”’âż ᔐⁱᔍʰᔗ ᔃ˹ Ê·á”‰ËĄËĄ ᔇᔉ á¶œá”’âżËąâ±á”ˆá”‰Êłá”‰á”ˆ ᔃ Êłá”ƒÊłâ±á”—ÊžâžŽ Ëąá”’ ⁱᔗ'Ëą á”á”’Êłá”‰ Ëąá”–á”‰á¶œâ±á”ƒËĄ Ê·Ê°á”‰âżá”‰á”›á”‰Êł ʰᔉ á”ˆá”’á”‰Ëąâ€§ ᎌᶠ á¶œá”’á”˜ÊłËąá”‰âžŽ ᔗʰᔉ ᔈᔃʞ Ê°á”ƒËą ᔇᔉᔉⁿ Ëąá”—Êłá”‰ËąËąá¶ á”˜ËĄ ᔃⁿᔈ á”—â±Êłâ±âżá”âžŽ Ëąá”’ á”‰ËŁÊ°á”ƒá”˜Ëąá”—â±á”’âż Ëąá”‰á”—á”—â±âżá” ⁱⁿ ᔐⁱᔍʰᔗ'ᔛᔉ ᔐᔃᔈᔉ ʰⁱᔐ ˥ᔉ˹˹ Êłá”‰Ëąá”‰Êłá”›á”‰á”ˆâ€§ ᔆᔗⁱ˥˥➎ ⁱᔗ'Ëą ᔗʰᔉ ËĄá”‰á”ƒËąá”— ʰᔉ'ᔈ ᔈᔒ á¶ á”’Êłâ€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᔃʷᔒᔏᔉ á”‰á”ƒÊłËĄÊžâžŽ á”‡á”‰â±âżá” ᔗʰᔉ á¶ â±ÊłËąá”— ᔒⁿᔉ‧ ᎎᔉ Êłá”‰á”á”‰á”á”‡á”‰Êłá”‰á”ˆ ᔗʰᔉ ᔉᔛᔉⁿᔗ˹ ᔒᶠ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”ˆá”‰á”â±Ëąá”‰ ᔃ˹ áŽŸËĄá”ƒâżá”á”—á”’âż ᔐⁱᔍʰᔗ'ᔛᔉ ËĄá”’Ëąá”— Ê°â±Ëą ˥ⁱᶠᔉ‧ á”†á”‰á”‰â±âżá” ʰⁱᔐ Ëąâżá”’á”’á¶»â±âżá” ᔃⁿᔈ Ëąâżá”’Êłâ±âżá”âžŽ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔈⁱᔈⁿ'á”— Ê·á”ƒâżá”— á”—á”’ á”ˆâ±ËąÊłá”˜á”–á”— áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą Êłá”‰Ëąá”—â€§ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”âżá”‰Ê· ʰᔉ'ᔈ á”˜âżá”âżá”’Ê·â±âżá”ËĄÊž á¶œá”’âżá”—Êłâ±á”‡á”˜á”—á”‰á”ˆ á”—á”’ ʷʰᔃᔗ á¶œá”’âżËąâ±á”ˆá”‰Êłá”‰á”ˆ ᔐᔃ˹˹ á”á”‰âżá”’á¶œâ±á”ˆá”‰âžŽ á¶œá”’á”’á”â±âżá” ʷʰᔃᔗ á”ƒá¶œá”—á”˜á”ƒËĄËĄÊž á¶œá”’âżËąâ±Ëąá”—á”‰á”ˆ ᔒᶠ á¶»á”’á”’á”–ËĄá”ƒâżá”á”—á”’âżâ€§ á”†Ê°á”‰ËĄá”ˆá”’âż áŽŸËĄá”ƒâżá”á”—á”’âż Ê°â±á”Ëąá”‰ËĄá¶  á¶»á”’á”’á”–ËĄá”ƒâżá”á”—á”’âż ᔗᔒ‧ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ á”—á”˜Êłâżá”‰á”ˆ á”’á”›á”‰Êł ᔃⁿᔈ á‘«á”˜â±á”‰á”—ËĄÊž Ê·Ê°â±á”á”–á”‰Êłá”‰á”ˆâ€§ "ᔂʰʞ á”ƒÊłá”‰ ʞᔒᔘ á¶œÊłÊžâ±âżá”?" áŽŸËĄá”ƒâżá”á”—á”’âż Ëąá”—á”ƒÊłá”—ËĄá”‰á”ˆ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡âžŽ Ê·Ê°á”’Ëąá”‰ ˹ᔒᶠᔗ Ëąá”’á”‡á”‡â±âżá” ʷᔒᔏᔉ ʰⁱᔐ‧ "᎔ ᶠᔉᔉ˥ á”ƒÊ·á¶ á”˜ËĄ á¶ á”’Êł ᔗʰᔉ á”–á”ƒá”—á”—â±á”‰Ëą ᔃⁿᔈ ᔃ˥˥ ᔗʰᔉ á”›â±á¶œá”—â±á”Ëąâ€§â€§â€§" "á”†á”–á”’âżá”á”‰á”‡á”’á”‡âžŽ á”–ËĄá”‰á”ƒËąá”‰; ⁱᔗ'Ëą ⁿᔒᔗ Êžá”’á”˜Êł á¶ á”ƒá”˜ËĄá”—â€§â€§â€§" "᎔ á”âżá”’Ê·âžŽ ᔇᔘᔗ ᎔‧‧‧" "ʞᔒᔘ Ëąá”ƒá”›á”‰á”ˆ ᔐᔉ á¶ Êłá”’á” ᔗʰᔉ Ëąá”ƒá”á”‰ ᶠᔃᔗᔉ➎ ᔃⁿᔈ ⁿᔒⁿᔉ ᔒᶠ ᔘ˹ ʰᔃᔈ á”ƒâżÊž á¶œá”’âżá”—Êłá”’ËĄ á”’á”›á”‰Êł ⁱᔗ‧ Ꮃⁱᔛᔉ Êžá”’á”˜ÊłËąá”‰ËĄá¶  ˹ᔒᔐᔉ á¶œÊłá”‰á”ˆâ±á”—âžŽ ᔏⁱᔈ! ᎔'ËĄËĄ ᔍⁱᔛᔉ ʞᔒᔘ ᔃ ʰᔘᔍ➎ ⁱᶠ ʞᔒᔘ Ê·á”ƒâżá”—â€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᔍᔃᔛᔉ áŽŸËĄá”ƒâżá”á”—á”’âż ᔃ ˹ᔐⁱ˥ᔉ➎ ᔇᔒᔗʰ ᔒᶠ ᔗʰᔉᔐ ËąÊ°á”ƒÊłâ±âżá” á”—Ê°á”‰â±Êł á¶ â±ÊłËąá”— ʰᔘᔍ‧
January 5, 2016 Wow the Iliad is really good actually, totally epic: The Iliad By Homer, Written 800 BC Book I Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Jove fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. And which of the gods was it that set them on to quarrel? It was the son of Jove and Leto; for he was angry with the king and sent a pestilence upon the host to plague the people, because the son of Atreus had dishonoured Chryses his priest. Now Chryses had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom: moreover he bore in his hand the sceptre of Apollo wreathed with a suppliant’s wreath and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. “Sons of Atreus,” he cried, “and all other Achaeans, may the gods who dwell in Olympus grant you to sack the city of Priam, and to reach your homes in safety; but free my daughter, and accept a ransom for her, in reverence to Apollo, son of Jove.” On this the rest of the Achaeans with one voice were for respecting the priest and taking the ransom that he offered; but not so Agamemnon, who spoke fiercely to him and sent him roughly away. “Old man,” said he, “let me not find you tarrying about our ships, nor yet coming hereafter. Your sceptre of the god and your wreath shall profit you nothing. I will not free her. She shall grow old in my house at Argos far from her own home, busying herself with her loom and visiting my couch; so go, and do not provoke me or it shall be the worse for you.” The old man feared him and obeyed. Not a word he spoke, but went by the shore of the sounding sea and prayed apart to King Apollo whom lovely Leto had borne. “Hear me,” he cried, “O god of the silver bow, that protectest Chryse and holy Cilla and rulest Tenedos with thy might, hear me oh thou of Sminthe. If I have ever decked your temple with garlands, or burned your thigh-bones in fat of bulls or goats, grant my prayer, and let your arrows avenge these my tears upon the Danaans.” Thus did he pray, and Apollo heard his prayer. He came down furious from the summits of Olympus, with his bow and his quiver upon his shoulder, and the arrows rattled on his back with the rage that trembled within him. He sat himself down away from the ships with a face as dark as night, and his silver bow rang death as he shot his arrow in the midst of them. First he smote their mules and their hounds, but presently he aimed his shafts at the people themselves, and all day long the pyres of the dead were burning. For nine whole days he shot his arrows among the people, but upon the tenth day Achilles called them in assembly- moved thereto by Juno, who saw the Achaeans in their death-throes and had compassion upon them. Then, when they were got together, he rose and spoke among them. “Son of Atreus,” said he, “I deem that we should now turn roving home if we would escape destruction, for we are being cut down by war and pestilence at once. Let us ask some priest or prophet, or some reader of dreams (for dreams, too, are of Jove) who can tell us why Phoebus Apollo is so angry, and say whether it is for some vow that we have broken, or hecatomb that we have not offered, and whether he will accept the savour of lambs and goats without blemish, so as to take away the plague from us.” With these words he sat down, and Calchas son of Thestor, wisest of augurs, who knew things past present and to come, rose to speak. He it was who had guided the Achaeans with their fleet to Ilius, through the prophesyings with which Phoebus Apollo had inspired him. With all sincerity and goodwill he addressed them thus:- “Achilles, loved of heaven, you bid me tell you about the anger of King Apollo, I will therefore do so; but consider first and swear that you will stand by me heartily in word and deed, for I know that I shall offend one who rules the Argives with might, to whom all the Achaeans are in subjection. A plain man cannot stand against the anger of a king, who if he swallow his displeasure now, will yet nurse revenge till he has wreaked it. Consider, therefore, whether or no you will protect me.” And Achilles answered, “Fear not, but speak as it is borne in upon you from heaven, for by Apollo, Calchas, to whom you pray, and whose oracles you reveal to us, not a Danaan at our ships shall lay his hand upon you, while I yet live to look upon the face of the earth- no, not though you name Agamemnon himself, who is by far the foremost of the Achaeans.” Thereon the seer spoke boldly. “The god,” he said, “is angry neither about vow nor hecatomb, but for his priest’s sake, whom Agamemnon has dishonoured, in that he would not free his daughter nor take a ransom for her; therefore has he sent these evils upon us, and will yet send others. He will not deliver the Danaans from this pestilence till Agamemnon has restored the girl without fee or ransom to her father, and has sent a holy hecatomb to Chryse. Thus we may perhaps appease him.” With these words he sat down, and Agamemnon rose in anger. His heart was black with rage, and his eyes flashed fire as he scowled on Calchas and said, “Seer of evil, you never yet prophesied smooth things concerning me, but have ever loved to foretell that which was evil. You have brought me neither comfort nor performance; and now you come seeing among Danaans, and saying that Apollo has plagued us because I would not take a ransom for this girl, the daughter of Chryses. I have set my heart on keeping her in my own house, for I love her better even than my own wife Clytemnestra, whose peer she is alike in form and feature, in understanding and accomplishments. Still I will give her up if I must, for I would have the people live, not die; but you must find me a prize instead, or I alone among the Argives shall be without one. This is not well; for you behold, all of you, that my prize is to go elsewhither.” And Achilles answered, “Most noble son of Atreus, covetous beyond all mankind, how shall the Achaeans find you another prize? We have no common store from which to take one. Those we took from the cities have been awarded; we cannot disallow the awards that have been made already. Give this girl, therefore, to the god, and if ever Jove grants us to sack the city of Troy we will requite you three and fourfold.” Then Agamemnon said, “Achilles, valiant though you be, you shall not thus outwit me. You shall not overreach and you shall not persuade me. Are you to keep your own prize, while I sit tamely under my loss and give up the girl at your bidding? Let the Achaeans find me a prize in fair exchange to my liking, or I will come and take your own, or that of Ajax or of Ulysses; and he to whomsoever I may come shall rue my coming. But of this we will take thought hereafter; for the present, let us draw a ship into the sea, and find a crew for her expressly; let us put a hecatomb on board, and let us send Chryseis also; further, let some chief man among us be in command, either Ajax, or Idomeneus, or yourself, son of Peleus, mighty warrior that you are, that we may offer sacrifice and appease the the anger of the god.” Achilles scowled at him and answered, “You are steeped in insolence and lust of gain. With what heart can any of the Achaeans do your bidding, either on foray or in open fighting? I came not warring here for any ill the Trojans had done me. I have no quarrel with them. They have not raided my cattle nor my horses, nor cut down my harvests on the rich plains of Phthia; for between me and them there is a great space, both mountain and sounding sea. We have followed you, Sir Insolence! for your pleasure, not ours- to gain satisfaction from the Trojans for your shameless self and for Menelaus. You forget this, and threaten to rob me of the prize for which I have toiled, and which the sons of the Achaeans have given me. Never when the Achaeans sack any rich city of the Trojans do I receive so good a prize as you do, though it is my hands that do the better part of the fighting. When the sharing comes, your share is far the largest, and I, forsooth, must go back to my ships, take what I can get and be thankful, when my labour of fighting is done. Now, therefore, I shall go back to Phthia; it will be much better for me to return home with my ships, for I will not stay here dishonoured to gather gold and substance for you.” And Agamemnon answered, “Fly if you will, I shall make you no prayers to stay you. I have others here who will do me honour, and above all Jove, the lord of counsel. There is no king here so hateful to me as you are, for you are ever quarrelsome and ill affected. What though you be brave? Was it not heaven that made you so? Go home, then, with your ships and comrades to lord it over the Myrmidons. I care neither for you nor for your anger; and thus will I do: since Phoebus Apollo is taking Chryseis from me, I shall send her with my ship and my followers, but I shall come to your tent and take your own prize Briseis, that you may learn how much stronger I am than you are, and that another may fear to set himself up as equal or comparable with me.” The son of Peleus was furious, and his heart within his shaggy breast was divided whether to draw his sword, push the others aside, and kill the son of Atreus, or to restrain himself and check his anger. While he was thus in two minds, and was drawing his mighty sword from its scabbard, Minerva came down from heaven (for Juno had sent her in the love she bore to them both), and seized

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Types of -Cide For Your Writing Suıcıde - Act of kılling yourself Regicide - Act of kılling a king or queen Vaticide - Act of kılling a prophet Parricide - Act of kılling any relative Mariticide - Act of kılling your husband Uxoricide - Act of kılling your wi҉fĂ© Siblicide - Act of kılling your sibling Sororicide - Act of kılling your sister Fratricide - Act of kılling your brother Matricide - Act of kılling your mother Filicide - Act of kılling your chıld Infanticide - Act of kılling a chıld within their first year of life Patricide - Act of kılling your fĂŁther Avunculicide - Act of kılling your uncle Nepoticide - Act of kılling your nephew Amicide - Act of kılling your frıend Senicide - Act of kılling an elderly Hom*cide - Act of kılling a person Pedicide - Act of kılling chıldren Democide - MĂŒrder of a person or people by the government Omnicide - Act of kılling humans with intentions to make them extinct Deicide - Act of kılling a deity, divine being, or god Mundicide - Act of kılling a planet
ᔀʰᔉ Ꮁⁿᔈ đ–đšđ«đ§đąđ§đ đŹ â•°â”ˆâž€đƒđ€đ‘đŠ âœá”†á”–á”’âżá”á”‰áŽźá”’á”‡ á¶ á”ƒâżá¶ â±á¶œâŸ đ–đšđ«đ§đąđ§đ đŹ â•°â”ˆâž€đƒđ€đ‘đŠ ᔀʰᔉ á¶ ËĄÊžâ±âżá” á”ˆÊłá”’âżá”‰ Êłá”‰á”—á”˜Êłâżá”‰á”ˆ á”—á”’ áŽŸËĄá”ƒâżá”á”—á”’âż ʷⁱᔗʰ ᔗʰᔉ ᔇᔒᔗᔗ˥ᔉ‧ "Êžá”‰Ëą!" ᎎᔉ ᔍᔒᔗ ᔗʰᔉ ᔇᔒᔗᔗ˥ᔉ! áŽźá”˜á”— Ê·Ê°á”‰âż ʰᔉ Êłá”‰á”ƒá”ˆ ᔗʰᔉ ᶠⁱⁿᔃ˥ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—âžŽ áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą ᔐᔒᔒᔈ â±á”á”á”‰á”ˆâ±á”ƒá”—á”‰ËĄÊž á¶œÊ°á”ƒâżá”á”‰á”ˆâ€§ "ᔂʰᔃᔗ ⁱ˹ ⁱᔗ?" áŽ·á”ƒÊłá”‰âż á”ƒËąá”á”‰á”ˆâžŽ Ëąá”‰á”‰â±âżá” ʰⁱᔐ á¶ Êłá”’á¶»á”‰âż ⁱⁿ á”˜á”—á”—á”‰Êł á¶ á”‰á”ƒÊłâ€§ á¶ á”’ËĄËĄá”’Ê·â±âżá” Ê°â±Ëą ᔍᔃᶻᔉ➎ ËąÊ°á”‰ Ëąá”ƒÊ· Ê·Ê°á”‰Êłá”‰ ⁱᔗ Êłá”‰á”ƒá”ˆ 'ᶜᔒᔖᔉᔖᔒᔈ' ᔃ˹ ᔗʰᔉ ËĄá”ƒËąá”—âžŽ ʷⁱᔗʰ 'á”–Êłá”’á”—á”’á¶»á”’á”ƒ' á”‡á”‰â±âżá” á”–á”ƒÊłá”— ᔒᶠ ᔗʰᔉ Ëąá”‰á¶œÊłá”‰á”— Ëąá”ƒá”˜á¶œá”‰â€§ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ê·á”ƒËą á”˜âżá”âżá”’Ê·â±âżá”ËĄÊž á”‡á”‰â±âżá” á¶ á”’ËĄËĄá”’Ê·á”‰á”ˆ ᔇʞ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡ ᔃ˹ ʰᔉ Êłá”‰á”ƒËĄâ±Ëąá”‰á”ˆ áŽŸËĄá”ƒâżá”á”—á”’âż ᔍᔒᔗ ᔗʰᔉ ᔇᔒᔗᔗ˥ᔉ‧ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Ëąá”ƒÊ· ʷʰᔃᔗ'Ëą ËĄâ±Ëąá”—á”‰á”ˆ ᔒⁿ ᔗʰᔉ á”–á”ƒá”–á”‰ÊłâžŽ Ê°â±á”ˆâ±âżá” ᔃ˹ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ê·á”‰âżá”— ⁱⁿ ᔗʰᔉ ᶜʰᔘᔐ ᔇᔘᶜᔏᔉᔗ‧ "ʞᔒᔘ'ᔛᔉ ˹ᔉᔉⁿ á”—á”’ ᔐᔘᶜʰ‧‧‧" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ˹ᔃⁱᔈ á”—á”’ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "ᔆᔃʞ ᔇʞᔉ á”—á”’ Êžá”’á”˜Êł Ëąá”–á”’á”˜Ëąá”‰'˱‧‧‧" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—á”’ËĄá”ˆ ᔃ˹ ʰᔉ á”ˆá”‰Ëąá”—Êłá”’Êžá”‰á”ˆ áŽ·á”ƒÊłá”‰âż á”‡á”‰Êžá”’âżá”ˆ Êłá”‰á”–á”ƒâ±Êłâ€§ áŽŸËĄá”ƒâżá”á”—á”’âż á”á”ƒËąá”–á”‰á”ˆ ᔃ˹ ËąÊ°á”‰ ᶠᔉ˥˥ ⁱⁿ á”‡Êłá”’á”á”‰âż á”–â±á”‰á¶œá”‰Ëąâ€§ "ʞᔒᔘ'Êłá”‰ á”á”’âżâżá”ƒ ᔇᔉ ⁿᔉˣᔗ ᔘᔖ‧‧‧" "áŽ·Êłá”ƒá”‡Ëą á”–ËĄá”‰á”ƒËąá”‰! áŽșᔒ➎ á”ˆá”’âż'ᔗ‧‧‧" áŽŸËĄá”ƒâżá”á”—á”’âż'Ëą á”–ËĄá”‰á”ƒËąá”‰ Ê·á”‰âżá”— á”˜âżá¶ â±âżâ±ËąÊ°á”‰á”ˆ ᔃ˹ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ʰⁱᔗ Ê°â±Ëą ᶠᔃᶜᔉ Êłá”‰âżá”ˆá”‰Êłâ±âżá” ʰⁱᔐ á”˜âżá¶œá”’âżËąá¶œâ±á”’á”˜Ëąâ€§ "áŽșá”’Ê· ʞᔒᔘ Ê·á”’âż'á”— á”âżá”’Ê· Ê·Ê°á”‰Êłá”‰ ʞᔒᔘ Ê·á”‰âżá”— ᔃ˹ ᎔ ᔖᔘᔗ ʞᔒᔘ ⁱⁿ ᔐᔉ á”˜âżá”ˆá”‰Êłá”Êłá”’á”˜âżá”ˆ á”˜âżâ±á”—! ʞᔒᔘ'ËĄËĄ ᶠᔉᔉ˥ ᔗʰᔉ á”–á”ƒâ±âż Ê·Ê°á”‰âżá”‰á”›á”‰Êł ʞᔒᔘ Ê·á”ƒá”á”‰âżâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ʷᔃᔗᶜʰᔉᔈ ᔃ˹ Ê°â±Ëą ᔇᔒ˹˹ ᔗᔒᔒᔏ ʰⁱᔐ á”—á”’ ˹ᔃⁱᔈ á”˜âżá”ˆá”‰Êłá”Êłá”’á”˜âżá”ˆ á”˜âżâ±á”—â€§ "Ꮇᔉᔉᔖ ʞᔒᔘ á”˜âżá”—â±ËĄ ᎔ âżá”‰á”‰á”ˆ ᔃ âżá”‰Ê· ᔇᔃᔗᶜʰ Ê·Ê°á”‰âż ʷᔉ Êłá”˜âż ᔒᔘᔗ ᔒᶠ ᔖᔃᔗᔗʞ ᔐᔉᔃᔗ‧‧‧" ᔆᔃⁱᔈ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ᔃ˹ ʰᔉ Ëąá”ƒÊ· á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”‡á”‰Ê°â±âżá”ˆ ʰⁱᔐ ⁱⁿ á”—á”‰á”ƒÊłËąâ€§ "á”†á”’ÊłÊłÊžâžŽ ᔇᔒʞ; ᎔ á¶œá”ƒâż'á”— á”ƒá¶ á¶ á”’Êłá”ˆ ʞᔒᔘ á”âżá”’Ê·â±âżá” á”’Êł Ê°á”‰ËĄá”–â±âżá” ʰⁱᔐ‧ áŽłá”’á”’á”ˆâżâ±á”Ê°á”—!" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ËĄá”’á¶œá”á”‰á”ˆ ʰⁱᔐ ⁱⁿ ʷⁱᔗʰ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "ʞᔒᔘ'Êłá”‰ ᔃ á¶»á”’á”’á”–ËĄá”ƒâżá”á”—á”’âżâžŽ ᔃⁿᔈ áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ê·â±ËĄËĄ á”˜Ëąá”‰ ʞᔒᔘ á”—á”’ ᔐᔃᔏᔉ ᔗʰᔉ ⁿᔉˣᔗ ᔇᔃᔗᶜʰ‧‧‧" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Ëąá”’á”‡á”‡á”‰á”ˆ á”—á”’ áŽŸËĄá”ƒâżá”á”—á”’âż Ê·Ê°á”’ ˹ᔗⁱ˥˥ Ê·á”ƒËąâż'á”— á”á”’á”›â±âżá”â€§ "ʞᔒᔘ âżá”‰á”‰á”ˆ á”—á”’ ʷᔃᔏᔉ ᔘᔖ‧‧‧" "ᔂʰᔃᔗ'Ëą á”á”’â±âżá” ᔒⁿ? áŽŹÊ°Ê°â€§â€§â€§" áŽŸËĄá”ƒâżá”á”—á”’âż Ê·â±âżá¶œá”‰á”ˆ ᔃ˹ ʰᔉ Êłá”‰á”á”ƒâ±âżá”‰á”ˆ Ê°â±Ëą á¶œá”’âżËąá¶œâ±á”’á”˜Ëąâżá”‰ËąËą âżá”’á”—â±á¶œâ±âżá” á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Ê°á”’ËĄá”ˆâ±âżá” ᔒⁿᔉ ᔒᶠ Ê°â±Ëą Ê°á”ƒâżá”ˆËąâ€§ "áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ʰⁱ‧ ᎔ᔗ'Ëą Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ ᔂᔉ á”ƒÊłá”‰ ⁱⁿ á”—Êłá”’á”˜á”‡ËĄá”‰âžŽ ᔇᔘᔗ ᎔ á”âżá”’Ê· Ê·Ê°á”‰Êłá”‰ ʷᔉ á”ƒÊłá”‰âžŽ ʷʰⁱᶜʰ ⁱ˹ á”˜âżá”ˆá”‰Êłâżá”‰á”ƒá”—Ê° ᔗʰᔉ á”Êłá”˜Ëąá”—Êž á”Êłá”ƒá”‡â€§ ᔂᔉ ʰᔃᔛᔉ á”—á”’ á¶ â±á”á”˜Êłá”‰ ᔒᔘᔗ ᔃⁿ á”‰Ëąá¶œá”ƒá”–á”‰âžŽ ᔇᔘᔗ ʷᔉ'Êłá”‰ ËĄá”’á¶œá”á”‰á”ˆ ⁱⁿ‧ ᎔ ᔈⁱᔈⁿ'á”— á”âżá”’Ê· ᔃᔇᔒᔘᔗ ʷʰᔃᔗ'Ëą ⁱⁿ ᔗʰᔉ Êłá”‰á¶œâ±á”–á”‰âžŽ ᔃⁿᔈ ᎔ âżá”‰á”›á”‰Êł Ê·á”’á”˜ËĄá”ˆ'ᔛᔉ Ëąá”˜Ëąá”–á”‰á¶œá”—á”‰á”ˆ Ëąá”˜á¶œÊ° ᔃ á”—Ê°â±âżá” ⁱⁿ ᔗʰᔉ á¶ á”’Êłá”á”˜ËĄá”ƒâ€§ á¶ Êłá”’á” âżá”’Ê· ᔒⁿ➎ ᎔'ᔐ Êžá”’á”˜Êł Ëąâ±á”ˆá”‰â€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ Ëąá”ƒá”— ʰⁱᔐ ᔘᔖ‧ "᎔ᔗ'Ëą ᔗⁱᔐᔉ; ᔗʰᔉ á”–á”ƒá”—á”—â±á”‰Ëą á”ƒÊłá”‰ Êłá”˜âżâżâ±âżá” ËĄá”’Ê·â€§â€§â€§" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ˹ᔃⁱᔈ ᔃ˹ ʰᔉ ᔍᔒᔗ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ ᎔ⁿ ᔗʰᔉ á¶œÊ°á”ƒá”á”‡á”‰ÊłâžŽ ʰᔉ ᔗᔒᔒᔏ ʰⁱᔐ á”—á”’ á”ƒâżá”’á”—Ê°á”‰Êł Êłá”’á”’á”â€§ "᎔ᶠ ʞᔒᔘ á”ˆá”’âż'á”— â±á”á”á”‰á”ˆâ±á”ƒá”—á”‰ËĄÊž Ëąá”˜á¶œá¶œá”˜á”á”‡âžŽ ʞᔒᔘ ˹ᔗⁱ˥˥ Ê·á”’âż'á”— ᔐᔃᔏᔉ ⁱᔗ á”—á”’ á”—á”’á”á”’ÊłÊłá”’Ê·â€§ ᎔'ËĄËĄ ᔇᔉ á”á”ƒá”â±âżá” á”‡á”ƒá”—á¶œÊ°á”‰Ëą ᔒᶠ á”–á”ƒá”—á”—â±á”‰Ëą á”—á”’á”á”’ÊłÊłá”’Ê·âžŽ Ëąá”’ ᎔'ËĄËĄ âżá”‰á”‰á”ˆ ᔃ˥˥ ᔒᶠ ᔐᔉ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—Ëąâ€§â€§â€§" áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą á”—á”’ËĄá”ˆ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§ "áŽșᔒʷ➎ ᔍᔒᔒᔈᔇʞᔉ‧‧‧" á”‚Ê°á”‰âż áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą Ê·á”‰âżá”— á¶œËĄá”’Ëąá”‰á”ˆ ᔘᔖ ËąÊ°á”’á”– ËĄá”’á¶œá”á”‰á”ˆ á¶ á”’Êł ᔗʰᔉ ᔈᔃʞ➎ Ëąá”–á”’âżá”á”‰ ᔇᔒᔇ á”˜Ëąá”‰á”ˆ Ê°â±Ëą ËąÊ°á”’á”‰ËĄá”ƒá¶œá”‰Ëą á”—á”’ ᔐᔃᔏᔉ á”˜âżËĄá”’á¶œá”â€§ "ᔀᔒᔒᔏ ᔐᔉ ᔃ˥˥ ᔈᔃʞ➎ âżá”’Ê· ᎔ âżá”‰á”‰á”ˆ á”—á”’ ᶠⁱⁿᔈ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”‰á”›á”‰âżá”—á”˜á”ƒËĄËĄÊž á¶ á”’á”˜âżá”ˆ ʰⁱᔐ á”‡á”ƒá”ˆËĄÊž á”‡á”‰á”ƒá”—á”‰âż ᔇᔒᔈʞ‧ "ᎌʰ➎ áŽŸËĄá”ƒâżá”á”—á”’âżâ€§â€§â€§" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᔍᔒᔗ ʰⁱᔐ ᔒᔘᔗ‧ "á”†á”ƒâżá”ˆÊž!" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á¶ Êłá”ƒâżá”—â±á¶œá”ƒËĄËĄÊž á”–á”’á”˜âżá”ˆá”‰á”ˆ ᔒⁿ ᔗʰᔉ á”ˆá”’á”’Êł ᔒᶠ Ê°á”‰Êł á”—Êłá”‰á”‰ ᔈᔒᔐᔉ‧ á”†á”–á”’âżá”á”‰á”‡á”’á”‡ á”‰ËŁá”–ËĄá”ƒâ±âżá”‰á”ˆ ᔃ˹ ʰᔉ á”–Êłá”‰ËąËąá”‰á”ˆ Ê°á”‰Êł á”‡á”˜á¶»á¶»á”‰Êłâ€§ "ᔂᔉ ᔈᔒ ⁿᔒᔗ ʰᔃᔛᔉ ᔐᔘᶜʰ ᔗⁱᔐᔉ! áŽŽá”˜ÊłÊłÊžâžŽ á”–ËĄá”‰á”ƒËąá”‰!" á”†á”ƒâżá”ˆÊž á”‡Êłá”’á”˜á”Ê°á”— ᔒᔘᔗ Ê°á”‰Êł á”’Ê·âż á”‰á‘«á”˜â±á”–á”á”‰âżá”—â€§ "ᎎᔉ'Ëą ˹ᔗⁱ˥˥ á”‡á”ƒÊłá”‰ËĄÊž á”ƒËĄâ±á”›á”‰âžŽ ᔇᔘᔗ á”‡á”ƒÊłá”‰ËĄÊžâ€§ ᔂᔉ âżá”‰á”‰á”ˆ á”—á”’ ᔃᶜᔗ á‘«á”˜â±á¶œá”ËĄÊžâžŽ Ëąá”’ á”ˆá”’âż'á”— Ëąá”—á”’á”– ᔐᔉ á”—á”’ á”ƒËąá” á‘«á”˜á”‰Ëąá”—â±á”’âżËą; ᔈᔒ ᔃ˹ ᎔ Ëąá”ƒÊž Ê·Ê°á”‰âż ᎔ Ëąá”ƒÊž ⁱᔗ!" á”†á”ƒâżá”ˆÊž ˹ᔃⁱᔈ Ê·Ê°â±ËĄËąá”— Ëąá”‰á”—á”—â±âżá” ᔘᔖ‧ áŽźá”’á”—Ê° ᔒᶠ ᔗʰᔉᔐ Ê·á”’Êłá”á”‰á”ˆ á”—á”’ Ëąá”ƒá”›á”‰ ʰⁱᔐ á¶ Êłá”’á” á”ˆÊžâ±âżá”â€§ "ᔂᔉ'Êłá”‰ á”ˆá”’â±âżá” á”‰á”›á”‰ÊłÊžá”—Ê°â±âżá” ʷᔉ á”–á”’ËąËąâ±á”‡ËĄÊž á¶œá”ƒâż ᔇᔘᔗ ʰᔉ'Ëą ⁱⁿ ᔇᔃᔈ ËąÊ°á”ƒá”–á”‰â€§â€§â€§" á”†á”ƒâżá”ˆÊž á”—á”’ËĄá”ˆ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ "᎔'ËĄËĄ á”—ÊłÊž á”—á”’ ᔍᔉᔗ áŽŸËĄá”ƒâżá”á”—á”’âż á”—á”’ á”‡Êłá”‰á”ƒá”—Ê°á”‰ Ëąá”—á”‰á”ƒá”ˆâ±ËĄÊž ᔒⁿ Ê°â±Ëą á”’Ê·âż; ⁱᔗ'Ëą ᔃ˥˥ ʷʰᔃᔗ á¶œá”ƒâż ᔇᔉ á”ˆá”’âżá”‰â€§ ʞᔒᔘ âżá”‰á”‰á”ˆ á”—á”’ á”á”‰á”ƒâżÊ·Ê°â±ËĄá”‰ ᔐᔃᔏᔉ Ëąá”˜Êłá”‰ á”—á”’ Ëąá”—á”’á”– áŽčÊłâ€§ áŽ·Êłá”ƒá”‡Ëą ᔇʞ á”—Ê°â±âżá”â±âżá” ᔃʰᔉᔃᔈ; ᔉˣᔖᔒ˹ᔉ ᔗʰᔉ Êłá”‰á¶œâ±á”–á”‰âžŽ ᔐᔃᔏᔉ ᔃ ᔈᔉᶜᔒʞ ᔒᶠ áŽŸËĄá”ƒâżá”á”—á”’âżâžŽ ᔉᔗᶜ‧" á”†á”–á”’âżá”á”‰á”‡á”’á”‡ ᶜᔃᔐᔉ ᔇᔃᶜᔏ ᔃ˹ áŽŸËĄá”ƒâżá”á”—á”’âż ᔃʷᔒᔏᔉ ᔃⁿᔈ Ëąá”—á”ƒÊłá”—á”‰á”ˆ á”—á”’ Êłá”‰á”â±Ëąá”—á”‰Êł Ê°â±Ëą Ëąá”˜ÊłÊłá”’á”˜âżá”ˆâ±âżá”Ëąâ€§ "ʞᔒᔘ'Êłá”‰ á”á”’âżâżá”ƒ ᔐᔃᔏᔉ ⁱᔗ‧‧‧" "á¶œá”ƒâż ʞᔒᔘ ᔒᔖᔉⁿ Êžá”’á”˜Êł ᔉʞᔉ?" áŽŸËĄá”ƒâżá”á”—á”’âż Ê°á”‰á”ƒÊłá”ˆ ᔃ˹ ʰᔉ Êłá”‰á¶œá”’á”›á”‰Êłá”‰á”ˆâ€§ "᎔ᔗ'Ëą á”ƒËĄá”á”’Ëąá”— á”’á”–á”‰âżâ±âżá” ᔗⁱᔐᔉ; ʷᔉ âżá”‰á”‰á”ˆ á”—á”’ ᶠⁱⁿᔈ ᔃ Ëąá”ƒá¶ á”‰ Ê°â±á”ˆâ±âżá”â€§â€§â€§" "á”†á”–á”’âżá”á”‰á”‡á”’á”‡â€§â€§â€§ ᎔‧‧‧" "á”†á”ƒâżá”ˆÊžâžŽ á”—Ê°á”ƒâżá” ʞᔒᔘ‧‧‧" "á”†á”˜Êłá”‰âžŽ Ëąá”–á”’âżá”á”‰á”‡á”’á”‡â€§ ᎔ᶠ ʞᔒᔘ Ê·á”ƒâżá”—âžŽ ᎔ á¶œá”ƒâż Ëąá”‰âżá”ˆ ᔃ ᶜᔒᔖʞ ᔒᶠ ᔗʰᔉ â±âżá”Êłá”‰á”ˆâ±á”‰âżá”—Ëą á”—á”’ áŽŸá”‰Êłá¶œÊ° áŽŸá”‰Êłá”â±âżËą ᔃⁿᔈ ʰᔃᔛᔉ ᔗʰᔉ âżá”‰Ê·Ëą á¶œÊłá”‰Ê· ᔍᔒ á”—á”’ ᔗʰᔉ á”Êłá”˜Ëąá”—Êž á”Êłá”ƒá”‡â€§â€§â€§" "Êžá”‰Ëą!" 'áŽŸá”‰Êłá¶œÊ° áŽŸá”‰Êłá”â±âżËą ˥ⁱᔛᔉ ᔃᔗ ᔗʰᔉ Ëąá¶œá”‰âżá”‰âžŽ ᔃ˹ ʷᔉ ˹ᔉᔉ áŽčÊłâ€§ áŽ±á”˜á”á”‰âżá”‰ áŽ·Êłá”ƒá”‡Ëą âżá”’Ê· á¶ á”’á”˜âżá”ˆ á”á”˜â±ËĄá”—Êž ᔒᶠ á”˜âżËąá”–á”‰á”ƒá”á”ƒá”‡ËĄá”‰ á¶œÊłâ±á”á”‰Ëą ᔃⁿᔈ á”ƒá”—Êłá”’á¶œâ±á”—â±á”‰Ëąâ€§ ᎎⁱ˹ Êłá”‰Ëąá”—á”ƒá”˜Êłá”ƒâżá”— Ê°á”ƒËą á¶œËĄá”’Ëąá”‰á”ˆ á”ˆá”’Ê·âż ᔃⁿᔈ ʰᔉ á¶ á”ƒá¶œá”‰Ëą á¶œÊ°á”ƒÊłá”á”‰Ëą ᔒᶠ Êłá”’á”‡á”’ËąËĄá”ƒá”˜á”Ê°á”—á”‰Êł ᔛⁱ́ᔃ á”á”ƒá¶œÊ°â±âżâ±á¶œâ±á”ˆá”‰ ᔃⁿᔈ á”ƒÊłÊłá”‰Ëąá”—á”‰á”ˆ á¶ á”’Êł á”‡á”˜á”—á¶œÊ°á”‰Êłâ±âżá”â€§' puƎ ǝɄꓕ
Terms for the Mvrder of Loved Ones Amicicide: of one’s friend (amicus - friend) Avunculicide: of one’s uncle (avunculus - maternal uncle) Familicide: of one’s family (spouse and children) (familia - family) Filicide: of one’s daughter or son (filia - daughter; filius - son) Fratricide: of one’s brother (or sibling) (frater - brother; fratrem - sibling) Mariticide: of one’s husband (or spouse) (maritus - husband, spouse) Matricide: of one’s mother (mater - mother) Neonaticide: of one’s newborn child (neo - new; natus - born) Patricide: of one’s father (pater - father) Prolicide: of one’s offspring (proles - offspring) Senicide: of one’s elder (senes - elderly; senex - old man) Sororicide: of one’s sister (soror - sister) Uxoricide: of one’s wife (uxor - wife, spouse) Amiticide: of one’s aunt (amita - paternal aunt) Aniclicide: of one’s female elder (anicla - old woman) Avicide: of one’s grandparent (avia - grandmother; avus - grandfather) Conjicide: of one’s spouse (conjux, coniux - spouse, husband, wife) Nepticide: of one’s niece (nepti - niece)
Pansyk ‱6mo ago Personally, reading and writing fanfiction has really helped me with my technical skills. When I look over the fanfiction I have written over the years, I can see how my prose and dialogue have improved. All fiction, whether of the fan or original variety, is built off of the basic idea of "making words sound good." And fanfiction is a perfectly acceptable way to do that. However, the way that fanfiction operates in terms of characterization and plot? That's radically different from original fiction. In fanfiction, characters are already established, so even if you're doing some batshit insane Alternate Universe, everyone already knows the basics of what's up. That's not true of original fiction. You need to devote more time to both fleshing out your characters and establishing their relationships with the rest of the cast. Plot often progresses differently, in part because of the time you just spent showing your readers who these people are, but also because fanfiction and original fiction often follow different structures entirely. Fanfiction is free and accessible to anyone with an internet connection. That makes it useful for new authors, especially young authors. Think of it as swimming in shallow water. It's fun! It can help you build up some strength. Anyone can do it. But it won't completely prepare you for diving into deeper water. So, I guess at the end of the day, reading both will help your development as a writer.
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