View allAll Photos Tagged Understanding
You know I love to become a woman, I absolutely love it! I have no real understanding of this desire and powerful motivation apart from the certainty I really enjoy taking on a female appearance.
I enjoy a lot of things about cross-dressing as a woman. I love the sheer thrill of being a man daring to engage in the attempt to to look like a woman. I get a buzz from the prospect of seeing if I can actually act as if I was female and respond and behave as an heterosexual woman…such an adventure and with undoubted erotic overtones.
It’s almost like a drug, can I fool others into believing I am female and play the role convincingly? There are other aspects though. I will freely admit I love wearing make-up, I enjoy shaving my legs and wearing a skirt or a dress and high heels and really love wigs and experimenting with hair styles. I know I just enjoy the delight of dressing up as a woman and feel comfortable in the portrayal.
But why should I enjoy trying to look like a woman? After all, I am a man. I believe transvestism is a fundamental part of people who have this urge, this desire maybe it is a need? Why do I get such a thrill and emotional and truly joyous reward from cross-dressing? I do now understand that part of me feels this is how it could have been as part of me does desire to be a woman full time. As a teenager this was all consuming but as I’ve got older I have settled into my life as a man and would not actually like to transition.
As a young person I had a very black and white view on life and now I realise that was an immature way of thinking as very little in life is black and white. That neat view is too simplistic. I am indeed a man but part of me desires to be female. Could this be the trigger for my undoubted love and passion for dressing up as a woman and acting the part of one? Maybe! Maybe it is.
I also know that a big part of me is excited by the whole thrill and adventure of the acting and performance required to be a transvestite. To be a man that creates a female alter-ego is an addictive trait and quite an amazing experience and can provide reward on many levels. Yet such activity comes at a price. That price is for me fear. I feel genuine terror at the exhilaration and delight I experience when I dress up and pretend I am a woman. I know just how much I like it and just how willing I am to embrace being that woman and deep down I like the idea of making her real and becoming her exclusively to my male self. Yet, this desire to be female is given extra excitement by knowing I am a man engaging in an illusion and acting as the opposite gender. Surely that’s not transsexual? That's vanity, it is ego, it is somehow liberating in many areas such as emotionally and sexually, I feel free and empowered.
Despite the sheer intoxicating experience of cross-dressing I am fully aware it is the temporary nature that gives it the frisson. The fact I have spent several hours transforming myself and getting into the persona and the biggest thrill of all, daring to act as a woman…it is powerful and euphoric to dare to do this as a man.
My ambition is to become accomplished enough to be able to carry off the appearance and behaviour of a woman in a completely convincing way, that no-one is aware I am a man. I am willing to commit myself to that performance totally. How thrilling would that be?
I love the idea of being taken to dinner as a woman with a man and treated as a lady all evening and it is assumed I am female, that would fulfil me emotionally on quite a deep level. I know I would enjoy the experience. It is a selfish ambition as I am purely thinking about what I want to achieve, the male dining companion would be relegated to the status of being merely a prop for my ego’s indulgence. How shallow I am!
I cannot deny I feel very comfortable in make-up, wig, high heels, lingerie and wearing a lovely dress with painted nails, ear rings and perfume, oh how I adore it…I like being a woman, I really do. I cannot quite work out why when I dress up as a woman I feel more confident and enjoy attention, as a man I never have such inclinations. Get me in a dress, a bit of mascara and lipstick…I feel good, very good.
Maybe it’s a freedom? Maybe its a release of the transsexual aspects of me? Maybe it’s just the thrill of doing something daring compared to my male life? One thing I do know it is truly thrilling and so exciting and the adventure imagine is likely too ambitious for my abilities so unlikely to ever turn into a real experience.
It is good though to have hopes and dreams and to attempt to follow them. If I was not a transvestite I doubt would have enjoyed such wonderful experiences as I have in getting to dress as a woman and try and act like one, I love it!
This is my very first attempt at levitation photography so I figured I'd start simple, and I paid little or no attention to the scene/background because I was really more interested in understanding the post-processing part of it.
All in all I think it turned out looking fairly convincing.
I've never been a very creative photographer, so I'm hoping this genre helps to push me a bit more in that direction!
8 metres high and 15 metres long, the artwork rotates and with its 13 red neon letters it forms a clear message: Understanding.
The initial plan was to present the work last summer at the cancelled Roskilde Festival no. 50. Now, it lights up the darkness in Copenhagen as an artistic gesture to the public spirit we all show at the moment.
The piece is created by the world-famous and award-winning British artist Martin Creed, and it has previously been raised in Brooklyn, New York, with Manhattan's skyline as a backdrop.
This week in 2004, the MErcury Surface, Space ENvironment, Geochemistry, and Ranging spacecraft was launched aboard a Delta II rocket from Cape Canaveral Air Force Station in Florida. Designed and built by the Johns Hopkins University Applied Physics Laboratory in Laurel, Maryland, MESSENGER was the first spacecraft to orbit Mercury. Protected from the intense heat of the Sun by an innovative ceramic-cloth sunshade, MESSENGER provided the first images of the entire planet and collected information on the composition and structure of Mercury's crust, geologic history, atmosphere, magnetosphere, and the makeup of its core and polar materials. The spacecraft arrived at Mercury on March 17, 2011, and impacted the planet's surface April 30, 2015. MESSENGER was part of the Discovery program, managed at NASA's Marshall Space Flight Center for the agency's Science Mission Directorate. The NASA History Program is responsible for generating, disseminating, and preserving NASA's remarkable history and providing a comprehensive understanding of the institutional, cultural, social, political, economic, technological, and scientific aspects of NASA's activities in aeronautics and space. For more pictures like this one and to connect to NASA's history, visit the Marshall History Program's webpage.
Image credit: NASA
Struggling with understanding Blender's user-interface. Blender is not the most intuitive monster to control.
Bleh, never-ever liked it.
I love that it's free and seems pretty powerful and extremely stable. I haven't had a single crash, sputter, or file-corruption in Blender, since i started using it a couple of weeks ago.
Most 3D programs can be twitchy half the time. Even the major programs used by major film and game studios.
In the middle of this build, Autodesk discontinued all student lifetime Maya licenses and charging everyone their exorbitant "subscription fees".
What a load of...molasses.
So, in a mad rush, I'm learning Blender and Avastar at the same time for the September event.
I don't want to give anything away. But I'm hoping this will be ready in Fitted, Slink, Maitreya, Legacy, and possibly Kupra. I'm guessing on most of these shapes, by taking an extreme amount of screenshots of friends on pose stands, then correcting perspective for patterns in Pixelmator Pro as backdrops in Blender.
Modern understanding of progress frequently equates to the expectation of increase. We aim for increasing assets or appreciation to satisfy our fear of loss. Hence, things speed up, which is why there is steadily more to achieve, earn, or optimize. As growth is on everyone’s lips, fast motion seems unquestionable.
When there is no enough, the setting has to adapt to the prevailing dogma. As a result, humans seek to squeeze the world into a suit that is many sizes too small. However, without a doubt, pulling in the belly is insufficient because what is not supposed to fit cannot fit.
But when the idea of exceptional guides us, everything has to become more outstanding. On this fast ride, we don’t stop at ourselves. Accordingly, we are seeking for more, personal growth – the perfect me. As priorities shift, something got to give way. Thus, reality feels heavy when one puts too much strain on it.
And while standing on this bridge, the pace of the daily grid runs underneath my feet. Within all of these actions, the expectation of growth has given way to the indifference. A moment of standstill in the tugging speed of the time in which we live.
When a white painted bike appears somewhere, it was put there as a memento to an accident in which a cyclist was killed. It makes me very sad every time I pass by such a place.
I must say however that if we really want to reduce the number of deadly accidents with cyclists, then it is not helpful to point fingers only at car and lorry drivers while ignoring the cavalier attitude many cyclists display concerning safety. Bike lanes should be used, helmets should be worn, lights should be used at the front and the rear, bicycles should be maintained, easily visible clothing should be worn rather than black spandex, and there should be general understanding that traffic rules are there for a reason.
Every victim of a traffic accident is one too many, and things must change. We can't just go on with the old mindset and hope that somehow things will get better even if we don't, because that is not going to happen.
Camera: Nikon FM2n
Lens: AI-S Nikkor 85mm f/2
Film: Kodak Portra 400 professional grade colour negative film
Developed and scanned by www.meinfilmlab.de
And be sure to check by my other acount: www.flickr.com/photos_user.gne?path=&nsid=77145939%40..., to see what else I saw 2 Weeks Ago!
Yes I'm back again.
However due to my main computer on which I edit my work being struck down with a big bad virus, this picture and all the others I am uploading, were Unedited but have now been replaced with Edited versions. So enjoy and Thanks for your patience and understanding.
I do still hate everything about this shit that is new Flickr and always will, but an inability to find another outlet for my work that is as easy for me to use as the Old BETTER Flickr was, has forced me back to Flickr, even though it goes against everything I believe in.
I don't generally have an opinion on my own work, I prefer to leave that to other people and so based on the positive responses to my work from the various friends I had made on Flickr prior to the changes I have decided to upload some more of my work as an experiment and to see what happens.
So make the most of me before they delete my acount: www.flickr.com/photos/69558134@N05/?details=1, to stop me complaining!!
"I'm fed up with wolves and forests!"
A series of AI-generated pictures of Little Red Riding Hood in different art styles.
To be continued.
Pictures made with Midjourney.
I'm always happy to accept invites to groups as long as I can see their content. Should I see "this group is not available to you", my pictures won't be made available to that group. Thanks for your understanding.
Understanding the misunderstood SD Quattro.
This is what my full size files look like before I size them for printing and web display. Before I knock them out of focus, add grain and sharpen them. I left this one clean so that all the imaging power of the SD Quattro + 35/1.4 could be illustrated in the rendering of all those droplets.
We make ourselves a place apart
Behind light words that tease and flout,
But oh, the agitated hear
Till someone really find us out.
'Tis pity if the case require
(Or so we say) that in the end
We speak the literal to inspire
The understanding of a friend.
But so with all, from babes that play
At hid-and-seek to God afar,
So all who hide too well away
Must speak and tell us where they are.
poem by Robert Lee Frost
texture by Skeletalmess
Back to the scanning after a bit of a break, still plenty of Tonbridge images to come...
50025 Tonbridge
Assuming this is the working...
Sat. 15th March 1986 1Z25 - 'The Vulcan Vantrain' railtour
Scanned from an original 35mm negative.
Original Photographer Unknown.
I have started to collect a number of original slides (with copyright) 'most' of which probably haven’t been seen before. Some come with image information and some don't. Please feel free to leave a comment if you know locations, dates, numbers etc, it would be much appreciated. I have uploaded these at a low resolution, please don't copy / download without my prior permission.
I only collect slides on the understanding that the full copyright transfers over to me. If you believe there to be a copyright issue please drop me an email.
SULT (Hunger) is a Norwegian / American ensemble of musicians with a broad background in the improvised music. The music is acoustic, but with clear references to noise and other contemporary music. The somewhat peculiar lineup with percussion, guitar and two basses, giving the music a thick texture with a strong presence of friction sounds which close every door to the melody or traditional rhythm. Doors open thus to the world of subtle noise and discord. Although the music is acoustic, the music is driven by an inner brutality which uncompromisingly push the understanding of what constitutes music.
SULT: Moe, Skaset, Heule, Dryer.
Listen:
www.myspace.com/search/music?q=SULT&ac=t
Guro S. Moe solo:
www.myspace.com/gurosmoe/music/songs/solo-live-at-radio-n...
Note: for a better understanding of Damian Wayne in the DCSG I suggest you go read Supremedalekdunn’s Batman: Knight of Gotham #48-59 (this issue will be a synthesized version of KoG #59 from Robin’s perspective). Or if you just want to read something amazing, because that entire volume is really something special.
Tim noticed that the Batcave felt colder than usual. Perhaps it was the fact that Bruce Wayne’s child, whom he did not know he had, was occupying the containment cell. Or perhaps, it was the way Bruce said,
“Ra’s will come for the boy.” Alfred had placed Damian Wayne’s Crimson Knight suit inside of a display case, which he, Tim, and Bruce now stared at.
“We can beat him Bruce. We might be outnumbered. We might even be outgunned. But when has that ever stopped us?” Tim was reaching. In truth, the League of Assassins had always terrified him. Sparring with Bruce was a challenge enough, but to fight dozens of his former peers always sounded like a challenge too great for himself. Not to mention fighting the Demon’s Head himself, Ra’s al Ghul.
“It hasn’t.” Alfred replied on Bruce’s behalf, as the latter stared deeply into the eyes of the Crimson Knight suit.
“We’ll do it how we always do Bruce. Together.” Tim’s words seemed to snap Bruce out of his trance, as the Batman replied,
“Together.”
————————————————————————————————
Bruce left the cave in the resulting minutes, leaving his cowl on a vacant terminal. Tim approached the terminal and slumped against it, sliding to the ground where he sat looking around the enormous cave surrounding him. He looked around the cave he had called home for the past several years before he heard a voice in his ear,
“Tim?” Panicking, Tim realized that he had left his earpiece in.
“Hey Steph.” He responded.
“What’s going on?” Thinking of which way to best sum up the story of Damian, Tim sarcastically answered,
“An insane, drugged-up version of Batman attacked our city and now an ancient order of ninjas are coming to destroy everything.”
“The League of Assassins?” Stephanie asked on the other line.
“How’d you know-?”
“Love conspiracies. Everyone’s got a hobby, right? I mean, I’ve got this new one now, and you’ve had yours for a while…” Stephanie went silent, then asked, “So how bad is it? I mean, there’ve only been rumors…”
“Think one hundred Batmans killing people and burning down buildings.”
“So, not that bad.” Stephanie’s sarcasm prompted a laugh from Tim who said,
“I’m glad you’re back Steph.” While Stephanie simply replied,
“Glad to be back.”
————————————————————————————————
End of Volume 2
I saw this kid at tsc, bangladesh . She was quite annoyed with photographers as they were capturing her photos . From far it seemed to me she isn't quite understanding what is happening . After that she made a face which was quite funny ..
14.04.2015
please note: simple invites to post an image to a particular group are always welcome but no pictures, awards, or badges in comments. i call it dumping on the lawn. thanks very much for understanding, and I sincerely appreciate your visits.
Was actually sitting very still on a bench along Gordon's Pond walking path a while back and this cutie flew right up behind me. I don't think it really new I was there, I had to turn carefully around to try and get a few before it noticed what it had done and fly off;)
Proverbs 3:5-6
5 Trust in the LORD with all your heart
and lean not on your own understanding;
6 in all your ways acknowledge him,
and he will make your paths straight
This was taken in the trendy area of Shoreditch, London, a place where art is as alive as anything that is alive on earth. The graffiti artwork of façades is ever changing, artists like Paul Don Smith and Stick delighting us with their most recent work.
The "Home Sweet Homeless" writing in this image has an enormous signification to me, as it reminds me of my own homelessness from 12 years ago, of the time when I experienced the loss of possessions but I gained a heart for the streets, a better understanding of the human condition of those less fortunate, I've learned that 'Love is love in beggars and in kings', as Sir Edward Dyer once said.
View in Black @ my Photoblog
All Rights Reserved. No parts of this Photo Stream may be reproduced or transmitted in any form or by any means, electronic or mechanical, for any purposes without the written permission from Soo Hon Keong. If you would like to license/buy any photo from this site, drop me a mail at soohonk@gmail.com. Thank you for your respect and understanding.
Copyright © Soo Hon Keong. ALL RIGHTS RESERVED.
My pictures at GettyImages and SeenBy
Nikon D300 with Tokina 12-24mm/f4: 12mm - ISO200 - 1/160 - f5.6
Went climbing this morning - feeling rather knackered, but still had a decent climb anyway. Came home, had lunch, showered, then changed the bed. Tim did a couple of loads of washing too - and washed the car.
Chores over, I had some time to play around with my new flash. I've got loads to learn, but I'm very happy to find that I can just use it straight off without really understanding anything about it! As seems to be mandatory, I thought I'd start off with some water drop shots. It was good fun, and I actually got a few pretty sharp ones, so it was worth trying. Tim helped me pick this one - I'm not quite sure how it ended up looking like a droplet within a droplet - perhaps there was another smaller one behind - but as Tim pointed out, it looks like the Death Star. Very topical.
We had a little drive out in the clean car this afternoon, then came back for dinner and a relaxed evening in.
The genesis of modern understanding of Greek mythology is regarded by some scholars as a double reaction at the end of the 18th century against "the traditional attitude of Christian animosity mixed with disdain, which had prevailed for centuries", in which the Christian reinterpretation of myth as a "lie" or fable had been retained.[1] In Germany, by about 1795, there was a growing interest in Homer and Greek mythology. In Göttingen Johann Matthias Gesner began to revive Greek studies and a new humanistic spirit. His successor, Christian Gottlob Heyne, worked with Johann Joachim Winckelmann, and laid the foundations for mythological research both in Germany and elsewhere. Heyne approached the myth as a philologist and shaped the educated Germans' conception of antiquity for nearly half a century, during which ancient Greece exerted an intense influence on intellectual life in Germany.The development of comparative philology in the 19th century, together with ethnological discoveries in the 20th century, established the science of myth. Since the Romantics, all study of myth has been comparative. Wilhelm Mannhardt, Sir James Frazer, and Stith Thompson employed the comparative approach to collect and classify the themes of folklore and mythology.In 1871 Edward Burnett Tylor published his Primitive Culture, in which he applied the comparative method and tried to explain the origin and evolution of religion.] Tylor's procedure of drawing together material culture, ritual and myth of widely separated cultures influenced both Carl Jung and Joseph Campbell. According to Robert Segal, however, Campbell’s "romantic view of myth is the opposite of a rationalist view, one epitomized by the Victorian anthropologists Edward Tylor and James Frazer".J.F. del Giorgio has added a new turn to the comparative approach, insisting in The Oldest Europeans about present Greek myths being generated by the clash between a Paleolithic European population and the incoming Indo-European tribes.Max Müller applied the new science of comparative mythology to the study of myth, in which he detected the distorted remains of Aryan nature worship. Bronisław Malinowski emphasized the ways myth fulfills common social functions. Claude Lévi-Strauss and other structuralists have compared the formal relations and patterns in myths throughout the world.Evans himself, while studying the Minoan world, drew regularly on Egyptian and Near Eastern evidence for comparison, and the discovery of the Hittite and Ugaritic civilizations has uncovered texts as well as monuments which offer comparative material for ritual and mythology.Sigmund Freud put forward the idea that symbolic communication does not depend on cultural history alone but also on the workings of the psyche. Thus Freud introduced a transhistorical and biological conception of man and a view of myth as an expression of repressed ideas. Dream interpretation is the basis of Freudian myth interpretation and Freud's concept of dreamwork recognizes the importance of contextual relationships for the interpretation of any individual element in a dream. This suggestion would find an important point of rapprochment between the structuralist and psychoanalytic approaches to myth in Freud's thought.Carl Jung extended the transhistorical, psychological approach with his theory of the "collective unconscious" and the archetypes (inherited "archaic" patterns), often encoded in myth, that arise out of it.According to Jung, "myth-forming structural elements must be present in the unconscious psyche".[10] Comparing Jung's methodology with Campbell's theory, Segal concludes that "to interpret a myth Campbell simply identifies the archetypes in it. An interpretation of the Odyssey, for example, would show how Odysseus’s life conforms to a heroic pattern. Jung, by contrast, considers the identification of archetypes merely the first step in the interpretation of a myth".[5] For Jung, myth is no more about gods than about the physical world; it is about the human mind and must be read symbolically. Karl Kerenyi, one of the founders of modern studies in Greek mythology, gave up his early views of myth, in order to apply Jung's theories of archetypes to Greek myth.The origins of Greek mythology are an open question. In antiquity, historians such as Herodotus theorized that the Greek gods had been stolen directly from the Egyptians. Later on, Christian writers tried to explain Hellenic paganism through degeneration of Biblical religion. According to the Scriptural theory, all mythological legends (including Greek mythology) are derived from the narratives of the Scriptures, though the real facts have been disguised and altered. Thus Deucalion is another name for Noah, Hercules for Samson, Arion for Jonah etc.] According to the Historical Theory all the persons mentioned in mythology were once real human beings, and the legends relating to them are merely the additions of later times. Thus the story of Aeolus is supposed to have risen from the fact that Aeolus was the ruler of some islands in the Tyrrhenian Sea.The Allegorical theory supposes that all the ancient myths were allegorical and symbolical. According to the Physical theory the elements of air, fire, and water were originally the objects of religious adoration, and the principal deities were personifications of the powers of nature.The sciences of archaeology and linguistics have been applied to the origins of Greek mythology with some interesting results. Historical linguistics indicates that particular aspects of the Greek pantheon were inherited from Indo-European society (or perhaps both cultures borrowed from another earlier source), as were the roots of the Greek language. Prominent Sanskritist Max Müller attempted to understand an Indo-European religious form by tracing it back to its Aryan, Vedic, "original" manifestation. In 1891, he claimed that "the most important discovery which has been made during the nineteenth century with respect to the ancient history of mankind [...] was this sample equation: Sanskrit Dyaus-pitar = Greek Zeus = Latin Jupiter = Old Norse Tyr".[16] Philologist Georges Dumezil draws a comparison between the Greek Uranus and the Sanskrit Varuna, although there is no hint that he believes them to be originally connected.In other cases, close parallels in character and function suggest a common heritage, yet lack of linguistic evidence makes it difficult to prove, as in the case of the Greek Moirai and the Norns of Norse mythology.Archaeology and mythography, on the other hand, has revealed that the Greeks were inspired by some of the civilizations of Asia Minor and the Near East. Adonis seems to be the Greek counterpart — more clearly in cult than in myth — of a Near Eastern dying god. His name is related to the Semitic invocation "adon" (Lord) and appears in other cultures as Dumuzi, Tammuz or Attis. Cybele is rooted in Anatolian culture, and much of Aphrodite's iconography springs from the Semitic goddesses Inanna, Ishtar and Astarte. The theogonic myths current in the Near East in the second millennium BC, such as the myth of Anu, Kumarbi, and Teshub, contain significant stories of generational conflict. Meyer Reinhold argues that "such Near Eastern theogonic concepts, involving divine succession through violence and generational conflicts for power, found their way — the route is not certain — into Greek mythology. Our prime source is the great theogonic poem of Hesiod".Parallels between the earliest divine generations (Chaos and its children) and Tiamat in the Enuma Elish are also possible.In addition to Indo-European and Near Eastern origins, some scholars have speculated on the debts of Greek mythology to the still poorly understood pre-Hellenic societies of Greece, such as the Minoans and so-called Pelasgians. This is especially true in the case of chthonic deities and mother goddesses. Historians of religion were fascinated by a number of apparently ancient configurations of myth connencted with Crete: the god as bull — Zeus and Europa; Pasiphaë who yields to the bull and gives birth to the Minotaur; agrarian mysteries with a sacred marriage (Demeter's union with Iasion) etc. Crete, Mycenae, Pylos, Thebes and Orchomenus figure so large in later Greek mythology.For some, the three main generations of gods in Hesiod's Theogony (Uranus, Gaia, etc.; the Titans and then the Olympians) suggest a distant echo of a struggle between social groups, mirroring the three major high cultures of Greek civilization: Minoan, Mycenaean and Hellenic. Martin P. Nilsson, Professor of Classical Archaeology, worked on the structure, origins and relationships of the Indo-European languages, and concluded that all great classical Greek myths were tied to Mycenaen centres and were anchored in prehistoric times.Nevertheless, according to Walter Burkert, the iconography of the Cretan Palace Period has provided almost no confirmation of all these theories; nothing points to a bull, sexual symbols are absent and a single seal impression from Knossos showing a boy beneath a sheep is regarded as a scant evidence for the myth of Zeus' childhood.
en.wikipedia.org/wiki/Modern_understanding_of_Greek_mytho...
Today the Hereios of the We’re Here! Group are visiting Car Parks. Car parks can be a bit dull, and this was a quiet day at our local country store, so I used PS Elements to add interest.
The results of the tower of Babel don't exist between children and animals. They perfectly understand each other :).
Het resultaat van de toren van Babel bestaat niet tussen kinderen en dieren. Ze begrijpen elkaar perfect :).
MKSG The X-Men: Survival - Issue #5
Boston, Massachusetts - 3 Days Ago
“Sean! Grab your sh*t, we’re leaving! 1 minute!” Tom shouts as he storms through the door of the Cassidy house, leaving his car half-parked and still running on the driveway.
Sitting up quickly from the couch, “What do you mean?!” Sean Cassidy questions woefully.
“I mean that they’ve found us, and that means we have to leave, now!” Tom snaps at his younger brother as he rushes upstairs.
Understanding exactly what this means, Sean reacts quickly. His homework will have to wait. He’s going on the run. It was only a matter of time until someone found out that he and his brother were mutants, and the time seemed to have come. He raced upstairs, slid into his room and yanked the backpack from under his bed that he’d had packed for the last 12 months. He runs back downstairs and out the door.
“Where are we headed?” the 14 year old asks his older brother, quizzically.
X-Mansion Lawn - Today
“Help me!!” yells Sean, desperate and afraid. Once they’d got his brother Tom, he started towards the only place he could think of: Xavier’s School for Gifted Mutants. His mother’s friend, who he always called Aunt Moira, had told him if he was ever in any trouble, to come here, and the people here would help him.
“Help! Please!!” he yelps. Hot on his heel - a military-style truck following him up the lawn, filled with ‘Purifiers’. Mutant-hunters for hire. Ruthless and terrifying, with their thoughts poisoned by bigoted TV personalities such as William Stryker, spreading mutant-hatred and fear.
Sean realises there is no way that he can outrun the truck before he gets to the grand mansion itself. Putting on a brave face, he does the only thing he can do: try to stand his ground.
He stops running and tries to turn around and face his oppressors, but his knees are weak and give way. He still has one trick up his sleeve though…
The truck pulls up, about 20 feet away. He’s feeling faint and almost breathless, but he doesn’t hesitate to defend himself.
“EEEEEEEEEEEEEeeeeeeEEE!”
He screams with his sonic abilities! The forceful blast flips the truck sideways several times and the Purifiers inside shout in dismay as they are tosses around violently. The truck lands back on it’s 6 wheels and several of the soldiers pile out, a couple throwing up.
Then, behind him, he hears an unfamiliar sound
BAMF!
He looks behind him in desperation to see 4 colourful figures, all with an X logo on their belt.
‘It’s the X-Men!’
The Purifier soldiers from the truck scramble and flee in all different directions from the X-Men. Storm flies up above the lawn and hovers on the winds she can control. Her eyes turn white and the skies quickly turn from blue to a dark, cloudy grey. With great might, she summons down a powerful lightning bolt. It strikes the overturned truck and then, KABBOOM! It explodes into a million pieces.
One of the doors from the truck hurtles towards him, flaming and fast. Sean covers his head with his hands as he feels the intense warmth from Cyclops’ optic beam over him, hearing the PZZZRKKTT! of it as it slices the door in half, so the pieces land either side of the team.
Sean reveals himself from under his arms to see Iceman covering the flaming wreck with snow and ice. Storm stands over him, and offers Sean a hand up. He goes to accept and pull himself up, but he’s so exhausted. Sean gently collapses onto the green grass of Xavier’s Mansion, home to the X-Men.