standards conversion

anonymous asked:

Ace Kankri being in a romantic relationship with trans Cronus, because they both are hopeless but I love them so much :'D

Kankri: We d9 n9t accept self-deprecating c9mmentary in this h9useh9ld, and I 6elieve y9u n9w 9we me at least 9ne p9sitive sentence.

Cronus: Awvh c’mon chief, self-confidence ain’t made in a day!

Kankri: 9ne p9sitive sentence!

Cronus: Uuuuuuuuuhhhhhhh

Cronus: I got, uh, a really cute partner?

Kankri: That wasn’t even a69ut y9u!

Cronus: But yer blushin’!

Kankri: N9T THE P9INT

Kankri:

Kankri: 6ut I still l9ve y9u and I appreciate y9ur c9mpliment.

Cronus: Yessssssss.

[Full size here!]

being an ambivert (intro/extrovert at the same time)...

1. I love the idea of being in social settings, meeting new people but sometimes small introductory conversations are not my cup of tea.. I end up stuttering & saying dumb shit like “I really like the shape of your head, really nice, defined..” So I’ve just given up seeking out new friendships. 


2. I’ll dead ass wake up in the morning feeling like “hummm.. this is a good day to hibernate & not to see humans, imma sleep in, pamper myself, read a book, cook, smoke myself up tonight, etc.” but by 12pm, my soul is craving a party, a  kickback or something of the sort.. 


3. I can go from binge watching Netflix for 2 days straight with an introverted friend to hitting that milly and shaking my ass at the club with a bunch of extroverts and have just about the same amount of fun with both. 


4. I can easily read people, put myself in others’ shoes and understand multiple points of views. 


5. I can do some wild, versatile shit like chop off all my hair, or dye it blue, have bodacious makeup on, dress a little out of the ordinary, perform in front of 100s of people etc. but standard conversation with strangers makes me extremely nervous/uncomfortable. 


6.I’m  Indecisive as fuck! 


7. I’m the person that will make plans with you, be hella excited to finally step out, hit the town and just have a great time but if you happen to cancel? Better believe I’mma enjoy this bed of mine just as much. I got Netflix && Hulu plus, faack you mean? 


8. I’ve questioned wether or not I’m bipolar several times. 

anonymous asked:

I like how you headcanon that all these cuties are virgins cuz I do too lol. Of it isn't a problem, could I request some Lance relationship headcanons? You decide on what they can be (I don't know what I want and I'm embarrassed about it lol). Have a nice day!

Oh don’t you worry, I have a lot about Lancey Lance (but here’s only a few bc I’m lazy and cooking while writing this) And i’m just throwing this out there but Hunk totes got laid in high school and at the Garrison. Lance was pretty jealous


  • Doesn’t believe you at first when you agree to go out with him
    • “Yeah, haha, that was a joke! I know you wouldn’t really go out with me, we’re great just being friends and we shouldn’t jeopardi–wait what?”
    • “I said ‘Yes’? As in, Yes Lance, I will go out with you?”
    • “Oh….I didn’t–what?”
  • He’s processing. He was so ready for you to turn him down. He might have prepared a few scenarios
    • Might have a Hershey’s kiss in his pocket. Just for if he got the nerves to ask you out by asking you if you wanted to kiss. And when you said ‘ew, no’ he could whip out the candy. bam. a Kiss!
    • Practiced the Yawn and Shoulder Wrap™ for during a movie. He wanted to be subtle.
    • “So, Allura said we were cute together and I was like ‘Whaaaaaaaat?? Gurl, you crazy!’ haha Isn’t that crazy???? Unless….”
  • But finally it clicks that you’re blushing and fidgeting with your fingers because you actually like him too!
    •  “Holy quiznack…you’re my boy/girlfriend…I DID IT!!!”
    • totally grabs your hands and pulls them into the air while he screams that last part
    • He’s so excited
    • “Prepare to be wooed”
    • “Lance, I’m already wooed. That’s why I…you know what. Yes. I am prepared to be wooed. Whoo away.”
  • You may never hear your name during standard conversation again
    • he lays it on thick with the nicknames
    • Boo, Bae, Darling, Babe, Baby, Sweetheart…you name it. he uses it
    • after love confessions he throws Love an mi amor
    • Sweetheart is his favorite though, Cutie is the close second
    • He usually only says your name during sexy times or when referring to you when talking to someone else (but he can also not, it depends on what he’s feeling)
  • Constantly in awe. Catch this nerd just gazing at you randomly with this lovesick look on his face
    • “What are you looking at????”
    • “Just you… I’m so lucky.” He’s so sincere.
  • His flirting is now solely reserved for you. Be prepared for pick up lines.
    • “Lance! Why are you–? We’re already dating??”
    • “Doesn’t mean I can’t use pick up lines, babe.”
    • “Ok but, seriously? ‘Come here often?’ We live in the castle.”
  • Also, cuts people off if they try to flirt with him
    • “Uhm, Okay one second. I appreciate this and all…but I have the best girl/boyfriend right now? So, thanks but no thanks. Hope this doesn’t ruin your chances of joining The Coalition!”
  • Weekly spa dates where Lance makes a face mask specifically for your skin, hair masks (thank god he found what he thinks is coconut oil), he’ll paint your nails for you, massages for you both!
    • aaannd of course he’s on his best behavior when he’s giving you a massage (but he’s weak)
    • but no one wants to bang when the other is wearing a green face mask. (Shiro voice: No, just. No.)
  • He loves swimming so you’ll probably be roped into it
    • and if you don’t know how to swim he’ll teach you!
    • or if you hate water he’ll be happy enough with your company, but he might try every once in a while to get you in
      • *puppy face* But y/n!!! Don’t you love me???
  • Gets you a gift from every new planet he lands on
    • So. Many. Flowers.
    • And pretty rocks he thought were neat.
    • If there’s a community then he’ll get you things like jewelry, weapons, books, whatever you like, he get
    • blushes super red everytime he gives you a gift 
  • He’s a touchy feely kinda guy
    • so many hugs
    • he honestly just always has a hand on you somewhere, even when just lounging. He needs to touch.
    • The biggest nose kisser! GIVE HIM THE NOSE
    • When you walk by he’ll reach out to grab you around the waist and tug you into his lap, just cause he wants to hold you
    • If he’s passing by he’ll give you a passing massage or shoulder squeeze
    • he can’t walk past you without touching
    • and if you happen to be bent over looking for something while he walks by? Yeah, he’s grabbing that ass. 
  • If you do the same to him he turns beet red and starts stammering
    • definitely can’t take what he gives.
  • LOVES TO SING AND DANCE BADLY
    • will put on a song and just serenade you in the worst possible way
    • and once he’s got you laughing he’ll pull you into his bad dance moves
    • ironically though, he can sing and dance. it’s more fun to do it bad
  • Does serenade properly when he decides he needs to tell you he loves you for the first time
    • which he wants to tell you about one month in, but he knows that’s way too early
    • waits until about month 4 and he cries
  • A bit insecure about your relationship. Talks himself down a lot
    • sees Keith make you laugh once and he’s like ‘Oh no, this is it. It’s all going down hill. Because who doesn’t want to date mullet? He’s super cool and edgy and good looking and–”
    • You gotta stop him.
    • He firmly believes you are too good for him.
    • My poor nugget.
    • “You sure you still love me? Because–”
    • “Yes Lancelot. I love you very, very much. Don’t listen to those nasty voices. You. Are. My love.”
    • “Sounds fake, but okay.”
    • “Don’t meme me when I’m being serious, Lance.”
  • You’re biggest supporter and roaster
    • You walk in the room wearing mismatched lion slippers. Lance: “What’re thoooooose!!?”
    • You get put in some god-awful ceremonial outfit. Lance: “You are so lucky I love you.”
    • “Don’t kiss me in the morning. You have dragon breath.”
    • “Kick his ass baby, I’ll hold your flower!” “LancE! ENOUGH WITH THE MEMES. ”
    • Lance whenever you do a mundane taskl: “YASSS BABY! SLAY!!!!”
    • Also Lance: “No, nope, gimme that. I’ve watched you choke on water.”
  • Overshares late at night when he’s crawled into your bed after a nightmare
  • Yells “Honey! I’m ho~ome!” everytime he comes back from a mission and makes a beeline towards you for a kiss.
  • If you get caught in a battle you best believe Lance is 100X more badass than usual
    • he’s making shots he didn’t even know he could make
    • and he’s hitting every. single. one.
    • Ain’t nobody touching his baby
    • even jumps in for a little close combat, working seamlessly with you to take enemies down
    • pulls you in for a desperate kiss after they’re all dead
  • You can’t be sad when dating Lance, he notices immediately and makes it his mission to brighten your day
  • if you do something super cute Lance will practically squeal, scoop you up, and twirl you around  before putting you back in your spot with a kiss
  • He’s a good boy who just wants to spend time with his babe and spoil them
Magnetic [Part 1 / 2]

Based on “Shape of You” by Ed Sheeran.

Pairing: Bucky x Reader

Warnings: Explicit Language, Unprotected Sex, Use of Alcohol, Strong Sexual Reference and Suggestive Themes. 

Word Count: 5.3k+

A/N: I am completely enamored with this song and I had to sink my teeth into the prompt idea so enjoy lovelies! x. T



SoHo, New York City  |  9:57 PM

.     .     .

The soft golden glow from the lights overhead illuminated the area in a warm, alluring haze that cast everyone in shadows in just the right places. The gloss of the oak bar top shimmered in that light, making the perspiration that touched the wood from your sweating glass glisten brilliantly and you were entranced in watching a drop form. Lost in thought and staring at the cocktail in your fingers, you were unaware of the three men that entered the bar.

Keep reading

tel vs. banal

I tried to reblog your question @officious-seeing-eye-bitch with this answer and couldn’t, and I also can’t tag you! But I hope this is a little helpful.

tel abelas = “nothing sorry” or “not sorry” or “not sorrow” or maybe even “empty sorrow” - or “I’m not” when used as a response to “I’m sorry.”

banal abelas = “To the Void with your sorrow” or “Your sorrow is nothingness” or “Dark sorrow” or “(You were/are/I was) Never sorry” or “Blighted sorrow”

ROUGH AND UNCERTAIN. Yes. The difference between tel and banal:

tel

The translation of tel as “nothing” comes from Ameridan in Jaws of Hakkon, the quest “Where Once We Walked.” Ameridan translates the name “Telanadas” as “nothing is inevitable.”*

*Note that this is is exactly the fan translation of Solas’ response to the nightmare demon in the Fade. “Banal nadas” was untranslated in the subtitles, and popularized in fandom before Hakkon came out as “nothing is inevitable.” The unconfirmed theory is that this new ancient Elvhen wording for “nothing is inevitable,” telanadas, was provided by the writers to course-correct the fan translation of Solas’ words in the Fade.

tel also appears as “nothing,” or as a confused concept of nothing, in the old bedtime song about Mythal which starts “Ir sa tel‘nal,” roughly translated by our in-game source as “I am empty, filled with nothing(?),” (sic) (ref DA:I Codex entry Torn Notebook in the Deep Roads, Section 3)

The translation of tel as “not” comes from Wisdom in the quest All New, Faded for Her. “Tel'abelas,” the spirit says to Solas, and the subtitles directly translate these words to “I’m not.” So clearly, you can see from just that that all of the translation of Wisdom’s words done in the subtitles should not be used to cipher the language. Notably Wisdom’s words are only translated in subtitles for an Elven Inquisitor, so we can assume her words are filtered through the Inquisitor’s broken understanding of the language.

What is displayed as Wisdom’s dialogue in translation is clearly an interpretation of Wisdom’s meaning, and not a direct representation of how each word she speaks translates into English. Her full subtitled dialogue is “I’m not. I’m happy. I’m me again.” from her spoken Elvhen “Tel’abelas. Enasal. Ir tel'him.”

Solas says: “Lethallin. Ir abelas.” ( “I’m sorry.” is what’s translated in an Elven Inquisitor’s subtitles.)

A one-to-one translation of Wisdom’s response would be: “Nothing’sorrow. Joyful relief/joy in triumph over loss. I become not/I become nothing.”

When a sad romanced Inquisitor responds to Solas saying “Ir abelas, vhenan” ( “I am sorrowful/sorry.) by saying “Tel abelas. If you care, give me the truth.” they could be saying so many things! Possible translations include:

  • “I’m not,” a standard conversational answer to ir abelas meaning you don’t feel the same as the person who feels sorrow.
  • “Not sorry” as in, I’m not sorry (sameish as above)
  • “Not sorry” as in, you’re not sorry, an accusation
  • “Not sorrow” as in, I reject that sorrow - I don’t want sorrow in our story
  • Or even, in this case, the meaning of “Tel abelas” in-context could be “Don’t apologize.”
  • “Nothing’sorrow,” sorrow is nothing (maybe meaning useless)
  • “Nothing’sorrow,” nothing to be sorry for (I doubt it’s this one lol)

:) Elvhen is a mess.

(Tel also appears a bunch of times in the song Where Willows Wail, but that is a discussion for another time.)

banal

The Inquisitor flings “banal” at Solas a couple times if they’re angry. If they’re like, “Ma harel lasa,” and he’s like “Only by omission,” they’re like, “Ma lasa banal’ghilana!” to which he replies “What would you have had me say?” etc.

@slayerofkillabee made a great post about the banal’abelas banal’vhenan breakup option (since deactivated) here (link!).

I will now expand on this, keeping in mind that Elvhen is a not-language. :)

The word banal is translated three times in Dragon Age materials. It appears in other untranslated sentences, but we have three sort of solid-ish refs for what it might mean.

In the name of the Vir Banal’ras armor: “Most Dalish hunters follow the Vir Tanadhal, the “Way of Three Trees” that consists of three codes of wisdom to which they adhere. Seldom spoken of, however, is a fourth way: the Vir Banal'ras, the “Way of Shadow.” Assuming it when a debt of blood must be repaid, such hunters dedicate themselves to vengeance and nothing else. Thus were born the legends of Dalish assassins.” (emphasis mine)

Banalhan: A name for the Blight or its place of origin; the place of nothing. (World of Thedas Vol 1, presented as a vocabulary word)

(*deep heavy breathing* Okay so I have a lot of HCs about the place where the Blight comes from, what it’s name is (I think we have already been given this name in the game) and what its defining feature is, but I’m selfishly and foolishly withholding this HC to write it in as a reveal for a fic I’m writing. Doubtless someone else is going to come up with what I’ve worked out before me and post it and I’m going to just try and enjoy it when the devs confirm it lol and not be petty.)

But basically, banal is taken to mean “nothing” because of “banalh an” meaning “place of nothing,” but potentially this is a false equivalence of this phrase.

Banal could mean shadow/nothing/Void/Blight.

And banal means never, from that same old bedtime song about Mythal which says “Banal malas elgara,” translated by our in-game source as “Never yours the sun.” (sic) (ref DA:I Codex entry Torn Notebook in the Deep Roads, Section 3) (Let’s also note that ‘not having the sun’ and ‘being in shadow’ are pretty similar concepts, for fun.)

The context of banal in the Crestwood scene is:

“And I am sorry. I distracted you from your duty. It will never happen again.”
“Wait. What? You bring me here, take the vallaslin from my face, and now you just end it?”
“I’m sorry. I never wanted to hurt you.”
amazing dialogue wheel option “YOUR LOSS, ASSHOLE.” =
“Banal’abelas! Banal’vhenan!”

When an angry broken up Inquisitor responds to Solas saying “I never wanted to hurt you” by saying “Banal’abelas! Banal’vhenan!” with the intent of “your loss, asshole,” they could be saying wayyy too many things. Possible translations include:

  • “Nothingness sorrow! Nothingness heart!” (Either I or you feel no sorrow, either I or you have no heart.)
  • “Your sorrow is nothingness! Your heart is nothingness!”
  • “To the Void with your sorrow! To the Void with your heart!”
  • “Shadow sorrow! Shadow heart!”
  • “Dark sorrow! Dark heart!”
  • “(You were/I was) Never sorry! (I was) Never your heart!/We were never hearts!”
  • “The Blight is sorrow! You were never my home!”
  • “You were never sorrowful! The Blight is your home!”
  • “Blighted sorrow! Blighted heart!”

All with the overarching sentiment of “YOUR LOSS ASSHOLE” which honestly bless Lavellans who choose this option, I love you.

Of course translations of these phrases are not limited to just what I’ve posted here. But maybe this gets a little closer to clarifying how these two words could be diverging in general sentiment.

3

SIG Sauer P210-7

A .22 LR version of the famed P210 pistol. They were adopted by several military and police forces in Europe but also proved to be very effective and popular in the competition shooting scene. Eventually the P210 was replaced by more modern designs and a few of them were imported into the U.S civilian market. The .22 LR model is much harder to find than the standard 9x19mm version. A conversion kit was available to turn a 9x19mm P210 into a .22 LR shooter. (GRH)

anonymous asked:

Honestly my favorite headcanon with language is that Viktor tries to surprise Yuuri by practicing Japanese with an app like, say, Memrise or Rosetta Stone or something. Completely unaware of the different dialects, he becomes vaguely conversational, only to realize Yuuri can understand him, but he has no fucking clue what Yuuri is saying.

BITCH YES.

Viktor Nikiforov rips through the duolingo Japanese courses in the five months it takes him to kick his ass into gear and go find the boy of his dreams. He’s been practicing his Japanese on anybody and everybody. He’s pretty decently conversational in Standard Japanese.

Then he gets to Kyushu and someone says something to him which is the Japanese equivalent of, “D’y’all jus’ come from th’airport? Wha’s th’ traff’k like out in Fu’ko’ka??”

And Viktor’s response is and can only be “:D??????”

Fic:  Knock Knock


For the @xfficchallenges dialogue-only challenge.  Rated G.  Thanks to Buzzfeed for the bad joke.

“Knock knock.”

“I’m pretty sure that’s my line, Scully.”

“We’ve been in this car for ten years, Mulder.  Knock knock.”

“It’s only been three hours.”  

“Three hours on a stakeout is ten years of regular time.  Knock knock.”

“I’m not sure you’re taking into account how good the company is, or the fact that I brought you iced tea.”

“I don’t think there’s a standard conversion rate of stakeout hours to regular hours, Mulder, and if there were, I’m not sure it would have any kind of deduction for company.  Knock knock.”

Keep reading

Rurouni Kenshin Fight Sequence Analysis: Choreography

                                           Elements of Cinema


The most popular elements that passionate fans and dissenters of the RurouKen film trilogy all seem to agree on is that the action scenes are awesome. Dissenters usually say, “just watch it for the action.” This always struck me as a strange thing to say. I think it’s because it was always intended to be a slide against the film, as though to say, “The only thing the films did well was the action,” similar to how some might say, “Watch Transformers for the special effects.” 

This actually got me thinking, though. What makes a fight scene? If we broke down a fight scene to its cinematic elements, if we peek behind the curtains, what composes the fight scenes that everyone, including dissenters, would argue is this film trilogy’s strongest element? And to it’s fans, what makes it better than its competition? What did Team Otomo just get right?

The truth is, those questions are gateways to more questions; film is different from any medium because film is alive. It’s evolving, moving towards new directions, restructuring old words and phrases to create beauty and meaning in new ways. RuroKen is no different, but if we’re going to understand how these elements congeal together to create the magnificent and electrifying action sequences fans of this series are going to enjoy, we need to understand those elements in their own isolated contexts. There’s a lot to keep track of, and a lot of these posts will overlap with one another since film is collaborative, so always make sure to come back to previous posts to freshen up and see how things come together. 

Also, if we’re going to understand what Rurouni Kenshin does well, we sometimes need to look at how other fight scenes are crafted, sometimes to terrible results, which means we will occasionally be drawing on other fights from other films and TV shows.

DISCLAIMER: THIS SERIES IS NOT A REVIEW. I WILL SPECIFY IF I LOVE SOMETHING, BUT OTHERWISE I WON’T COMMENT TOO MUCH AND THE FLAWS I POINT OUT MAY OR MAY NOT IMPACT MY ENJOYMENT OF A NON-RK SERIES I’M NITPICKING. THIS IS A FORUM FOR RUROUNI KENSHIN PRIMARILY, SO PLEASE RELEGATE DISCUSSION TO THAT TOPIC, THANK YOU. I DON’T WANT UNWARRANTED GoT SPOILERS OR PEOPLE SAYING I HATE THEIR FAVORITE SHOW. 


The Dancers of Cinema: Choreography and Action Direction


This post MAY contain spoilers for the following: (you’ve been warned guys):

  • Game of Thrones Season 4
  • Rurouni Kensin trilogy
  • Star Wars The Phantom Menace

The most obvious and exciting element of any action sequence is choreography. This doesn’t always apply to just fighting; stunt coordination, chase sequences, and so forth, require very precise positioning between the actors and the camera to capture the intended effect of that sequence. To a choreographer, also known as an Action Director, designing a fight sequence can be more than just exciting violent titilaton; it can be a valuable lens of which to view our characters. 

The Action Director in our case is Kenji Tanigaki. Bringing his flair and experience from working in Hong Kong and Hollywood action films and working with some of the biggest names in action cinema such as Jackie Chan and Donnie Yen, Tanigaki-san works closely with Otomo to make sure that everything goes well and ensures the actors are perfectly safe. He is also responsible for making every action in the film cinematic and crisp visually. This can get very elaborate and set up varies between directors, but the end result, if done right, is usually incredible. Even his peers respect Tanigaki’s skill; look at this tweet from Gareth Evans, director of The Raid and The Raid 2. (Warning: Language)

First thing they need to make sure they have right is the casting and action team. The actors typically are the ones that need to do these moves to feel authentic. This isn’t universal and can vary depending on director or production team. This mostly commonly in American or Western productions as these actors are often high profile and the right actor isn’t always the best fighter even with training and 6 months isn’t enough time to make them look good. What’s worse, not training seriously can result in injury, which might interfere with scheduling for other shoots that actor may be doing.

In these sorts of productions, especially those with a tight shooting schedule, they will cast stunt doubles to do the more complex movements that the character might demand but the actors are unable or unwilling to do (Unless you’re Leo DiCaprio and your director is Alejandro Gonzalez Iñnarítu). Here’s an example. This is from Episode 8 of Game of Thrones, “The Mountain & The Viper” (Slight spoilers).

Originally posted by freakyharmony

Here is a set piece clothed with a flurry quick cuts of multiple angles (coverage) of a single piece of choreography done in several takes. We’ll discuss this particular editing style in the Editing section of my series, but the point is, it looks really cool. Pedro Pascal (The actor for Oberyn Martell, this particular character) begins and ends the shot, and it looks as though it were him the entire time until we zoom in. 

Now this isn’t necessarily bad or even terribly distracting if done right. It’s an insurance policy for the actors since fight choreography is extremely exhausting work and training for months on end might not be enough or even an option, especially for the tight shooting schedule found in the production of Game of Thrones. 

This small excerpt took a lot of designing, practice, and rehearsals, not just by the stunt team and the actor/double, but for the crew behind the camera. They probably had to do multiple takes, some with Pedro and some with his double, and edit it rapidly together. They also set up coverage from multiple angles for the editor to have as much footage as possible to assemble an acceptable cut. It’s pretty tiring work just for one seemingly tiny little throwaway and inconsequential piece of choreography.

That being said though, the small bit can show us a lot about the character of Oberyn Martell himself, so it definitely has a place here. Oberyn is pleasing the crowd, showing off his prowess to his audience and THE audience. He’s a bit of a cocky guy so it fits right in with his character in my opinion.

I bring this up to create a negative because this is something Otomo and Tanigaki ACTIVELY avoid. Let me explain.

In Otomo’s action scenes, the emphasis is more on the actors rather than the the movement of the character. His blocking (the arrangement/placement of elements such as characters and objects within the frame) for fight sequences mirror the standard coverage of a conversation with two or three cameras depending on the set piece. Once again, I’ll explain in detail later, but what this is meant to bring up is that his emphasis, as is the emphasis with dialogue scenes between characters, is character.

What I mean is that the camera is usually emphasizing the face of his actors along with their individual movements to show the audience their state of mind and also to show the audience that it’s the actors doing the movements.

 This helps increase immersion, as well as simplifies shooting because the cinematographer (Director of Photography or DP) has a bit more freedom to shoot naturally rather than manufacture angles where we can introduce a stunt double and return to the actor in editing. I refer back to my GOT example. The editing cuts between wide angle and long dolly shots to make sure we can’t see the stunt double’s face as we return to a medium shot before and after the little stunt is done is something Otomo isn’t keen on and neither is Tanigaki.

                     The Men and Women Behind the Moves


A fight sequence is a programmed dance, coordinated moves and visual cues that must be hit for maximum effect but to actually be effective, it needs to seem completely organic and representative of the person fighting. The fighting moves need to come from characters themselves and when done right can illustrate a lot about a character. 

When the choreography comes before the character and feels too rehearsed or unnatural, you can actually distract from the drama of the scene as well as offer no insight visually about the characters fighting. Consider the Star Wars Prequel Trilogy. 

This may look cool because its fast, the moves are flashy and elegant, but from this small bit of choreography and the entire fight itself, we can’t really tell anything about these characters. We know one’s evil because of the color of his light saber (we’ll discuss this in another post), but beyond that, we don’t actually know Darth Maul or how brutal he is, other than he’s ready to kill Obi-Wan’s master and does so. Aside from the cool costumes, there is nothing that visually separates these characters from one another in terms of skill or style. 

Compare this with  the first fight sequence of the first live action movie. Ya’ll know what I’m talking about.

Originally posted by suzuyajuzoo

This fight sequence delivered a lot of critical information we needed to know about Kenshin without him having to say a single word. In the opening text of the film, we’re told of the Battousai’s legendary cruelty, but to see it was a different story. His fighting style tells us three crucial things:

  1. He’s fully equipped to fight and overcome multiple opponents at once, emphasizing his use as an asset in the war effort. He’s fast and kills efficiently, stopping neither to torture or gloat. He neutralizes the threat as quickly as possible.
  2. He has high manuverability to get in and out of his opponents space, suggesting master level swordsmanship skills, especially since he is the only character in the entire scene that we’ve seen with this proficiency. 
  3. He economizes his movements, so there is no motion goes to waste signifying he is ruthless and very efficient in killing. Notice how in the gif above he cuts one opponent and it smoothly leads into him facing the next. He is every bit deserving of the legend we’re told in the opening text.  

Originally posted by suzuyajuzoo

The interaction he has with Saito in this scene shows us that they’ve had multiple inconclusive encounters on the field and Saito managed to survive them, subtly signifying to us that Saito is at the very least his equal, which becomes important given what motivates the forthcoming action scene 10 years later where he completely dominates Kenshin and cuts his shoulder with the Sakabatou. 

 This is an example of how fight choreography can go beyond being cool action and can actually be a tool to help tell the story (the second half of this series will be focusing on just that). 

Originally posted by sexe-fitness-problemes

Later in the film, after these two same characters reunite 10 years later and have a duel, Saito brutally overpowers him. In contrast to Kenshin’s manuverability and speed, Takagi-san designed Saito’s moves to utilize his weight as he’s physically taller and stronger than Kenshin. He’s not as fast but his strikes hold an insane degree of power as we see when Kenshin attempts to parry and Saito manages digs the blade into his shoulder. Saito gives Kenshin a significant amount of trouble and this piece of choreography shows us that Kenshin’s skills have greatly diminished from the opening action sequence. He’s rusty, and if he fought Saito for real, he’d likely die. This once again factors in the story as it sets up Jin-e’s plot at the end of the film to draw out Kenshin’s fighting ability through sheer anger by emphasizing the difference between Kenshin’s current skill and that of his former self.

Another example where choreography transcends its role of entertainment and spectacle and becomes a form of visual storytelling is when fighting Gein. Notice how Kenshin seems to be having trouble here, but after Gein begins to aggravate Kenshin, we get this:

We even get subtle foreshadowing as Kenshin cuts his nose. This foreshadows what he’ll do to Jin-e when he gives him a similar wound after Kenshin is slowly beginning to revert back to the mindset of his assassin days. Even if you don’t have subtitles and have never seen RK before, you can grasp what’s happening just from the visuals.

My absolute favorite example of how choreography can be a powerful indicator of characters and their state of mind is the final fight between Kenshin and Shishio. (The video is below, please check it out before reading on).

Let’s talk about this brutal bastard for a moment. This single fight right here lasts about 2 minutes in the film and to the amazement of everyone, it is one of the most brutal fights I’ve ever seen on film (and I watch A LOT of martial arts films). 

We see glimpses of his utter brutality earlier in the second film when we watch the flashback of Shishio at Toba Fushimi. 

This scene actually sets up about as much crucial information about Shishio as it did Kenshin:

  1.  He is ruthless and unrestrained; his moves emphasize the maximum amount of pain and brutality, ensuring suffering in his opponents before they die.
  2. He fights dirty, not being above using human shields and considers life expendable.
  3. He takes sadistic pleasure in humiliating his opponents, as seen when he stomps on an opponents head and presses their faces into the dirt as he brutally impales them.

When Kenshin-gumi finally arrive to challenge Shishio, we see Shishio’s choreography speak volumes about him.

In the small clip I’ve posted below, we can see that Shishio is psychotically brutal. He isn’t graceful or formal, he lacks all the elegance of Kenshin’s fighting style, and he is sadistically toying with his prey like a cat taunting a mouse. He is less interested in slicing Kenshin as in a formal duel and more interested in repeatedly bashing his flaming sword into Kenshin’s face or pummeling him into a pile of red-headed pulp. He makes no effort to dodge Kenshin’s moves. He reacts to the pain they cause, but instead of deterring him, they excite him. He isn’t above pulling dirty moves like slamming Kenshin repeatedly against a wall while chuckling, or biting a chunk out of Kenshin’s neck. He’s designed to be the exact opposite of Kenshin. 

Tanigaki, when planning a scene of this magnitude, needed  to take into account several elements that can impact what the audience needs to know about these characters. How long has Kenshin been fighting? Is he injured? Shishio, is he ready to fight? Is he reluctant, eager? How would Shishio fight? Does he fight with a flowery style like Kenshin? Is he evasive or does he just take hits and overwhelm his opponents? 

These kinds of questions are some that he needs to ask and work out with the director and actors on set to figure out the fight scene and choreography.  It’s not an easy job. After his stunt team performs it and does camera tests to show Otomo as well as be prepared to revise if Otomo and his DP want to place the camera in certain places, the set of moves are then taught to the actors who interpret them in the context of their character, and then perform them in excruciating detail. Just imagine he nightmare he went through filming the four vs one fight scene at the film’s climax. I think that fight scene deserves its own post some day. 


                                     Reality vs Cinematic Realism


As impressive as they may be, the final obstacle a choreographer must deal with is the camera. Some moves may be practical, but they don’t look good on screen. The moves need to test well for the camera, which is why there are cameras present during rehearsals. 

This helps the director and the cinematographer know in advance what the shot is going to look and give feed back to the Action Director to adjust certain moves if they don’t test well or are illegible on screen. That being said, sometimes this means certain moves need to be exaggerated, heavily expanded on, or redone entirely, which may not be in accordance to the real life basis of those techniques. The biggest example of this is actually a fan favorite technique… The Battoujutsu that Kenshin earned his name sake for.

This looks good. In real life though, this stance is incredibly impractical, and to help me illustrate that fact, I present you real life superhuman Iaido master, Isao Machii.

This is the real life Battojutsu stance. Notice how different it looks from Kenshin’s.

Originally posted by silenthill

This is the technique performed:

Originally posted by marshallastr

Why did Otomo and Tanigaki change it? I mean, it doesn’t look to bad right? This all ties in to how Kenji Tanigaki choreographs and speaks to the main element that TeamOtomo emphasizes throughout all of these action sequences: Drama. Drama comes first and in good cinema, drama doesn’t just stem from the writing; it’s also visual. Kenshin’s stance is very exaggerated compared to Machii-san’s because Hiten Mitsurugi was designed for the camera. This may be obvious to some, but remember that the next time we see a film with unrealistic choreography, it might be because it looks better. 

Don’t misunderstand though, Machii-san is extremely impressive, but on film, it doesn’t have the same gravitas or dramatic flair it does in RK. This is because Machii’s battojutsu is designed to actually kill; it’s a practical move with no room for flair.

 Tanigaki probably adjusted the stance because, arguably, it’s not as visually interesting and doesn’t work as well with the camera  because its much too practical and restrained. Otomo envisioned the Battojutsu strikes to carry a lot of narrative weight, and Tanigaki has to interpret that with considerations to the camera. You might think, “well, I thought Machii’s looked cooler.” Sure, you may be right, but it wouldn’t work on camera the same way Tanigaki’s “Sou Ryu Sen” does. How do I know? Because we actually do see Kenshin perform Battojutsu accurately.

Originally posted by pedroam-bang

This is what it would probably look like this in real life, which works for this particular instance. Our reaction is probably like Eiji and Misao’s in the background. But when Battojutsu becomes the point of the whole fight, the finale or the ultimate technique, it can’t look like this. It needs to be dramatic, it needs to be cinematic. Compare with this: 

It’s slow, the stance is heavily exaggerated but the tension rises. The slow moves emphasize this epic moment; because we know there’s going to essentially be an explosion of motion, the slow build up tenses us with anticipation. We know these two are going to go at it, and the exaggerated stance tells the audience visually, even if you have no clue what battojutsu is or looks like in real life, that this is serious and this moment is climactic. 

The choreographer doesn’t just have to adapt the movement of characters to look good on camera, they need to make every move cinematic to fit the tone of the scene. They need to design a move after carefully considering whether or not it looks good on camera. Multiple camera tests are needed in order to ensure they get the look just right and months of planning go in, just to film a tiny little scene like this battojutsu duel. Impressive, huh? 

                  

                                               Final Thoughts


All in all, Rurouni Kenshin’s choreography and stunt team all work day and night to build an aspect of the visual language of this film. Their choreography spellbinds us, shows us insight to their characters, as well as sets up different tone, and whether we laugh:

Originally posted by takeruandcaterpillars

or cheer:

Originally posted by lynxyz

They are masters of controlling what we see and how we feel about it and if done right can create truly memorable drama without being tied down by dialogue. I have no doubt in my mind Kenji Tanigaki and his team are a large part of why this worked as they took what we loved from the manga and brought it to life with a wonderful stunt team and actors and we should applaud their efforts. 

These are some of the most exciting action sequences to make it to the screen, up there with Bruce Lee films, Ip Man, and the Raid movies. Great action, great drama, and great story telling; that’s what this is all about folks. And this is where I leave you to go work on the next installment; See ya guys!


                                             SPECIAL THANKS 

  • To everyone for reading
  • HYRK for giving me an avenue to write about this wonderful series. 
  • To the people who let me borrow their gifs. I know many of you worked so hard on them and they’re really helpful. 

DISCLAIMER ABOUT GIFS: A lot of the graphics I used are crowd-sourced. I got them from Tumblr’s auto-find system they implemented or on google. If you see a gif without proper credit and its yours and you’d like some credit, please contact me and I’ll designate everyone to your blog as well as give you a credit in this section of the post. 


Eight years ago tonight I was at youth group and frustrated because everyone else was listened to while I was ignored. There were a few incidents where there would be silence in the room after a question, then I would start talking, and someone else would start talking too, a few seconds later, and everyone else listened to them instead. So after YG was over and everyone else was leaving, I told the youth leader that I wish they’d all listen to me just like they listened to each other.

I ended up staying for 10-15 extra minutes after the others had gone so the youth leader could lecture me about how “we’re only human so we can’t listen to everyone talking at once,” and how I “need to stop holding people to standards. You need to stop!” Those were her exact words. I wish I could remember more.

I never asked them to listen to everyone at once. I know that’s impossible. I only asked to be treated equally and given a chance to talk like everyone else had. But apparently that was asking too much.

If that happened today, I would immediately cut the person out of my life and refuse to ever go to that group again. But back when I was sixteen I’d have gotten in a lot of trouble for skipping youth group. I could have told my parents what she did right away (they know now, at least my mom does) but I figured either they would side with her, or it would cause a lot of drama between them, which I didn’t want because the youth leader was a good friend of mine (or so I thought, before her true character was revealed by being given power as a teacher). Still, I wonder if I could have gotten away with going to prayer meeting with the old people instead. I wish I had tried. Today it would be so easy to stand up for myself since I’m an adult (and especially since my parents are now what kids call “woke” to how churches really are), but when I was a minor and my parents controlled everything I did, it was a lot harder.

Funny that people were always pushing me to participate in social crap, but when I actually tried, everyone ignored me. And then this happened.

“Why do you hate men so much?”

I get messages about this with aggravating frequency, and since my tried and true method of rolling my eyes and ignoring them hasn’t solved things yet, I figured I would address it here this once:

I do not hate men. I do not think all men are awful. I do not believe every man is a monster actively prowling the streets, looking for a way to ruin the lives of everyone around him. I do not believe the lives of men are perfect and that they never experience suffering. I do not think women are perfect angels who are incapable of doing wrong. I do not think only women are harmed by the patriarchy, or gender roles, or societal double standards. I do not think men always hurt women and that women are incapable of hurting men.

I also do not have to preface everything I say with those statements.

When someone says, “I love cats!” we do not expect them to follow it up with, “but I recognize that some cats are not as great as others and that some cats can be mean or difficult, and that there are people out there who have been hurt by cats in the past, and people with cat allergies, and also this goes for dogs and all other animals.”

When someone says, “Oh, I got food poisoning from that place,” we do not demand, “Are you sure you got food poisoning? Have you ever had food poisoning before? Maybe you just don’t know what food poisoning is like. I’ve never personally gotten food poisoning there, so it sounds like you overreacted. Are you trying to get attention? Or a free meal? What did you order? Did you give them strange cooking instructions? You know you could be ruining this restaurant forever by falsely accusing them of giving you food poisoning. Plenty of restaurants have never given anyone food poisoning. Do you just hate restaurants?”

If a person makes a complaint about the behavior of a group of people with societal privilege that you might belong to (cisgendered men, white people, straight people, able-bodied people, etc) and your instinctive reaction is to think, “How can you say that? I’m not like that! People I know aren’t like that!” it can be helpful to instead stop and think: “have I exhibited this behavior?”

If the answer is no, you can rest-assured that they are probably not talking about you, especially if they are a complete stranger on the internet, and then you can read about their experience without having to get defensive. You might learn something about a perspective different from your own.

If the answer is yes, you can think, “well, shit, how do I do better in the future?” and do your best to put those thoughts into action, and then you can read about their experience without having to get defensive. You might learn something about a perspective different from your own.

Chocobros: meeting your ex
  • Noctis: Awkward. Stand-offish. Wants to be rude, also doesn't want to be an asshole. You're with HIM now, so this shouldn't bother him at all. Except it does and he spends a lot of time glaring and standing really close to you until he can think of an excuse for you both to leave. Expect lots of uncharacteristic PDA, which you can tease him about later.
  • Prompto: Hot mess. Constantly waivering between "Y/N loves me and I trust them implicitly" and "Oh my god their ex is so cool, what if they fall back in love again?!" Keep in mind none of this will be grounded in reality, your ex could be about as sexy as a moldy potato, but he's still gonna worry. Like Noctis he doesn't want to piss you off but he's extra clingy and obviously not acting like himself.
  • Gladiolus: Civil but definitely not friendly. Barely makes eye contact with your ex, exchanges as few words as possible. Might even make a few thinly veiled taunts. Calls you pet names that make you blush, and is sure to plant a kiss you. He trusts you and doesn't exactly feel threatened, but he's not too proud to get a little territorial once in a while.
  • Ignis: Shining standard of politeness. Converses at length with your ex, often speaking of the things you two have been doing together or planning. Casually drops private jokes and pet names into the conversation. Asks your ex questions about themselves and pretends to listen while the whole time his hand is creeping up your thigh under the table. He's just enjoying the opportunity to tease you, tbh.

Consciousness can be created…whether or not it’s considered “natural” by our standards is another conversation….and I’m high

Part Two, Chapter Six: Claire.

Julia (aka Faith) has been separated from Claire in their journey thru the stones and arrived in 2007. A nurse at the hospital she is rushed to quickly takes responsibility for her, accepting her as her own child. A year passes, and it is now time for surgeons to repair the congenital defects of her heart.

You can read previous chapters here.


June, 2008; Edinburgh, Scotland.
Nurse Katie Campbell.

I stood at the observation window and watched Julia’s surgery unfold. I could hear Grannie Fiona’s knitting needles click at a steady, rapid pace from her spot behind me. There was a perfectly good chair beside her, with the same view, but my nerves wouldn’t let me sit still.

Calling in no small amount of favors, the head matron and I had gotten Julia onto the best pediatric pulmonary specialist in Scotland’s waiting list. He had moved her up to the top of his list once he heard her story and I had driven Julia here to Edinburgh to meet with him dozens of times in the fourteen months.

Today, he would repair her ventricular septal defect and replace her pulmonary valve. The surgery itself seemed to be going well. It had been years since I had assisted in an operation, but nothing the surgeon’s standard medical conversation raised any red flags.

I was thankful for Grannie Fiona’s presence, not wanting to be entirely alone but not wanting to be with someone who didn’t understand the situation. I had been granted temporary custody of Julia and we both lived with my grandmother. We had discussed the intricacies and puzzlements of Julia’s case over many a cup of tea and knew it just as well as I did. There was, for once, a guy in my life, but I hadn’t told him about Julia. She wasn’t my legal daughter, after all.

Yet.

A year had gone by and the authorities still had nothing in the form of leads. No missing children had been reported resembling her and, without a name or date of birth, they didn’t really even a firm identity to work with. She had a blood type and fingerprints, but, as toddlers weren’t the usual suspects for domestic crime, she wouldn’t be in any of the databases.

Without a documented date of birth, we had to come up with one ourselves. We finally settled on seventeen to nineteen months as her approximate age, making her birthday somewhere between the middle of July and September. July 31st had been my mother’s birthday and, as it fell within in the range, we entered that as her official birthday.

She weighed barely seven kilograms soaking wet and was a little over seventy-six centimeters tall when she arrived at Raigmore. Even though she had been roughly the size of a one year old, her teeth suggested she was a good three to six months older than that. Her mental milestones hit about the eighteen month old mark, but it was her speech that had been, and still was, a bit of a wonderment to us all.

She possessed a large vocabulary, but the kicker was that she had troubles sticking to one language. We determined she could understand three: English, Gaelic, and French. She would really only speak French if spoken to in the language, but she freely babbled in a hilarious mixture of English and Gaelic.

Who on earth were her parents? Or, in my opinion, who had they been?  

Nothing had disproved my theory that her parents were dead and it was quickly becoming accepted as fact.

Her lack of medical history had proven to be a problem in her first days at Raigmore. We hadn’t known if she had any allergies and discovered the hard way that she didn’t respond well to anesthesia. We almost lost her when we she went under for her shunt placement. This surgery posed no small amount of risk, but she wouldn’t reach adulthood without it.

A movement in the corner of the operating theater caught my eye.

“She’s back,” I commented to Grannie Fiona without turning.

The older woman cackled as she got out of her chair to come look. “I kenned she would be.”

I had told Grannie of Julia’s mother’s ghost. The apparition had appeared no less than six times in the year Julia had been in my life. Grannie wholeheartedly believed me and would often tell me her opinion on what each sighting meant. The phantom woman hadn’t spoken in her subsequent visits, only coming to comfort her child.

Grannie suddenly grabbed hold of my arm as she came up beside me, her grip vice-like.

I looked down at her, startled, “What?”

“I…” she broke off, then took a deep breath and started again. “I can see her.”

She placed a hand over her heart, as if to stop its riotous beating. Mine was behaving in much the same way. Up until this point, it seemed that I was the only one who could see her, save a few of my colleagues who professed to have felt her presence.

The figure moved closer to the operating table, coming to stand beside the anesthetist at Julia’s head. Her hand cupped it’s curve as she gently kissed the child’s brow.  She straightened then, and looked to where we stood in the observation room.

Grannie Fiona let out an audible gasp and just about fell over.

“Katie, I ken who she is!” she exclaimed.

“Who? Julia?” I asked as I steadied her. “Of course you know who she is.”

“Nae,” she exclaimed. “her mother!”

I tried to usher Grannie back to her chair, thinking her faint at the sight of the surgery, but she adamantly refused.

“I’ve met tha’ woman before,” she insisted.

“You’ve what?”

She finally tore her eyes away from the room below and stared at me, “Her name is Claire.”

Criss-Cross

Another fic! For once I’m posting something before the whole work is finished and I’m not entirely sure how that’s gonna go TBH (also it’s super late. again. i really need to fix my posting schedule.) But there’s TerrorOhm and Minicat, so enjoy, folks!


Not many people could get away with walking into the little restaurant, sitting down at a table without any prompting, and greeting the waiter with a loud, “Sup, bitch!” In fact, Wildcat was the only one.

Without moving from where he stood passing orders to the cooks, Terroriser grinned and yelled over his shoulder, “Is it the usual, then?”

Wildcat let out a laugh, a loud one, of course. The man didn’t know the meaning of “quiet” or “use your inside voice,” but he tipped generously and was otherwise polite and friends with the manager, so he’d somehow become a regular. Terroriser nodded and wrote down the order before ambling over and dropping off some drinks on the way, smiling at the family of tourists scandalized by Wildcat’s outburst.

“So, what’s new, pussycat?” Terroriser drawled, ignoring when Wildcat flipped him off. It was their standard conversation. “Find yourself a cute little guy yet?” His manager walked past and caught his eye, going to the break room to pull out another waiter for the next ten or so minutes to cover for Terroriser. Again, standard.

Keep reading

anonymous asked:

Hi, I'll start working in mcdonalds in few weeks and there will occasionally be russian customers so I was wondering if you had any lists of words or phrases that might come in handy there?

Hi! I think, as of specific vocabulary, you can explore the Russian version of the McDonalds website: https://mcdonalds.ru/ 

Here are some general phrases that could be helpful:
- Здравствуйте! (zdrAstvuyte!) - Hello! a neutral greeting suitable for most cases. 

- Привет! (Privet!)- Hi! A greeting suitable for children or somebody younger or of your age. Wouldn’t work with people considerably older than you.  

- Что будете заказывать? (Shto bUdite zakazyvat’?) - What would you like to order? 

- Что-нибудь ещё? (Shto-nibud’ estchO?)- Anything else? 

- Большой, средний, маленький? (Bolshoy, sredniy, malen’kiy?) - Big, medium or small? 

- Здесь (будете есть) или на вынос? (Zdes’ ili na vYnos?) - For here or to go? 

- Спасибо!  (Spasibo!) - Thank you

- Приятного аппетита! (PriyAtnava apitIta) - bon appetite! Enjoy your meal! This is what Russians say to each other or to anybody before starting a meal. This is better than any standard closing of a conversation in the restaurant. 

- Всего доброго! (FsivO dObrava) - lit. All the best! - Russian standard end of a conversation, similar to “have a good …”

Good luck!

A standard conversion.
  • Me: *whispers* whipped and not equipped
  • Person: what
  • Me: whipped and not equipped
  • Person: what is going on
  • Me: *shouting now* WHIPPED AND NOT EQUIPPED
  • Person: Is this f*cking Sprousehart again I stg I will kill you.

from-jewishlorca  asked:

9. “I think I have a kink for being made fun of.” c o l d a t o m

Sad to say, Ray’s used to getting teased. He’s used to little jabs here and there about being the nerd, the intellectual, the brainiac. His social skills were often pointed out, seeing as he’s not the smoothest guy when it comes to a standard conversation. Sometimes the jabs were mean, and he’d lie awake at night replaying the words over and over. Other times he was able to push the thought off. 

He learned how to grow thicker skin. And being a billionaire inventor definitely helps those insults sting a little less. 

Keep reading

anonymous asked:

Do you have any headcanons about Sansa coming out to her family (including the adults and Tullys, both canon and AUs) and their reactions to it?

  • She comes out to Jon first, accidentally. She wanted to come out to Robb first, but she and Jon were talking about sexuality and identities and somehow the words “how I feel when I look at Margaery” come out of her mouth before she can stop herself. 
    • Jon is nodding along, telling her that he got those same feelings when he’s talking to Ygritte or the cute guy down the street. They both keep nodding frantically, wrapped up in their own outing to realize what the other has said, and it’s not till 5 minutes of silence that they lift their heads and go, “…wait…” 
    • It’s actually a pretty big relief; Jon doesn’t want to come out yet (besides to Arya, Sam, and Ygritte, the first people he told) and Sansa respects that, but she can confide in a sibling who’s queer as well and it’s comforting for both of them to have someone to talk to. 
  •  She officially comes out to Robb next and he gives her a huge hug and tells her he’s happy she felt like she could trust him - which is a huge relief to Sansa. In any canon, Robb makes sure to acknowledge Sansa’s emotions before any of his own, and sits her down and asks her about if she wants to come out to anyone else, how she’s feeling, etc. 
    • Like every other Stark, if anyone dares to disrespect Sansa and her identity he is there ready to fight.
  • Arya has a question a mile a minute. She’s more surprised that Sansa, who raved about all her princes, has admitted to also liking women (and having a girlfriend, no less). She teases Sansa about it and Sansa gets pissed off and tells her if she’s going to mock her she’s not going to say anything else, and Sansa stomps off. 
    • Arya kicks herself for it - she reacted well to Jon and knows her reaction for Sansa was less than ideal, so she runs after Sansa, telling her that she didn’t mean to make it sounds like she was making fun of her. She sits down with Sansa and asks more questions, but this time it’s slower and she makes sure each time that Sansa knows it’s okay if she doesn’t answer. 
      • Sansa doesn’t answer the first few times, and her other answers are short and clipped, but as the questions go on Sansa finds herself being less angry and answers more questions in more length, and they actually have a decent conversation. 
  • Okay honestly every Starkling is queer in my mind so modern AU Bran has a whole litany of like, every identity and he’s talking to Sansa about how he’s searching for an identity that fits him - if he even wants to label himself - and somehow it turns into a conversation where Sansa comes out and Bran starts info dumping labels and telling her it’s okay if she changes what label feels right for her later. It feels more like a school lesson than it does coming out, but Sansa finds she actually kind of prefers that to a huge reaction. 
  • Rickon kind of just stares at her with big eyes and goes, “what does bizzual mean”? She ends up telling him about basically everything under the LGBTQIA+ umbrella and whenever Rickon gets it he nods and goes, “ahh” at the end. 
    • It’s a pretty standard conversation, except at the end Rickon asks her, “So am I gay?” and Sansa is stuck between giggling at the 6 year old and trying to think of how to answer without pushing him into something (she ends up telling him she doesn’t know - and that no, Cat probably didn’t know either - but that he doesn’t have to know now, and she’d be happy to talk to him about it if he ever wanted to discuss it). 
  • In canon Theon is a bit harder. Pre-GOT, he would have been a dick about it. There’d be joke after joke, maybe even a lewd comment, but when Sansa tells post s3 Theon about her being queer, he just gives her a small smile and goes, “I’m happy for you.” 
    • It’s weird because it’s not rude or resentful, but like most things Theon says nowadays, it feels a bit broken, and Sansa finds herself wishing that he’d be a dick about it, even just a little bit. 
  • Modern AU Theon is out by then so he high fives her and welcomes her to the queer club. He literally says that, word for word. She looks at him for about 5 seconds before smiling and giving him a high five back. 
  • So, the adults: 
    • Cat is worried. She doesn’t want to be - Sansa is her own woman, and she’s tough, and strong. But, Cat is worried about the marriage, and she tries to keep it hidden but it’s a fear that’s there. Modern AU her isn’t worried about that so much, just worried that Sansa’s life will be more difficult, but she talks about that with Sansa and is the proudest mother out there. 
    •  Mace kind of just went, “oh, good for you!” and then looked back and forth between her and Margaery’s intertwined hands before Olenna finally snapped and said that they were dating. 
    • Olenna literally does not care. Basically every Tyrell is queer so this really isn’t news to her. Sansa went up to her and opened her mouth only to be met with: “Yes yes, I know dear, you’re dating Margaery. I’m happy for you both, now leave me with my tea.” 
    • Ned. Oh my god Ned. He’s not surprised, but he’s awkward (the Starklings always managed to make it awkward when they came out to him tbh), because Sansa blurts it out in the middle of dinner as Ned was eating. He chokes on his mutton and there’s a minute of awkward tension as Ned chokes (Cat wonders if this is a serious choking emergency and Arya is already up, ready to do the Heimlich). After an awful 30 seconds of coughing Ned looks up and Sansa and goes, “Well that’s great, sweetie,” and takes a bite of his food like nothing happened. 
Standard conversations
  • Person: your art is dark cuz ur broken
  • Me: wat
  • Person: it's so clear ur such a shattered mirror
  • Me:
  • Person: let me heal you