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: 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. 

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.

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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.”

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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.


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. 

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: 

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!

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.


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.”

Haughty rich girl and arrogant sports guy are the sane trope in function just from different genres

anonymous asked:

IceWing beauty standards favor large noses as an adaptation to the cold, and Winter was always considered "ugly" compared to his sisters and the rest of the royal family for his relatively small nose. NightWing beauty standards conversely favor straight noses as a reaction to their IceWing rivals.

If the steryotype of that royals never get their hands dirty then it would fit perfectly. Don’t need large noses when the lower class can do it for you

-Admin Peril

nice things: when ur friendship w someone fizzles out and u don’t talk for a long time, and then u hang out w them again and ur like “oh, hey, this is why we were friends isn’t it”

anonymous asked:

Maedhros + fluffy cat

Never thought I’d get multiple uses out of this reaction image;

He hates fluffy cats; the fur gets stuck in his teeth. 

No but that’s not a great answer, so I consulted w. learned colleague @imindhowwelayinjune​ and we had what was probably not the worst conversation we’ve ever had, but that just says a lot about the standard quality of our conversations. 

Keep reading

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

scribefindegil replied to your post:im so glad people on this site humor me when i…

i just want to yell about our party All The Time

SAME our party is so good…..

standard-fiend replied to your post: im so glad people on this site humor me when i…

*sits cross legged on the ground for story time*

Where Do I Start

  • Straight white man: I don't know if you know this, but there's a horrible double standard between the genders???
  • Me: Um.
  • Man: Like let me list all of these things that men can safely do and women can't?
  • Me: I am actually aware of this
  • Man: But you might not realize the extent of it. Let me tell you more.
  • Me: ...
  • Me: ...
  • Me: .
“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.

English Gothic
  • The sun has been shining for three days. Everyone is panicking, offering up gifts to the sun in the hope that it will leave, and take its firey gaze elsewhere. The sun continues to shine, uncaring. Three people have caught fire.
  • Queues stretch into the distance, the people standing in them silent and tired. An interloper tries to jump the queue. Everyone turns their head in perfect unison, and stare the interloper down. They flee to the back.
  • You encounter a stranger in a Tesco. They initate the standard conversation ritual, chanting “the weather” over and over and over and ov
  • You go to make a cup of tea, as you open the cupboard, hundreds of teabags pour forth. There is no end to the deluge. Others would be displeased, but you are okay with this development.
  • It is raining. It is always raining. Even when it is not raining, it is raining. The rain knows. The rain knows.
  • A fox was in your garden last night. You heard it chant, and in the morning all your flowerpots are arranged in chromatic order.
  • Snow blankets the ground. Everyone huddles inside, fearful. The snow is king, for now.
  • Travellers tell tales of places where the sky is blue. Overhead, the grey sky rumbles, an ominous sign.
  • In the countryside there are many mythical tales of a mysterious creature known as a ‘bus’. You may catch a brief sight of it as it dahses along a country lane. Only those with secret knowledge know where to get on. They disappear for hours, and arrive at their destination with hollow looks on their faces, and tales of other worlds in their minds.
  • You try to enter a M&S, but their air burns your skin. You try to go into a Morrison’s, but are warded off by chanting figures. You go into a Sainsbury’s, and are accepted. Caged in the corner is a smiling celebrity. Always smiling. Eternally smiling.
Double Standards
  • Anna: I want to marry the guy I just met. He's perfect. We even finish each others sandwiches.
  • Everyone: She's so naiv and stupid.
  • Zelena: No, Hades I don't want to be your One True Love after only knowing you for like two days and a bicycle ride.
  • Everyone: Why is she so stupid? He's perfect for her. Omg. <3 <3
DW 10x11
  • That entire scene about “Doctor Who”… Moffat really decided to treat himself :D
  • did Moffat just do a “there are only two genders” joke omg
  • “She’s the only person I’ve ever met who is even remotely like me” Ouch… Well that explains why he became obsessed with Missy immediately after losing Clara.
  • If after this the next Doctor isn’t a woman I riot
  • Oh my god that’s a perfect design
  • This is the medical horror the Cybermen deserve (though after season 8 it shouldn’t be a surprise)
  • Well at least “pain… pain…” was a call for help and not a standard alarm for conversion in progress, as I assumed at first
  • holy shit… this is one of my biggest fears, thanks a fucking lot
  • so the body horror of s8 + the eternity horror of Heaven Sent + “The Girl who Waited”
  • holy shit it didn’t even occur to me until he said he recognized her… well played
  • and the eye with a single tear, again
  • well I wonder how they’re going to save Bill. turning black characters into cybermen is now an unfortunate tendency, but they wouldn’t make it permanent for a real companion, right? They wouldn’t kill off the First Official Lesbian, like they can’t be that tone deaf?
  • I’m disappointed we didn’t see Bill even try to help the patients. Like, if I were in her place (and also brave and capable) I’d kill the one begging for death and/or try to dismantle the entire thing.
Request: Broken Lamps

Request: hiii, i would really like a deanxreader where she’s reading all the bright places by jennifer niven and the reader gets all emotional with the book, so dean comes and it’s like “oh cmon are you really crying over a book” but then he reads it and is screaming and crying internally but then he breaks down and cries a lot so sam, crowley and cas laughs at him but they read it to and everyone is a crying mess even crowley

Word Count: 1,339

This book wrecked me. More than any book ever had before. More than Twist and Shout. More than Armageddon. Like, I read it more than a month ago and my copy is still hidden in a bag on top of my wardrobe because I can’t bear to go near it. So, if you haven’t already read this and you decide you want to, that’s your warning.

Lots of love<3

The first thing he sees is the tears streaming down your face, pouring from red-rimmed eyes that show that not only have you been crying for a while, but that it’s been violent, harsh crying that’s hurting not only your heart but everything else, too.

The second is the book in your hands, opened to the final page and clutched so tightly that your hands shake – or that might be just from the crying.

“Y/N?” Dean is at your side quickly, peering down at the book – his instant reaction is that it must have been cursed somehow, or an ancient book, or something unpleasant. What he was not expecting are the final words of a fiction novel, “You’re crying at a book?”

Your replying sniff, then accompanied by a stifled sob as a hand reaches up to smother your mouth is enough for him. He wraps an arm around your shoulders, letting you lean into him – but still, you don’t let go of the novel in your hands.

“Y/N, sweetheart, it’s just a book,” He tries to soothe you, moving a hand to smooth down your hair; to run over your shoulder, “You’re being kinda stupid.”

At that, you’re pulling away from him, your glare only magnified by the lens of tears covering your eyes, “Stupid? Stupid?” You snarl, slamming the book shut and shoving it at him, “Fine, Dean, if I’m being so stupid then you read it and you cope with it.”

He’s about to say something else, to retort, to even offer an apology, but with a wave of your hand he knows he’s been dismissed, so he walks from the room without another word.

“Alright, Y/N,” He says softly to himself, only once the door is closed. He looks down at the cover, turning it over in his hands – it looks harmless enough, brightly coloured, even perhaps childishly designed, “All the Bright Places, by Jennifer Niven… challenge accepted.”


He doesn’t come to bed that night – it isn’t unusual for your boyfriend to fall into the sheets beside you at some godforsaken hour not even you dare to tread, but tonight, it feels different. Different enough that you find yourself pulling a robe over his T-shirt that you’ve been using in lieu of pyjamas and padding into the library, quickly spotting the desk lamp still shining in amongst the dark stacks.

From here, you can see that he’s already reading the last page. His expression is a stony mask of indifference, supposedly, but he’s too gentle; too quiet as he closes it and sets it on the wooden tabletop.


His head turns sharply, golden light falling to shadows as he turns away from the lamplight. He stands – slow, calm – takes a step towards you – controlled, careful – and then swings his arm, sending a darkened lamp flying off the table and slamming into a stone pillar where it shatters into a thousand pieces. It catches you by surprise and you lurch backwards, already reaching for a weapon you aren’t armed with – but that’s when you catch the tears in his eyes, already brimming over and spilling down his cheeks.

You’re with him instantly, your arms around his neck as he draws you in close, burying his face in the soft skin between your neck and shoulder.

“I’m sorry I didn’t believe you,” He cries, his grip on your waist tightening as another sob pushes through him, “It was horrible. You do that for fun?” His voice is muffled, lips tickling your skin, but you hear every word and can’t help the laugh that escapes.

“It’s not about the ending,” You reply, “It’s about the journey.”

“Journey, my ass,” He replies, still reluctant to pull away from you, “It’s about the pain. You’re a sadist.”


“I’m telling you guys, it’s awful. Like, I knew Y/N was strong but hell, she puts herself through this kind of shit for entertainment purposes!” Dean informs the three others sat at the table – you can hear him from where you’re stood atop a stool, pulling out volumes from a high shelf while you search for the right spell, “Even I cried.”

There’s a long, long silence. So long that even you pause your endeavours and peer over at the table, where Dean, Sam, Cas, and Crowley are having, by your standards, a civilised conversation. Then, as if to break the silence, a snicker.

Everyone stares at Crowley.

Then Sam and Cas burst into laughter – it’s so unexpected that you almost fall off of your stool. In fact, both you and Dean are left stunned into silence for a few moments before Dean begins to protest, spluttering out plot devices – you just manage to get behind him and clamp a hand over his mouth before he reveals the ending, and you grin at the three other men(/demon/angel) sat at the other side of the table.

“Alright, then,” You raise an eyebrow, surveying them with the eye of someone ready to throw down a gauntlet, “You guys read it. Sam, you take my copy, you guys can poof them from wherever. Then we’ll see.”

All three of them agree without even thinking about it, and you feel Dean’s mouth curl into a smile from beneath your hand.


Dean’s breath is hot on your neck as his hands slide beneath your shirt. His hands bring goosebumps to the soft, warm skin beneath and you smile, ducking your head to capture his lips with your own once more.

It’s not so often that the two of you manage to find some real time spent together. Between apocalypse and the other, you barely manage to catch sight of each other before one of you has to run off and save the world.

In fact, you’re so absorbed in him, in his touch and heat and smell and his chest beneath your hands, that you barely notice the chaos unfolding just down the hall. It’s him who pulls away first, much to your dismay,  but as his brows furrow you begin to realise what’s going on.

You can hear muffled yelling from behind the door, out in the library. Saying that, the yelling doesn’t sound angry – if anything, it sounds… tearful?

You share a look with Dean and he helps you up, fixing your shirt gently before slipping in front of you and heading towards the door first, slipping his gun from the nightstand as he does so. You roll your eyes as he pushes you behind him a little, but as he flings the door open and advances down the corridor, you hot on his heels, you’re greeted with a hugely different scene than you’d expected.

As you head into the library you have to quickly hop over a shattered lamp – another one. You cast a sceptical eye over the three figures shrouded in the new darkness, thanks to their destructive tendencies.

“What the hell happened?” You demand, taking in the scene. There’s a long moment of silence before Sam sighs and speaks up.

“We finished your book.”

“So you broke the lamp? For crying out loud, I know it’s sad but between you and him,” You motion to Dean, who smiles sheepishly, “Amara isn’t even the darkness we need to worry about!”

The three guys look guilty enough that you’re appeased, and a small smile finds its way onto your face as Dean turns on the main light and you can see the tear tracks on their faces. They must have finished about the same time, you figure, and found each other to yell at. Even though the pain of the book is still raw in your chest you can’t help but laugh, folding your arms and shaking your head.

“It’s hard. But it’s also fiction. Have a cup of tea and get some sleep – or, whatever you angel-demon types do to relax around here.” You offer, before turning on your heel and heading back down the corridor, snagging Dean as you walk, “You, with me. I believe we have unfinished business.”