what are the rules and restrictions i'm asking for a friend

ceylon-morphe286  asked:

So overwatch finds a 18 year old girl from 2019,(I can't find the rules and I'm only 15 so I moved the year up so she be born in 2001) chronically frozen and *gasps* still alive(just drop her temp so she falls deep asleep) so how about a small scenario of them waking her up and telling her she is 60 years in the future(I'm bad at math). Who becomes friends with her? Do they accept her into overwatch?

(There weren’t any specific characters requested, so I picked out 3 main Overwatch characters for this. Also, I think you meant cryogenically, not chronically)

60 years the talking monkey said. You had been asleep 60 years. Were your parents still alive? Your siblings? Your friends? What had happened to your house? What had you missed during those six decades you were asleep? You felt the panic set in as your chest rose and fell faster and faster as you started hyperventilating.

“Heart rate spiking,” Athena informed the team.

“Whoa, take it easy, love!” Tracer placed a hand on your shoulder, “You’re safe with us, don’t worry!”

“But…But…” you tried to calm yourself, “H-How…”

“We found you at the Antarctica Eco Point, trapped in some lower rooms that had been shut off after the blizzard,” Soldier: 76 said gruffly, “looks like you had been forgotten about by the team.”

“Jack…” Tracer mumbled, elbowing him in the side for being so blunt.

“Where am I exactly?”

“You’re in Overwatch HQ!” Tracer chirped, “We’re a peace keeping organization for the world. I’m Tracer, this is Winston, and that’s Jack!”

“Morrison, to you,” the old man ordered.

“Another one of our agents has been in cryo before in the past,” Winston said, checking some of the medical reports, “It took her a while to adjust as well, though she was under for a lot less time.”

“As soon as your able to stand on your own, though, we’re sending you off,” Jack stated.

Winston and Tracer gave him a wide-eyed look and seemed to disagree.

“She’s been outa the loop for 60 years, Jack,” Tracer put her hands on her hips, “If we push her out the door, she won’t know tires from hovers!”

“…Hovers?” you echoed in confusion.

“She should stay on base for however long it takes to integrate and educate her on her new surroundings,” Winston agreed, “Not to mention she’ll need help getting in touch with her next of kin,”

“So we’re just gonna let a civilian wander base?” 76 rolled his eyes.

“She’ll be given limits, of course,” Winston retorted, “But I’m not throwing her out on the streets to survive on her own. She just got here!”

“Fine!” Soldier huffed, crossing his arms, “But I don’t want to see her near any of our restricted facilities.”

With that, he stormed out of the medical bay, leaving you with the monkey and the girl.

“Don’t pay him any mind,” Tracer shook her head, “He’s like that to everyone at first.”

“Not sure about that.” you mumbled under your breath.

“For now you should rest,” Winston instructed, “Once you’re well enough to move around, we’ll give you a room and a mentor to get you up to speed on the present day. Who knows, maybe your knowledge of the past will even be an asset to us.”

“You think?” you asked.

“Only time will tell,” the monkey shrugged, as he headed for the door, “Now get some sleep.”

Sleep. It felt like you had had enough of that. Tracer gave you a little smile and a salute before following her friend. Slowly, you shut your eyes and wished it was all a dream.

–Mod Sirana

anonymous asked:

Question- does bill have any redeeming qualities? I'm trying to settle a dispute with a friend

I mean, that depends on what you consider redeeming qualities, or how you’re looking at him?

Because as a character, I think Bill has a lot going for him! He’s incredibly fun to watch–he strikes a good balance between ridiculous and threatening. He makes super cool monsters appear everywhere. He’s entertaining and funny and weird.

He’s perfectly suited to the Pines family as an antagonist. He’s a dark reflection of Mabel’s fear of growing up and desire to hold onto childhood as long as she can. He turns Dipper’s love of the supernatural into something twisted and frightening. He plays off of everyone’s fears and insecurities. 

He shapes Ford into the paranoid man he is when he exits the portal. His betrayal leads Ford to write the arc words “Trust No One” in his journal, which in turn shapes Dipper’s perceptions and his fears. Even Stan, who has very little interaction with Bill until the end, has some dark reflection in Bill–his identity as a conman is treated as something silly and charming by the series, but when Bill’s pulling a con on you or someone you care about it isn’t very funny at all.

He’s the dark alternate future for the coming of age story in Gravity Fall, a perversion of the phrase “growing up is optional.” He’s the one who never grows up, never changes, never learns.  He’s a really, really great villain. He might be bad morally, but that doesn’t make him a bad character. He’s a fantastic character.

If on the other hand you’re asking whether there’s some sympathetic angle to Bill as a person that I can see…not really?

The closest I can really think of is, if Bill is canonically a Flatlander, Flatland is a terrible place and I’m kind of okay with him burning it. Flatland was an incredibly restrictive and oppressive society and there’s something a little understandable about a creature coming from that environment going way too far in the other direction and wanting to abolish all rules.

That said, despite what he says Bill doesn’t actually want to abolish all rules, because he still wants to be in charge. He wants people to do what he says and obey him. What he really wants isn’t anarchy so much as a world where he and he alone can do anything he wants.

lizanneglasgow  asked:

I'm writing this prompt scene, and my MC (female, most likely a spy) is being backed into a corner by this apparently drunk guy who's making these advances. I don't have any training in martial arts (so wish I did), so I'm not sure how exactly she would go about getting out of the situation, like what moves she would make to cripple him and get past to leave. Any help? Love the site!! ❤️😊 Liz

The Spy:

If she’s a spy then fighting in that situation is a terrible idea, a spy wants to make as few waves as possible and do nothing to compromise their identity.

Consider these two questions when writing any action sequence both from an internal character perspective and from an outside view overlooking the whole scene (including background characters related to the drunk guy, drunk guys like that are rarely ever acting alone).

Can I?

Then, should I?

The “can I” is fairly simple, can my character solve this problem with violence?

Yes, she has the training necessary to solve it that way, but the real question at the base of it is: should she? Should she solve the problem with violence? Remember, violence is not the only solution. More than that, a spy rarely uses violence unless they have to. It’s too messy, it draws too much attention, and will draw even more attention for a woman especially in an environment where she’s not supposed to have those skills than they will for a  man. Spies need to keep their cover identity intact, and they need to keep the long game in mind. If she is a spy then her goal is to not stand out, to do nothing that will have this drunken idiot suspecting she was anything other than a random girl he met in some bar and do it in a way that will not attract the attention of whoever else is in that bar. She doesn’t just have to worry about drunk guy remembering her, she has to worry about his friends, about the random patrons in the bar (who could be reporting back to authority figures, who could be off-duty members of the police, who could report her to the police like the bartender, and the last thing she wants is any authority looking for her. This includes friendly authority. Spies are predominantly criminals, even on their own turf they’re sacrificial pawns without much of a safety net.)

In this situation, if she is a spy, she is acting in opposition and impeding her own goals by fighting.

Ask yourself, who is in the bar that supports the drunk guy? If two people get into a fight at a club what usually happens? The answer is fairly simple: lots of other people intervene. If she acts as the aggressor, then they are more likely to act in defense of the drunk guy making advances. So, instead of creating an easy exit solution, she stuck dealing with more people. They’re either asking her “hey are you okay?”, they’re trying to fight her, they’re trying to arrest her, etc. This is what I mean when I say that violence often creates more problems than it solves. There is a very specific environment that exists within the rules of social decorum, disrupting the environment means everyone is suddenly looking at you.

So what does the spy do? They deal with the situation. Their job description is manipulating people, that is what they do. They’re dealing with someone who is cognitively impaired. This is not a challenge. This is a ground ball. This is easy.

So, the guy is making advances and interfering with their ability to do their job. How do they get rid of him?


That’s the answer you expect because women are supposed to be charming. They’re supposed to be nice and sweet. A female spy can and should use society expectations for her gender to her advantage, on all levels and in all directions. Were she in a situation where she didn’t have to hurry, she could play to this guy’s ego, ply him with more drinks until he passed out, convince him to go into an ally or walk her home or whatever until she ditched him in a crowd. That’s the long way.

The quick and dirty way is to go the other direction by making herself unfuckable. Unlikeable. Gross. The trick is not to say, “I don’t want it” or provide resistance. It’s to make him not want it anymore. He’s here because he’s interested and tuned up on liquid courage, he will go away the minute he decides it’s a bad idea. It will draw almost no attention.

Talk about having fleas, itch the crotch, complain about rashes in unfortunate places, talk about having a pain in the jaw, a rotten tooth, the stories about last six guys she slept with, start crying about her ex-boyfriend/last lover (and not in a pitiful way), about the pigs, anything you can think of within reason or feels plausible.

Her goal is for him to look at her and say: disgusting.

He’s drunk, if done right, this will happen fairly short order. So when she makes an excuse to leave after talking about her seven cats (and how they maybe sleep in really unfortunate places), he’s more than happy to let her.

Writing spies is difficult for a lot of writers because it takes a fair amount of confidence. You need to be willing to let your character not be the center, for them to let other people believe nasty things about them that are untrue. For them to be overlooked. More importantly for them to use the people around them and those in their environment in order to achieve their goals.

A female spy is not someone constrained by the social rules, mores, and gender restrictions. Manipulating those rules to her advantage is the job description. From the best to the worst, everything is in her arsenal. The kind of behavior that makes a woman terrible like manipulating/scheming/using people and we are actively shamed for is the exact behavior she engages in. Unrepentantly.

All the things you’d never do in your regular life, which might seem disgusting, uncomfortable, or cruel are available. All usury is allowed. If she is a spy, then she is a manipulator. Let her use social expectations to her advantage. Let her manipulate.

Take the command of the situation.

The Drunk Guy is Your Patsy:

More importantly, your spy has now has an asset. Don’t think of the drunk guy as an impediment, Drunk Guy is a tool. He already has something he wants from her, he’s already impaired, she can use him however she wants. Shove him into any situation. He won’t remember anything when he wakes up in police custody in the morning.

Her job is social manipulation. This guy is a willing victim. Use him.

Trust me, you can get more places with two and less suspicion than you can with one. Especially when that one is probably going to puke up all over the place. People don’t want to be around that. They want to get out of the way. More trouble for them.

This is what spies do. They exploit that shit.

This guy is Christmas.

She can hide behind him, be the responsible caretaker while he’s falling all over himself, and he’ll be the one they remember. More than that, he wakes up in a hotel room he shouldn’t be in with people asking questions about, “where’s the laptop?” and all he can reply with is, “A girl???”

She escapes free and the police will be his problem now.

The Cliche:

The other thing to remember is that this sequence where the guy backs the well-trained girl into a corner and she proceeds to beat his ass with zero consequences while everyone laughs is a cliche.

I mean that. More than that, it’s stupid. It’s what I call “faux feminism good feels”. Buffy falls into this category a lot. It doesn’t mean shit and relies on the basic idea that a girl beating up someone up is such a surprise that no one will believe it or the act of getting beat up by a girl is too embarrassing so they get away scot free.

It runs the gamut from big to small, but what it ends up being is female characters are transformed into bullies. Whether it’s Wonder Woman forcing a guy who insulted her to admit that he cross-dresses in her outfit in front of a crowd to Buffy shoving a bully into a vending machine (while emasculating Xander at the same time). The fantasy is “taking back the power”. A safe way for the asshole to get what’s coming to them.

At the end of the day, it’s a revenge scene. It’s public humiliation. A cheap way for a female character assert that she is a bad ass. One which assumes that she’s playing under “untrained woman” rules rather than “trained combatant that happens to be female” rules. Trained combatant actually supersedes normal female because a trained character has to consider use of force aka is the level of force they’re applying to the situation acceptable to the one they’re in. (Well, they don’t but if they don’t then there should be consequences.)

The more training someone has then the more responsibility they take for their actions. The more training someone has, the less likely they are to attempt to solve their problems with violence.

Feminism is about understanding that women and men are equals, we’re all people. We’re not better, we’re not worse. We’re all capable of the same awfulness. We carve out way past the bullshit social structures and politics to realize that it isn’t an absolute. However, we also get the quote from Truman Capote: “The problem with being outside the law is you no longer have it’s protection.”

If you choose to excise the gender politics and social constraints that come with being female then you are no longer protected by those same rules. If your female character is actively breaking the gender rules, then you cannot expect her to be protected by them and shouldn’t rely on that as justification in your narrative.

A true feminist narrative is not actually “girl power”. As a genre, it’s what happens to women when they reject societal norms and gender roles to go their own way. The lives they live and the consequences they face, the realities of their situations and their choices. Responsibility is taken. It’s not just men v. women, but also women v. women. The women who stand by and benefit from the social structure/gender politics, and those who don’t. Their stories. It’s an exploration of humanity. It’s humanizing.

The trick to making women real is not in wish fulfillment, it’s in rejecting the idea that any woman (especially white women) receives special status based on her gender.

Think about the situation from the perspective of the person in it, the considerations they have rather than thinking about it from the perspective of “my character is the protagonist”. Don’t assume main character standing will ever or should ever protect a character from consequences, just like expectations about their gender doesn’t.

They’re in a bar full of strangers that see them as two, fairly equal, people having a disagreement.

A Bar Full of Witnesses? Not a Great Place to Fight

The problem with bars is that people are already primed for violent altercations to occur. Not everyone is violent, but when people get drunk they can get argumentative, and that argumentative can often escalate into violence. This is both men and women, so there are no gender protections here. The people there are also ready to deal with it if the fights break out.

What I said above about people intervening? Yeah, it’s a great way to make a situation go from bad to worse. Doubly bad for a character trying to travel incognito. More than that, does she know who this guy is?

In the Frank Miller comic Sin City, in “The Big Fat Kill”, Dwight ends up in a scuffle with some drunks where they all end up dead. What was the problem? Cops. Jackie Boy was a cop, crooked cop but still a cop. All the trouble spirals out from there. Think you’re killing someone dumb but no, the drunk is a goddamn hero cop.

Even if she isn’t a spy and it’s just a fight, if she’s gotta don’t do it in the bar.

Bad idea.

This is especially true if she isn’t a regular and the drunk is, where the joint is more likely filled with his friends and acquaintances willing to jump to his defense. More than that, we’ve got a bartender forced to maintain his business, his money, his tips. Odds are he’ll side with his regulars.

I guarantee you that to the average person crippling a guy for unwanted advances is actually over the line.

It’s a terrible Catch 22.

So, where does that leave her?

What Does It Get Me?

The quintessential question when planning out any scene. Weighing the benefits versus the cost. Is there a reason this scene needs to happen? Why do you want it to happen? What do you the author get out of it? What do your characters (yes, plural) get out of it? What function does it serve in the story? Why is it important?

What does it get you?

How does this act help you achieve your goals?

In no way is this me saying don’t do this. In fact, there’s a very specific reason to start a fight.

Create a Distraction

Starting a fight is a great distraction for all the reasons listed above. Your character gets everyone’s attention, they’re all looking at them, and in the distraction, they slip away to achieve whatever goal they came there for in the first place. It’s a huge clusterfuck.

That’s the point.


Which, in this case, deck the guy. Punch him in the throat or the nose, then kick him into the nearest table of drunken, angry, and argumentative idiots. (Basically drive the foot into the stomach and thrust forward rather than up into what works as a shove more than a kick, so he stumbles backwards. It’s called a push kick for a reason.)

There’s always a chance they’ll come back at her, but hey. If she doesn’t have time to bait and a distraction is needed then that’ll work.

Thus, drunken angry escalation commences.

It isn’t the best solution, it’ll also ensure she can never go back to that bar.

So, write wisely.


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hi-tired-im-dad  asked:

Hey there, I'm trying to type my sister and I can't decide if she's an infp or enfp. Can you help me?

ENFPs let nothing stand in the way of exploration of possibilities.

INFPs are sometimes restricted in exploration of possibilities by their ethics.

Fi ruling Ne does not change its mind nearly as often as Ne over Fi. I speak not of stupid things, but of entertaining possibilities that might in some way violate ethics. Ne/Fi is more free-flowing in that regard than FiNe.

Say you know this NFP and she feels fairly strongly about a particular way of thinking or belief system that she holds. Now, introduce a concept to her that radically redefines everything she holds dear and asks her to change her moral position.

Fi/Ne… less likely to be inclined to alter Self to embrace possibilities, because Fi has a strong moral stance on that issue already. Fi is BOSS.

Ne/Fi… very inclined to embrace possibilities regardless of ethical stance, because Ne has control and Fi might get forgotten altogether – or at least, checked in with later. Ne is BOSS. Even if Fi still disagrees, it’s worth a 5 hour discussion, right?

Here’s another thing… you’re going to see Te more in the ENFP. By that, I mean they are more focused on possibilities and perceptions (Ne) than they are wary of offending people (Fi), so they will unintentionally do so more often – make a joke that is taken the wrong way, assert an opinion that is pure Te bluntness without a clear filter, and sometimes be a bit oblivious as to what just happened.

Fi-doms are still feeling dominants. They take things much more personally and in some ways, more seriously than the ENFP, who has to process everything through Ne before they get to the Fi. You’ll see emotion a lot less in the ENFP than the INFP, who has a better handle on their feelings than the ENFP. INFPs are also more inclined to hold onto friends longer… Ne-doms are restless and unless someone can stimulate their constant need for new ideas, they move on.

anonymous asked:

BWAHAHAHA IT IS I, THE ANON OF MASKS (I like the name mask anon) So, I remember seeing this picture floating around on Tumblr with half of Kaneki's face being from the smiling-at-Arima panel, and the other half from the I'm-so-lonely-without-you panel, with the face matching up perfectly. The poster (crap I forget who it was) stated that it reminded them of the masks of tragedy and comedy. Well, I saw that, and immediately thought of Fruit-chan wanting to slaughter Eto like animals (maybe long)

Now, I personally believe that fear/anger and happiness/sadness go in two different axis, which can intersect. I’m sure there’s something about Kaneki and Furuta’s emotions somewhere. Going back to the thing with the masks with drama, there’s two types of plays that I want to draw attention to. One is called farce, and is a type of comedy. According to Wikipedia, it is a “generally nonsensical genre of play, [they] are often overacted and often involve slapstick humor”. (there is mooore~)

Doesn’t the whole thing with the farce kind of remind you of Furuta, or at least, the way he acts sometimes? And it becomes even more significant when you think about it this way: a play, at its core, is a bunch of people acting. A part of Furuta’s acting involves the farce. IDK this is just something cool I saw. Now, on to tragedy. TG is, I think, a complex tragedy, as it has plot twists and realizations from the main character. Sorry, there’s going to be more.

The most obvious comes with Jason’s torture. Up until that point, the plot seemed fairly simple- Kaneki’s a ghoul! He’s gonna do ghoul things! Then wham! He got kidnapped and tortured, and undergoes a massive personality shift, caused by his realization via Rize hallucination. Actually, now that I think about it (god it seems so obvious now) each and every one of Kaneki’s personality shifts was caused by a single realization- an element of a complex tragedy. There is more I’m sorry I’m babbling.

Now, Kaneki’s biggest personality shift occurred once in TG, pushing him towards pushing away his friends. That’s why TG is a tragedy. (like in Oedipus Rex- Oedipus’s realization turns him into a tragic character) In re, he’s had two realizations in what, 76 chapters. But they’re a good-ish and good realization- identifying his mother’s abuse instead of shutting it away, and realizing that he wants to live, and that’s because of his own inner strength. That’s why re won’t be a tragedy. I think.

god I’m so sorry for spamming your inbox like this.

Hey, mask anon, after my thorough studying, I am now able to answer asks again. You don’t need to apologise, I am always happy to receive your metas, although I can only respond with commentaries to it because you already explained everything so beautifully! :)

You are referring to those masks, right?

They are often referred to sock (comedy actor, wears boots without ties) and buskin (tragedy actor, wears boots with ties) in plays but are also associated with Thalia (comedy) and Melpomene (tragedy). Melpomene (Greek melpô) means “to live with song and dance.” She was born to Zeus as well as Mnemosyne and was the muse of “life and despair.” After Hera (not her birth mother) found out that Zeus raped Melpomene and was carrying his child, Maria, she cursed her as the “muse of death.” Soon, Melpomene carried yet another child from Zeus, this time a son, Fill. Hera, enraged by this, cursed her with a barren womb and cursed her as the “muse of tragedy.” Often, she also holds a knife or club in one hand and the tragic mask in the other.

Thalia, her sister, (Greek thallien) means “to flourish, to be verdant (abundance of vegetation).” She was the muse that presided over comedy and idyllic poetry.  She was also known as the daughter of Zeus and Mnemosyne. According to the pseudo-Apollodorus (Greek library), she and Apollo were the parents of the Corybantes ( the armed and crested dancers who worshipped the Phrygian goddess Cybele with drumming and dancing.)  She is also portrayed as a young woman with a joyous air, crowned with ivy.  

The masks itself were deliberately created exaggerated in order for the audience to recognise them better.

So, let’s get to your actual point.

A comedy is a story of the rise in fortune of a sympathetic central character.

Furuta indeed fully embraces the comedy aspect. He often indulges in manzai comedy. The identifying features of farce are zaniness, slapstick humor, and hilarious improbability. The characters of farce are typically fantastic or absurd and usually far more ridiculous than those in other forms of comedy. At the same time, farcical plots are often full of wild coincidences and seemingly endless twists and complications. Elaborate comic intrigues involving deception, disguise, and mistaken identity are the rule.

Furuta has also a lot of similarities Melpomene. His name, too, was given a cheerful meaning (two blessings, many old) and he was born to powerful parents, in this case to the prestigious Washuu family. Unfortunately, his very existence was tied to restrictions, a lack of (parental) love, a normal chilhood, opportunities or any aspect that every citizen should have access to. His whole life was a tragedy due to this fact. His father seemingly rejected him although he did invest in him, as in so many others, that is. I think with each traumatic experience, he lost more and more of himself, thus engaging in comedy, so he can experience the bright (i.e less painful) side of it and decided to be an actor as well as an spectator. With switching those roles from time to time, the tragedy aspect seems less apparent.

But the more we know about his past, the more we might be sympathetic towards him and maybe this might be indirectly has been his wish all along. After all, comedy involves laughter and nothing ties people more together than laughter.

So if you were planning on giving me something.
In this year, I want four times more of that love or hate.
I don’t need anything else.

But I think Furuta can be associated with the Satirical Comedy as well. The subject of satire is human vice and folly. Its characters include con-artists, criminals, tricksters, deceivers, wheeler-dealers, two-timers, hypocrites, and fortune-seekers and the gullible dupes, knaves, goofs, and cuckolds who serve as their all-too-willing victims. Satirical comedies resemble other types of comedy in that they trace the rising fortune of a central character. However, in this case, the central character (like virtually everybody else in the play or story) is likely to be cynical, foolish, or morally corrupt. Kaneki’s depression, by the way, isn’t foolish, but it does impact the people around him and Kaneki became cynical after he regained his memories back and rightfully so. After all, the memories he surpressed for so long emersed and therefore clouded his whole judgement.

Also, I am not saying that Furuta’s life is tied to the comedy aspect, he just chooses to embrace it, doesn’t mean that tragedy isn’t part of his life.

Kaneki, until chapter 76 at least, always embraced the tragedy aspect, simply because that is what he always experienced. Haise, the dream, might have been the only life stage where he distanced himself of that and embraced the harmonous life given to him.

Tragedy depicts the downfall of a basically good person through some fatal error or misjudgment, producing suffering and insight on the part of the protagonist and arrousing pity and fear on the part of the audience.

In my opinion, tragedy and comedy are opposite sides of the same coin, both signify statsis and an indespensable loop. Embracing one of them fully creates a cycle that needs to be broken.

They do intersect, mask anon, and that would be tearing apart the very essence of the classic play, but the Renaissance has a name for it, too: tragicomedy. And in my subjective opinion, the tragicomedy would be the most “realistic” one and, Tokyo Ghoul Re is just that. Mercury, a character, defines it as follows:

“I will make it a mixture: let it be a tragicomedy. I don’t think it would be appropriate to make it consistently a comedy, when there are kings and gods in it. What do you think? Since a slave also has a part in the play, I’ll make it a tragicomedy.”

I think that term does the manga justice, especially because Kaneki might have a chance for a happy ending, others not though and we grew on them as well.

But let’s take a look at Furuta’s and Kaneki’s difference, as both of them embrace different aspects (Kaneki=Tragey, Furuta=Comedy):

(Note: I deleted some things because it didn’t apply to them or didn’t happen yet. I am sorry, but somehow I can’t put all of them here. Tumblr doesn’t load them. Here you can see the full list).

Please don’t say you spam me because the topics you present to me are very interesting and now I am incredibly interested in that.

Thank you so much for the question, mask anon, I hope you are satisfied with my answer. (I must admit I needed a lot of research to post this, I had next to no knowledge about this topic)

allons-ymrholmes  asked:

Sorry! My last ask for the 3 sentence fic only had a pairing, no prompt! So I'm resubmitting: Sansa x Tyrion, and walking through the garden

Title: The Language of Flowers
Words: 539
Notes: Again, I failed miserably at the three-sentence rule. I don’t think I’m really bothering with it at this point, because I never get to write Sansa and Tyrion and so I guess I feel it gives me permission to ramble. Thanks for the prompt! 

“…And the buttercups, what are they meant to convey?”

“Wealth, which is likely why your ancestors planted so many of them.” The stone pathway crackles under their feet, her strides checked to match his own. “They’re also poisonous. We had a colt once who made himself itself sick from eating them.”

Keep reading

anonymous asked:

Hello! I just wanted to point out something important. Ren does not mean koi in the Japanese language. In fact, ren is not even a word. Renai, however, means koi. My Japanese friends (born and raised in Japan) pointed this out for me. They also told me that ai was the stronger version of love. Believe me, I'm a Zeki shipper, and now I'm even more confused about Hino's intention behind the name choices. What are your thoughts?

Hi love,

Sorry, but you must have misunderstood me. I never said Ren means ‘Koi’ I said it is derived from it. You may find a link here [x

Essentially Ren is derived from either 蓮 or 恋

蓮is the Kanji for Lotus

恋 is the Kanji for Koi

Depending on the Kanji used Ren can either mean Lotus OR Love. [It is important to note that Ren can be written in many ways, including 蓮. If a name uses that Kanji then the name is translated to Lotus.]

However, in the extra chapter, Ai uses this kanji when introducing her brother:

恋です which translates roughly to ‘this is Ren’.

If you notice it uses the 恋 kanji, which is, as I said, the Kanji for Koi. Meaning that Ren’s name is translated to ‘Love’.

As for Ai being the ‘stronger’ term, that is completely false. Both Ai and Koi essentially mean love, but are used in different contexts.

Ai, in general, is defined as a ‘giving’ love and is used for the love for, or between, partners, children, parents, grandparents etc. It means a very general sense of love. Hence why Shojo Beat sometimes translates it to ‘beloved’ not ‘lover’ or ‘my love’.

However Koi is a ‘selfish’ love and involves ‘taking’ rather than ‘giving’ and is only used for long term ‘life partners’. Therefore it is essentially restricted to lovers, hence why I always note that it is a stronger term for love than Ai, as Ai is not restricted to anyone, yet Koi is limited to committed, long term partners.

Moreover, Koi is a feeling of longing for a specific person and is often described as a “romantic love” or “passionate love.” While “ai” has a definition of a general feeling of love. In essence, Koi is always wanting. Ai is always giving.

Zero uses both Koi and Ai in relation to how he feels about Yuuki and how Yuuki feels about him through ‘ashiteru’ in the bonus chapter ‘Life’ etc, but Koi was used specifically and only by Zero in VK to explain how he is starting to understand the concept of love.

In addition 恋愛 is Ren’ai, which doesn’t mean ‘Koi’ it is both 'Koi’ and 'Ai’ together.

恋= Koi

愛 = Ai

恋愛= Ren'ai

Confusing, I know.

But essentially yes, Ren'ai, as a noun, means love, but as a verb it also means ‘to fall in love’ [x

I believe this was Hino’s intention, as that’s why Kaname laughs when Ai introduces both herself and Ren as their names together mean 'in love’ or ‘falling in love’. However as a noun it also means ‘marriage love’, which makes me happy considering those two are part of the Kiryuu family, but I digress.

As for the second part of your ask, the reason I believe Hino chose the names is because they show the different aspects of the love triangles dynamics. In the end Yuuki’s love for Kaname ended up being a 'general sort of love’, 愛, like the love you would have for someone that’s dear to you Like I dunno, a brother, highlighting that Kaname is still a very important person in Yuuki’s life begrudgingly As Kaname was the one who gave Yuuki the freedom to live life as a human and enjoy what it’s like to live without being ruled by 'the tragedy of the purebloods’, which she then returned to Kaname at the end of her time with Zero. Obviously Kaname was someone who was close to her heart, and someone she wanted to be happy, but she doesn’t feel the the same way towards him as she does for Zero.

Which leads me to my next point. The reason Hino named our baby Ren was to show the clear distinction that Yuuki can only be happy with and sated by Zero. Their love isn’t a 'general sense’ of love, it is a passionate and romantic love between two lovers who are committed to live the rest of their lives out together, 恋.

The fact that both Ren and Ai are apart of their family, shows that during the time they were together and finally embraced their feelings by no longer trying to run away from them, they 'fell in love’ and become bonded in the sense of a 'married love’. Hence Ren'ai 恋愛.

Anyway, I hope that helps.