You’re placed in a room with an animal. The door is closed and you cannot leave. The animal is completely calm and has no intent of harming you. You are in no danger unless you provoke the animal in some way.

alright look, i just wanna know who is the writer that came up with the dumbass idea of replacing the line “Ever since I lost my son, I think of you as my own” with “Lu Ten would have been proud to have you as his father” in this scene for the Netflix live action series???

people seriously pretending EEAAO is overrated suddenly bc it swept awards? it swept awards largely because it is very very very good. I cried like someone who's just had a religious revelation BOTH times I watched it bc it touched something raw and real and beautiful but it was also just very, very funny. everyone's performance kills and the concept is creative and interesting and doesn't distract from the emotional core. you guys are just contrarian.

Future scenes for binary resurgence + a screenshot meme remake + dca moulin rouge au that @cacaocheri brought up to me last night and i said i would draw it today therefore i fully indulge and deliver bc moulin rouge is the movie ever

charcoal on his nose btw

spent like an hour trying to find a post abt the disparity of origin companion's content in bg3 and couldn't so, hey, this fucking sucks

We're not so different, you and I. Part 1, Part 2

From Critical Role C2 E92: Home Is Where the Heart Is

they are practicing their lifts don't tell coach jaheira

more of this self-indulgent ice skating au

just endlessly thinking about blue eye samurai.

thinking about how akemi, taigen, and mizu are if a coin had three sides or maybe just the two and mizu is the bridge of metal between them.

akemi being the ideal image for women, for the life they endure. she was simultaneously a princess, a prostitute, and a prisoner. her entire life was men making decisions for her, even the ones that had good intentions, and she believed her deepest desire was freedom. it still is, but she has been revealed to this heinous predicament of her gender, and she’s realized that to reach true freedom as a woman is to be the bird in the cage, to play nice and to earn the love of a man until he buys her a bigger cage and a bigger cage until he trusts her not to fly away. and it'll never be true freedom, but it will come with power. it'll come with the freedom of only one master rather than many.

taigen being the ideal image of a man. not all powerful, but not weak. he had a taste of what it'd be to succeed, and when it was taken from him, that easy success, he mistook it for his honor. he hunted mizu down to kill him, and instead he saved him. he saved him and saved him and he came closer to killing mizu when they were on the cliff's edge, and just when he gets to the point where he may actually fight mizu, he's tortured for information on him. he is tortured. Literally tortured within an inch of his life, enduring such a heinous violence, and he refuses to break. this man was a fight, was the torturer, and the victim of his torturing could've been his salvation from pain but he refused. mizu gave back taigen's honor but not by fighting him.

akemi wanted freedom and learned she would need power to have it.

taigen wanted power and learned that the violence that came with it was infinite and dishonorable.

and then there's mizu. mizu who wants revenge, wants acceptance. arguably the same things as them both. mizu wants acceptance, the freedom of living and the freedom to love and be loved. mizu wants revenge, which follows after violence and power, to get said acceptance. she thinks she must do both, have both, to live peacefully, and she's blatant about how she will not live without either.

she's given acceptance with the blacksmith, her "mother," her husband, but she sees the flecks of avoidance in it.

the blacksmith will not hear of her true gender. her "mother" will not acknowledge the crime of her birth. her husband can't find tolerance for the violence within her, the man of her.

and so she has to balance the woman and man of her, the ronin and the bride. taigen and akemi. and it's meeting mizu that they start to unravel their own identities.

mizu, who is both, and akemi and taigen who thought themselves one but turned out to be neither.

god.

The more "empowered" Disney tries to write their heroines as, the less interesting and charismatic they become, ironically.

turtle, thinking

like what you see? want your own dragon drawn? dm me to commission me, with prices starting at the low low amount of 15 USD! wow!!

I loved the first commission so much, I couldn't resist ordering another one as a parallel of sorts! This lovely drawing is by @toktopus-art. It's based on a scene from Chapter 26 of my vamp!Eddie/Steve-gets-Vecna'd fic, laughing at the broken glass.

Scene excerpt is below, and the AO3 link to the fic is on my pinned post.

Steve wished they could just stay like this, but there were only two more songs left on this A-side. “Hey, can I see your bracelet?” Eddie asked. If not for his all-too-casual tone, Steve wouldn’t have suspected anything. “Pulling out all the stops, huh?” Steve asked wryly. Eddie flashed a shameless grin at him. Chuckling, Steve tugged his sleeve down before lifting up his wrist. To his pleasant surprise, the glow-in-the-dark effect was actually noticeable. Eddie took a moment to share in the admiration of the bracelet before grabbing Steve’s hand and tugging it down. “This is better, yeah?” Eddie asked. “Huh?” Steve turned to look at him again, but Eddie was staring straight up at the sky. “Than just sitting in your car in the freezing cold by yourself, I mean.” “I had Freddie Mercury with me.” “I’m serious.” Eddie finally turned his head to face Steve again. His expression certainly matched his words. Steve couldn’t help but tense up at the shift in tone, though he was swiftly eased by the way Eddie’s thumb brushed across his knuckles. “I...hate that you even have to ask.” Steve managed to smile, even though Eddie frowned at that. “Yeah, this is better.” One song left. It wasn’t fair.

Who were we in the mountains?

[Storm Bringer]

“In fact, I was against using Adam for such a frivolous investigation from the very start,” Dr. Wollstonecraft began in a huff as she crossed her arms again. “The government is always like this. They send a mechanical detective, then blow him up once they’re done to keep any secret information from getting out. [..] I suppose this is the government’s way of saying we ought to neglect science in favor of human life!”

Dr. Wollstonecraft, ma'am, I think your ethically-dubious opinions on science are better saved for other audiences.

Dr. Wollstonecraft (aka Mary Shelley) based on @videogamelover99's design!

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.