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#it's a whole story in itself
omrarchive · 2 months
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simon and wille's scent
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stil-lindigo · 7 months
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the fox god.
a comic about a trickster.
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all my other comics
store
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zu-is-here · 2 months
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✧ Studio Magazine ✧ [1]
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katabay · 3 months
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original thief series basso & garrett :)
ngl, it's about quality over quantity for me. an npc can have a total of three minutes of screen time, but if they have a cool name, they can live rent free in my head and I'll spend several hours trying to decipher drawable features from a blurry screenshot of pixels
there is a vague hint of a story here, and that's because every time I try to play thi4f, I get incredibly frustrated with how Not Fun the game play is. like, is the story good? well. but it has a PLAGUE. that should've given it instant 'I'll replay this once a year' status in my heart, but the game play sucks so bad that I've never finished it. I can't believe Not Fun gameplay beat out my obsession with narrative plagues.
anyway, the idea is basically if the original era had a game with a plague centric narrative and some other stuff I liked out of thi4f thrown into a narrative blender, with a heavy dash of horror thrown in because some parts of the thief games were scarier to me than entire dedicated horror genre games.
⭐ places I’m at! bsky / pixiv / pillowfort /cohost / cara.app
#if i had a laptop and the skillset i would attempt a story mod because the thief modders who create whole mission stories#are GENIUS and also somewhat terrifying. love them! xoxox#anyway im actually kind of obsessed with parts of thi4f but its also like. not at that sweet spot of almost good enough to be fun#to talk about. which. for the record. has not stopped me from talking about it at length to people#the city itself actually fucking fascinates me. its almost alive and im SO mad that not a single part of that game is actually terrifying#it should be gnarlier and instead it feels a bit like it doesn't quite want to be trapped in the story it has to tell?#but between the level that has the bodies on the meathooks#and the scene with the bodies hanging from the rafters or whatever that was and garrett living in a clock tower#because the game is very much ALMOST about changing times and authoritarian violence and capitalism#(like. by virtue of how the story sort of spins out i think it misses it's mark on a lot of stuff here#in the sense that i dont feel like it actually wants to tell that story. it wants to. go in a different direction. or at least walk on top#of those themes instead of through it)#ANYWAY between all of those things. it does kind of live in my head rent free. they did create a compelling setting#SHAME THEY DIDNT WANT TO ACTUALLY EAT ANY OF IT#unrelated but i would've given thi4f a 10/10 if they kept garrett's fucking nail polish from the concept art. cowards. unforgivable#thief the dark project#i still have no idea how to tag the game series as a whole RIP#sorry for the dedicated dark project fans. if you know what the general series tag is. please let me know#garrett thief#basso thief
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yvtro · 1 year
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not enough appreciation for countdown #15 wherein jason meets alternative universe bruce who killed the joker (not stopping at this, he went on to eradicate most of gotham rogues gallery in a murder spree similar to that of red hood) and the utter disappointment that jay has in the person that this version of his father has become as bruce discourages him from helping donna in crisis. "we're both dead, batman." – what a raw piece of dialogue.
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"go on, then, "jason." you're dead anyway. may as well make it official." "we're both dead, batman. any fool could see you've been dead inside for years."
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send-me-a-puffalope · 1 month
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just watched the new ghostbusters movie with my friend and truly, awkward teenage lesbians will both end and save the world.
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ride-a-dromedary · 5 months
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Oh, my friends, don't ask me what your sacrifice was for.
There is a burden to being the survivor.
The witness to other's tragedies.
It only grows heavier with time.
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ryllen · 22 days
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sebek is literally the PERFECT character for a slow burn, many misunderstanding, romance. Not in a "I can fix you" way but in a "there is so much more to you that you don't see and you will soon love to learn about yourself" way am I making sense? Idk if I'm wording that right
let the people who read this to understand it by their own term
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notbecauseofvictories · 5 months
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Hi, just wanted to say that you post sometimes about how important it is just to go to things sometimes and socialise. One of your posts inspired me to join the meetup website and since then I've been to 3 groups and had a really nice time and talked to some potential new friends! I moved to a new city a few years back and never really made friends and now I feel really pleased to be getting out there so thank you!
I don't know why this particular lesson took me so long to learn (or why I have to keep learning it, over and over again) but the simple act of forcing yourself out of your space to do things really does make an appreciable difference. Life gets richer and deeper the more you engage with it, and you will never, ever know if you stay inside the four walls of your apartment and wait for it to come to you.
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ani-craft · 1 year
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"Martyn is loyal" this and "Martyn isn't loyal" that
Loyal or not, this man loves. No matter what he might say. Calls himself selfish, or a wanderer, or a wildcard, or whatever else he'll readily claim to seem unanchored. And sure, he is highly driven by self-interest, that is undeniable especially after Lim Life's ending. Yet every season he gets attached to people, finds a fondness in someone. To Scott, to Cleo, to the Southlands (especially Mumbo), to Ren--and to an extent he is loyal, or devoted, or whatever other word you want to use for it. As loyal as he can be up until he can't be anymore. Looks at every alliance with the idea that they'll make it to the finale together, even if what happens after is unsavory. He knows too much for his own good, knows that every life will end as him versus everyone he's allied with. It's inevitable, given the nature of his lore and his role in the grand scheme of things. It's an always present truth that backs every plan he has. An audience is Watching, and we need a grand finale, after all.
But until then:
"That's it, they're dead."
"I'm more than happy for you to link back up with me, and we can be real proper soulmates."
"You said, 'You and your allies will see the end.' You said I could bring them all!"
"I'm with you. This is us, now. This is us."
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novirp13 · 1 year
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You say 'it's a bug', I say 'it's an opportunity' >:)
Here’s another fanart of MY BOTW PLAYTHROUGH~: 1 | 2 | 4
BONUS:
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The Hero of Courage? More like ‘The Cunning Hero’! :’D
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genericpuff · 2 months
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i have nothing to say about the newest episodes of LO
so I'll let past me from the year 2022 say it instead
because everything they said a year and a half ago ironically still applies today and i don't even know how that's possible but it's where we are 💀😭
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fictionadventurer · 2 months
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The worst part about reading in a genre where you have low expectations (in this case, Christian historical fiction) is that when a book impresses you, you have no idea if it's actually good or if you're just overly impressed because it was a fraction of a degree better than the usual garbage.
#basically lately anytime i read a christian fiction book that isn't romance-based i find myself surprised by the quality#i do think that some christian publishers are getting better#and trying to tell stories that dig deeper into real faith and messy issues#instead of making only vapid squeaky clean prayer-filled tropefests#but i'm not sure *how much* better#because anything above the low bar feels like great literature#the most recent is 'in a far-off land' by stephanie landsem#and let me tell you setting the prodigal son in 1930s hollywood is a genius concept#i have some issues with the history and the mystery#but the characters!#it has been a long time since i cried this hard over a book#several chapters of solid waterworks#(and i also have the issue of figuring out if it's actually that moving or if i'm just hormonal/sleep-deprived)#i keep thinking about this book but also i worry about recommending because what if it's actually terrible by normal book standards?#(also the author DOES NOT understand the seal of confession and i was SHOCKED to find that she's actually catholic)#but also looking at the reviews makes it clear that if most of christian fiction is vapid garbage it's these reviewers' fault#here you have something that's digging into sin and darkness and justice and mercy and these people are just#'how can it call itself christian fiction if it only mentions god at the end?'#are we reading the same book this WHOLE THING is about god! and humanity and our fallen nature and how this breaks relationships!#your pearl-clutching anytime someone tries to get even a tiny bit realistic is destroying this genre#i'm gonna run out of tags so i'll stop now
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immediatebreakfast · 9 months
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Dracula is a gothic story, and as a gothic story it contains its very choice in horror, but the range, and type of horror that shows is increasingly diverse, and just as resonating in their themes.
The contrast between the dreadful despair of the captain of the Demeter, and the increasing yet mundane tension of Mina are just amazing. It's two dissonant stories that deal with very different stakes, but are part of a complete story, and at some point they will meet when the information of each become relevant to use.
The strung horror of the Demeter comes from isolation, the uncertain circumstances of what seemed to be a very normal job at first, the sudden dissapearances, the inexplicable, all of the suspicious words and actions. The crew has all of the questions, yet none of the answers, so what can they do if not work?
Ignore the fog, ignore the fear, don't sleep, another man is lost, don't sleep, survive this four days storm, two men are gone without a trace. Someone a saw a strange thin man on deck when every head was counted before boarding, but we are civilized men we don't need to lose time with "what if..." Another two men lost.
The first mate is now sleeping on the arms of the sea, and the captain is all alone... Except what is that shadow that he sees on the corner of his eye?
On the other hand, the building horror of Mina, and Lucy's Hot Girl Summer that does not look so Hot anymore is so mundane that it only amplifies the tension, and liminal feeling of their travel. Both Mina, and Lucy meet to organize the wedding and have fun, they go to cementeries, search for ghosts, speak to old residents who could stare at death tomorrow, Arthur is not coming to Whitby his father is sick.
Mina writes about the scenery, the myths, that old sailor telling her how headstones may be unrealiable, Jonathan's last letter is fake even if he wrote that is not Jonathan, Lucy's favorite sitting spot marks a suicide buried with lies. The wedding is coming, and Lucy starts to sleepwalk just like her father, Mrs. Westenra tells you to take care of her, Jonathan hasn't written as Mr. Swales tells you how men with lies of their tombs won't reach heaven, Lucy worries about the wedding, and sleepwalks once more.
Mina watches everything, yet nothing touches her. She watches in the dark as Lucy is searching for the key while her eyes are closed. Does Mina feel like a jailor?
Mina wonders when Jonathan will truthfully write, or if he will send some signal of life.
The Demeter is coming to England despite only having her captain, and with Whitby being a really good spot for ships... I think that these two stories will meet.
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sarucane · 5 months
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Ed Teach's Stories
From practically the moment we meet him, Ed's identity is unstable. We know who is he (Blackbeard) from context, from the story told by the the room around him, by Izzy and the flag his crew. But the thing is, Ed doesn't fit the story of the Mad Devil Blackbeard. Two of his first few words are "good" and "love" for crying out loud. He's called "Blackbeard," but his beard is grey.
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This instability exists because Ed himself isn't sure what story he's telling--or wants to tell. "I shouldn't be bored, I'm fucking Blackbeard!" All through his early episodes Ed is in increasingly desperate tension with his own identity. He's trying to tell stories within stories, wanting all the stories to be true at the same time, yet aware of the reality that the world is constantly trying to wipe one or another of the stories away. And not really trusting that he can tell the whole story of who he is.
In the first season of OFMD, Stede wears a different outfit every episode. Yet Stede remains the same: despite his internal tensions (almost despite himself) there's a stability to his identity. But all through both seasons of OFMD, Ed putting on a new outfit means he's trying to tell a completely different story about himself.
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And underneath this cacophony, there's Ed. And Ed is himself a chorus of stories, a living contradiction. A patricidal murderer who was protecting his mother; a paragon of masculinity who longs for softness and fluidity; a man renowned for violence and madness who has in fact carefully cultivated that reputation and is extremely careful with his violence; a killer who doesn't kill, yet who does kill all the time just at a bit of a remove; a half a dozen names and personas and yet always Ed; unloveable, yet deeply loved.
At the beginning of the show, Ed isn't actually good at telling his own story. He's good at listening to other people's stories, and conforming himself to them often without conscious effort. But when he tries to really tell his own story--asking Stede to run off to China, singing his break-up song song, going to become a fisherman--he fails. We don't understand in the first season why his judgement clouds, why he becomes weak when he tries to tell his story. But in the second season after spending half an episode in Ed's mind, a painful truth is undeniable: Ed, like Stede, doesn't think he's worthy of telling his own story.
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So instead of telling his own story, Ed let other people tell his story. In the first season, Ed built off what Izzy told him he had to be. But he couldn't lose himself in Blackbeard, no matter how hard he tried. So in the second season, when Ed couldn't face living with his contradictions anymore, he wrote an ending worthy of Blackbeard.
All this, because Ed thinks he can only be "himself" by telling one, single story about himself. By denying his contradictions, rather than embracing them. Splitting himself in two to tell himself a story, rather than telling the story himself.
What Ed doesn't believe or trust is this: For Ed to really be himself, he has to be impossible. Two contradictory things, at the same time.
The second season of OFMD is about learning to embrace all these contradictions. In each episode of OFMD, character look at the same object or situation (a wanted poster, a unicorn, a velvety suit, a relationship, a past trauma) and they tell two completely different stories about it. Sometimes one of those stories turns out to be wrong, but more often than not both are true, and something else--something beautiful-- is born from the place where those contradictions meet. And the characters, Ed most of all, learn to accept and balance this dissonance.
Thematically speaking, I'd argue that's why the second season of OFMD is more fantastical than the first: fantasies are contradictions, real and not-real at the same time. And isn't that what transformation is, in the end? What you are and what you are not, meeting and becoming "you"?
Transformation isn't all good. At first, Ed's fantastic stories hide his pain or invoke despair
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But later, the fantasies make their way into reality. The impossible begins to shape reality--and opens a way for hope.
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In the last episode of S2, Ed emerges from the waves as the kraken--but there's 3 musical tracks playing, three themes: the kraken, Ed, and Blackbeard. Then he reads a love letter, and has a deeply romantic moment with his boyfriend. He puts on a new outfit to escape the British, yet his personality doesn't change at all. When Izzy first apologizes to him, Ed says "I'm the one who should be apologizing," but then Izzy changes his entire understanding of their relationship. Becomes the first family figure to offer Ed permission to be himself.
Contradictions galore, and yet Ed is still Ed. Both who he was formed into by other people (his father, Izzy, Pop Pop) and yet who he is.
In the final scenes, Ed begins to finally accept the tensions of his life. He tells Zheng that yes, he wants to kill Richie--but he doesn't go on a revenge quest. And while before his forays into being someone else meant changing his name, his clothes and mannerisms, his whole story, he doesn't act like that at all in the last scene of the ep.
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And Ed's been able to do all this, to come this far, because of Stede. Stede, who Ed was drawn to because he was a "fancy man who leads a brigade of imbeciles," yet had won a fight with Izzy. Stede, who looked at Ed at his lowest moment, after Ed had admitted that the entire basis of their friendship had been in bad faith, and said, "I'm your friend." Stede who, even knowing Ed wouldn't want to hear from him, poured his heart into letters about how their bond was unbreakable.
Stede is everything he is, all at the same time. And when Ed was drowning in his own contradictions, (a rope tied around him that he could not undo and yet had put on himself) trapped somewhere "inevitable, yet impossible," Stede appeared as a fantastic, beautiful creature and brought him home.
Stede lets Ed be everything he is, and sees it all as true and worthy of love. Even when Ed fucks up, it's all right.
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And sometimes, telling two different stories about something doesn't lead to a fragmented self, doesn't drive people apart.
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Sometimes, it means understanding. Means acceptance, safety, connection.
From discordance (contradiction), harmony. A gentleman can be a pirate. A man can be a bird, or a unicorn. Izzy can have been one of the good ones and a fucking nightmare. And Ed can tell all his stories, they can all be true--and he can still be Ed.
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good-beans · 7 months
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I know most of our focus goes (rightfully) to the trial songs, but I genuinely believe Baptism of Fire is equally a masterpiece of meaningful writing and intense vocal acting
Incoming tag rant because I need to yell about this, feel free to yell back
#milgram#fuuta kajiyama#like the other vds have good writing about the character and whatever social issue their crime focuses on#but this one is very pointedly about YOU#its about the audience. its about the milgram project. its about self reflection. its about self-appointed roles. its about you#even if you didnt vote t1 or anything the whole things is calling on you to reflect on your own judgements of others#how you treat people who come off rougher. how you treat people who have made a (bad but) common mistake.#do you also find entertainment in seeing people dragged down and suffering because it would 'serve them right?'#but es always remains in control of the situation. the drama doesnt end with 'and fuuta was right - you guys suck!'#its clarified that situations are different and have nuance. we are reminded to look at things with nuance.#then we are smoothly re-immersed in the story#and then!! the acting itself!!!#arthur lounsbery put his whole fussy into that performance (<- fuuta pussy) and i am in his debt every day for it#in both his vds hes just super expressive and fun to listen to#i dont understand japanese but he packs so much interesting intonation and emotion into every word -- im obsessed listening to him#he nails all the subtle emotions fuuta has: the pouts and outrage as well as underlying fear grief insecurity and immaturity#and then baptism of fire hes just... Wailing#like mahiru has her innocent and pathetic cries of pain in her sweet voice that works for her character but fuutas pain feels much more raw#the way hes practically sobbing at the end -- his voice cracking and screeching throughout -- the whimper of pain#its so unbearably intense!! it hurts!! and its supposed to!! but hes just so raw with it#and dont even get me started on his pained hysteric laughter omg....#its just. a masterpiece.#i always appreciate the vds but i dont think ive enjoyed/relistened to one as much as this one#okay WAIT im back to add one more thing because im obsessed with ths idea of intentions#specifically in milgram i think the intention behind the murders are very important to consider#so i love love love the huge focus on 'i didnt expect/mean for this to happen'#plus as a general theme in fiction i think its sooo juicy when good intentions get fucked up#so i loved the repetition of that#fuuta is such a special case because he genuinely had no desire or expectation for his victim to die#(maybe kazui too? but he doesn't say so in his vd like fuuta does)
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