MORE expression practice!!!
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Midnight Pals: Publisher Assassins
Poe: Look, this has gone on too long
Poe: we've GOT to distance ourselves from Joanne
Neil Gaiman: she's become a liability
Gaiman: soon she'll be killed by the publisher assassins
Poe: right, the
Poe: hold on, the what
Gaiman: the publisher assassins
Poe:
Gaiman: dead authors sell better, you see
Gaiman: so someone could kill an author just to goose sales
Gaiman: that's why we all have to be very protective of copyright
King: ...is this about the internet archive
Gaiman: I SIGNED THE LETTER OKAY
Gaiman: imagine
Gaiman: it's 2001
Gaiman: you're sent to kill a promising young author
Gaiman: but you accidentally kill her terrier instead
Barker: That was a film
Gaiman: ah but films are the mindscape of potentiality
Koontz: [crying] I don't like this story
Gaiman: ah dean, fear not my young friend
Gaiman: tis a mere thought experiment
Gaiman: publisher assassins are not real, they can't hurt you
Gaiman: [stroking chin] though contracted hit men are REMARKABLY cheap
Gaiman: Only five figures? Now THAT'S what I call making a killing
King: neil you're just being kooky, no one's gonna kill authors for the copyright
King: i mean
King: who could even pull off a thing like
Barker: mary could do it
King:
King: no no mary's too flamboyant
King: you need a professional for this
Jack Ketchum: [long cigarette drag]
Jack Ketchum: i could do it
King:
Ketchum: i could do it easy
Ketchum: no one would ever find the bodies
King:
Barker: would you make it look like an accident
Ketchum: what am i, an amateur? of course i'd make it look like a fucking accident
Ketchum: what a question
Ketchum: damn shame about that scottish castle
King: jack
Ketchum: you know what they say
Ketchum: you gotta keep diane duane outta the woodwork or you're gonna get some major structural damage
Ketchum: the kind that can crush a person alive
King: jack what did you do
Ketchum: i didn't do anything, steve
King:
Ketchum: and there are no witnesses to say otherwise
King:
Gaiman: haha my goodness this gedank experiment sure is a testament to the limitless reaches of the human imagination isn't it haha
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The saddest part of red dead isn't Arthur or John's death. It isn't even specifically the fact that Jack killed Ross. It's that all of Arthur, John, and Abigail's (and really the whole gang's) sacrifices meant nothing because Jack still went down the path they desperately tried to keep him from. Arthur and John dying and Abigail's fight to get John to be who he is in rdr meant nothing. Everything they fought for and lost had no purpose in the end.
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If you combine the RDR2 epilogue with RDR1, while the series is still about John Marston’s redemption, the epilogue expands the scope by asking the question, “Can John put away his guns for good?”
Because the RDR2 epilogue was all about how John just couldn’t get away from gunfights. Although you can argue that he was pushed into those fights with the Laramies, you can also see Abigail’s perspective in that the fights were putting their family at risk. So, when Abigail leaves, John is forced to really consider if he can put the guns away for good. If he can actually pull off being a rancher. To his credit, he does try.
He gets the bank loan, he builds the house with Uncle and Charles, and he learns how to properly manage the property. Because of his efforts, Abigail and Jack come back. But even so, John just can’t put the guns away because he’s driven by revenge against Micah Bell. Although he gets his payback, he’s punished for it by Edgar Ross tracking him down. Ironically, karma bit both Micah and John here.
So, RDR1 continues the question of whether John can put the guns away for good. It’s here where he’s almost reached that point. But now, he’s being tested on whether he’ll be tempted back into a life of an outlaw, back into a life involving violence and danger. Despite everything that’s thrown his way, John continues his path of redemption/putting his guns away for good:
1) He’s put into the role of a lawman and is pitted against Bill’s gang, essentially forcing him to be on the other side of the outlaws’ violence against others. It’s through this that John swears off from the outlaw life for good, especially when he sees just how awful Bonnie MacFarlane and her family were treated.
2) Javier tries to use nostalgia of the “good ole days” to win John over. It doesn’t work since John doesn’t want the good ole days, especially since he has a bright future with Abigail and Jack. The Mexico arc was, in general, about torn loyalties. John was playing both sides of the war and Javier tried to sway John based on their past friendship. Despite this, John stays true to his convictions. He doesn’t want the life of an outlaw anymore, nor does he want to keep shooting people anymore (he even says he’s getting tired of pulling the trigger!), so he rejects the nostalgia of the old gang.
3) Dutch challenged John over his desire to change. Dutch believed change was impossible and that John would “always” be a gunslinger. He can’t be a rancher, it’s just not what nature intended. John, once again, sticks to his convictions. In fact, despite all of his anger towards Dutch, he refused to shoot him. John can shoot Bill and Javier, but it’s Dutch who he refuses to shoot. When I first played this, I thought it was his fondness over Dutch as his former leader. Now, I’m wondering if it’s also John trying to prove his point. That he CAN change, that he CAN put the guns away. So he does, even when he had Dutch cornered.
Then came the final challenge. Jack Marston brings up the topic of “the day John Marston stopped shooting”. What will it take? John finally does, but in more than one way. Obviously, he puts the guns away since he dies. But John could’ve easily escaped. We’ve done it as the player multiple times. But if he did, it would be a return to a life on the run, a life where Abigail and Jack would always be in danger. The same life that made Abigail take Jack and leave John in the RDR2 epilogue. Everything he’s worked for, all the progress he made in changing his life would be ruined.
So, John makes the hard choice. He sacrifices himself to ensure his family would be safe. He refuses to return to the outlaw life, to a life where he has to shoot at people, even if it means his death. And what is the last thing John does?
He throws away his gun.
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"... While I nodded, nearly napping, suddenly there came a tapping, as of someone gently rapping, rapping at my chamber door..."
(Continuing on from this post)
@animate-mush This started out with giving Quincey hugs after breaking his heart reading the documents--and then my darn brain went "hey what if..."
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The Pit and the Pendulum (1961)
promo art by Jack Manning
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Identity V Stageplay Present
Episode 4 : "Phantom of The Monochrome"
Poster Preview
Story Plot
A four-on-one game of tag, if you win, your wish will come true. Whatever your "wish" is ...
In the mysterious game played by the survivors and hunters at the manor, "that person" who should not exist appears. "The phantom". Before long, both the survivors and the hunters started calling by that nickname. In order to solve the mystery, the "Prisoner" from the survivors and Wuchang from the hunters, each take action. In the process, they will come face to face with their own pasts.
For more information :
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expression practice ft. Chuck
bonus:
mewhen I'm telling the 8 year old about the relations I had with his father like a sane man
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Midnight Pals: A New Scam
L Ron Hubbard: hey friends its me again, your old pal Honest Ron
Poe: what's your scam this time ron
Hubbard: i'm hurt, friend, hurt!
Hubbard: i'm just an honest merchant, a purveyor of quality goods, services, and occasional religions!
Poe: ron every time you come here you've got some new scam
Poe: we're not falling for it again
Poe: right guys?
King: that's right
Koontz: yeah!
Barker: we're not that stupid
Lovecraft: not this time ron!
Hubbard: well i just happen to have this machine that'll put a star on your belly
Hubbard: are you feeling blue, friend? melancholy? down in the dumps?
Hubbard: [holding colander] listen friends i got the cure for what ails you
Poe: how does it work?
Hubbard: you just put it on your head and, bzzt, presto!
Hubbard: all your thetans are cleared out!
Hubbard: i'll demonstrate for ya
Hubbard: i just need a volunteer from the audience
Hubbard: you, sir!
Hubbard: now you you've never seen me before right?
Jack Parsons: uh yes that is correct
Poe: then how come his face is on the colander?
Hubbard:
Parsons:
Hubbard: you're the worst shill I've ever seen, parsons!
Hubbard: you're a disgrace to whole patent religion business!
Hubbard: this isn't working, i need a new scam
Hubbard: hmm what's this AI thing I've been hearing about
Hubbard: step right up, step right up
Hubbard: are you tired of the rat race? tired of always writing stories using boring old human ingenuity?
Hubbard: is your writing too sparkling? too vital? too inspired?
Hubbard: well i got the cure for you right here
Hubbard: an endless fire hose of tasteless gray slurry
Poe: how does it work?
Hubbard: it's simple!
Hubbard: [readying hose] just open wide
Hubbard: take a spin on our patented, bona fide, genuine AI chat bot and you'll agree: I'll never read human-produced art again!
Margaret Atwood: [under cardboard box, through vocoder] beep boop plagiarism-o-tron lives
Hubbard: soon all the publishers will be using plagiarism-o-tron
Hubbard: archaic things like human writers will be a thing of the past!
Poe: no one will want to read this garbage!
Hubbard: thats ok, human readers will be a thing of the past too!
Hubbard: just robots writing for robots
Hubbard: with this new genuine, bona fide AI you'll never have to pay a writer EVER again--
Harlan Ellison: [instantly appears, smashes plagiarism-o-tron with one blow] HARLAN SMASH!!!
Hubbard: okay okay i can take a hint
Hubbard: seems you folks don't like AI
Hubbard: don't worry, don't worry, i got a million of 'em
Hubbard: how bout some beanie babies? pokeman cards? princess diana commemorative plates?
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A truly sensational She-Hulk cover by Andres Genolet and Edgar Delgado.
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