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#narrator: he could not
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Danny was livid.
The Guys In White had been following Phantom around constantly and while they weren't much of a threat, they were a massive nuisance. They had shot him down on Thursday and caused him to crash into some poor kids birthday cake in the park.
On Friday they had accidentally released ghost rats into the school.
On Saturday they had somehow managed to turn Paulinas hair ectoplasm green. She refused to leave her bedroom until it was reversed
On Sunday they tried to commandeer his parents GAV and earned the ire of his mom. They found out exactly why that was a bad idea.
On Monday they bardged into Danny's classroom, interrupting his math test because they were looking for a ghost parrot. It was mostly harmless but kept insulting them in a cheery tone. Danny decided he liked that bird.
We won't speak about what happened on Tuesday.
On Wednesday, he scowled at an agent that had accidentally blasted him and his friends with liquid ectoplasm while they were sitting and eating lunch. It was then that Danny began plotting his revenge.
That night he when ghost and lead the GIW on a while goose chase. Did danny take them across state lines? Yes. Did he manage to pull a massive following of these creeps? Also yes.
Did he plan for his target-the guy he had been leading them to- to already be in cuffs when he arrived in Gotham? No. Not at all.
"Hey, uh..." the words died on his tongue as Batman- The Batman- turned to him with narrowed eyes. Mustering his will, he started again, "Could you let him out? Just for a little bit?"
"No."
"Aw, Cmon!"
Condiment King began raving about something, but Danny didn't particularly care to pay attention. "If you're not going to let him out, then can you at least call the rest of the paw patrol? I wanna ask if they wanna throw mud at evil secret organization people. For enrichment." Danny gave his best, most cheeky smile for extra measure.
"Hn."
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lungblossom · 5 months
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how embarrassing
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braisedhoney · 1 year
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hey i don’t remember this bossfight
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weky-woof · 2 months
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HI i picked this game up again, here's an experiment with some charcoal brushes! :]
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spantas · 2 years
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i introduce to you the completely revolutionary concept of narrator but in screens
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spindlewoed · 1 year
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You have to understand. I don't "ship" Harry with the smoker on the balcony, I think whatever they have going on canonically is way funnier and touching than anything anyone could come up with.
There is so much within the dynamic itself. It’s a middle aged man and a younger man who are nothing alike and everything like each other. It’s the smoker being the person that kickstarts Harry’s sexuality journey anew, seeing Harry’s fascination with him and being amused by it because (aside from Harry being probably the first man in a while who’s managed to leave him dumbfounded in a positive way) the smoker *knows* what’s happening in Harry’s mind and as he puts it, it’s beautiful.
Don't get me wrong, the mutual attraction is there. The smoker flirts with Harry every other two lines (girl why the fuck are you flirting with a cop you're insane. I'm obsessed with you) yet makes fun of him in the same breath while Harry is absolutely clueless the whole time because he's too busy staring at his abs. Couldn't come up with anything funnier if I tried.
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I love this high drama check, this is exaclty what it feels like to speak to clueless boomers who have no idea what they're talking about. Still, once Harry admits that he might be part of the "underground" as he puts it, the smoker is immediately excited and encourages him to think about it. It's very sweet.
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(I know everyone has probably seen this dialogue 100 times by now but I love the phrasing here. literally twink_boutta_pounce.jpeg)
And as a side note I really like this emphaty check in response to Harry's little breakdown after the failed suggestion check the first time you meet him. The smoker like damn he just like me fr.
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I don't think more smoker interactions were needed at all or that they would ever talk again post-game but it's interesting to think about what other converations they could have, even just so we could learn a bit more about him. They both have an interest in art. They're both stuck in a place they can't leave if they wanted to and yet find beauty in it, they both have regrets about past relationships. They both find talking with the other a charming experience in a way or another. If I want to be indulgent, they both could benefit from learning about what being gay means for a younger/older generation, especially since they both have such different life experiences with their identities.
It's all fanfic talk, and obviously no cops at pride and so on but their interactions did make me think about community and recognition through the other. A flirt for the sake of a flirt, a “maybe in another lifetime” but this lifetime is good too because they did meet and leave an impression on each other before parting ways. That's *beautiful* too.
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dootznbootz · 2 months
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I think people sleep on this moment in the Odyssey...
If I'm wrong, not getting full context, or see something that isn't there, feel free to give evidence to explain why.
Here he crept under a pair of bushes, one an olive, the other a wild olive, which grew from the same stem with their branches so closely intertwined that when the winds blew moist not a breath could get inside, nor could the rain soak right through to the earth.
(Book 5, Rieu)
I think this is about Penelope and him.
Obviously, their marriage bed is made from an Olive tree. If it's just about Athena then why are there two mentioned? Why did Homer mention two when he could've just said he took refuge under one? Or a completely different type of tree? Why mention them being intertwined?
One an olive: Penelope, who has been with society and "safe" in Ithaca ("Safe" because of the suitors)
One wild: Odysseus, who has dealt with literal monsters and immortals and has just escaped from Calypso. Literally naked and filthy, a "wild man".
"which grew from the same stem with their branches": Them both being together at first, before being separated.
"so closely intertwined that when the winds blew moist not a breath could get inside, nor could the rain soak right through to the earth.": Despite being separated, they are still "intertwined". Whether you want to think of it as them being likeminded or simply connected, even though they are apart, nothing could get in between them. 🥺
I don't know what else Homer could be referring to other than them.
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wolfythewitch · 1 month
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Hi! I haven't seen Hadestown but from what I read of Hermes... Wouldn't Annabelle or Helen Disotrtion have fun with that? Well they are more about tricks than they are about tests but there's seeing the tragedy unfold as it was always meant to and "guiding" someone lost in corridors... Idk.
(Also having Martin be Persephone kinda makes Peter the most logical Demeter. Seasonal depression explained.)
And okay but who's the artist that moves them? Jack Barnabas's love for Agnes? Callum Brodie, pleading for what? Gerry looking for his father? Tim coming down for Sasha?
Please tell us more.
In this au, it's tim and sasha! that's why I went for Jon and Martin as Hades and Persephone, because they have a closest connection timsasha, and vice versa
And I've thought about annabelle or the distortion for Hermes but my problem is connection again. In the musical hermes acts as a sort of mentor figure for orpheus, taking him under his wing and guiding him down hadestown. While it doesn't have to be a mentor figure, i still want to keep a connection between tim and the hermes stand in. I was also thinking gertrude (who knew sasha and had expected her to be archivist, was an archivist and would fit a narrator role) or gerry (served under the eye, also has ties to statements and stuff) as Hermes. The problem is they have never really interacted in canon, though it's a degree of separation closer than, say, annabelle haha.
Melanie is another interesting one because she does know Tim, and is one of the few to remember old Sasha. Plus she's a youtuber she knows how to narrate lmao. Though she doesn't feel as right to the role as gertrude
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lexumpysfunland · 2 months
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I feel like Walter would hypnotize Stanley with his eyes.
Nah, just kidding!
...
Unless...?
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it happens. but with time Stanley is less affected by it. but Stanley never talked about it to Walter.
Walter doesn't do it on purpose-
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kr-yoongi · 2 months
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Colin Morgan in season 1 of Humans I want you.
(Timelapse below)
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It is telling that when Katniss is supposedly trying to be distant from Peeta in the first half of CF, there are two specific instances where she notes she’s in a state where her inhibitions are lowered and she worries about things she might say or do around Peeta. First, is under the influence of sleep syrup when she hurts herself and the second is after she gets drunk with Haymitch when the QQ is announced.
“A side effect of sleep syrup is that it makes people less inhibited, like white liquor, and I know I have to control my tongue. But I don’t want him to go.”
“My head’s spinning from the drink, and I’m so wiped out, who knows what he could get me to agree to?”
These aren’t instances that tell us that Peeta is a danger to her in some way while she’s in these states - because there’s absolutely no world in which Peeta takes advantage of her like that. But it reveals to us a lot about where she herself is in regards to Peeta. For all her talk of choosing Gale and the rebellion, she knows she’s harbouring feelings for Peeta, feelings she can’t even fully say to us the readers. She knows that with her inhibitions lowered around him, she’s emotionally vulnerable to him. She knows she has to restrict herself from saying/doing certain things, or even seeing him altogether because seeing him in that state? She’s a goner.
It’s that whole notion of “drunken words are sober thoughts.” In the first encounter, she’s the most physically affectionate and essentially needy (!) with him that she’s been since the victory tour and since her conflict over the rebellion/Gale’s whipping. All the restraint she’s been trying to have, the flimsy wall she’s tried to build comes crumbling down. She asks him to stay repeatedly, she holds his hand to her face and takes in his scent. And that’s her while she’s trying to be in control. So it’s a good thing she doesn’t at all go to see him the second time because she’s fully drunk then. And considering that when they meet the next morning, she’s disappointed that he’s not comforting her with hugs and kisses, I can imagine how a meet up between those two that fateful night would’ve been.
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The more I think about it, the more... not exactly sympathetic, but more understanding of the Narrator's frustrations because He is operating under an insane set of restrictions to convince us to slay the Princess without making her enough of a threat that she can fight back. He's not even trying to thread the incredibly tiny needle Himself, He has to guide you into doing it without you even realizing it.
Like, the core problem is that the Player Character's belief (and the Princess's) literally shape reality. To demonstrate how great a change even a small shift in perspective can cause by your own actions alone, taking the knife or not taking the knife results in the Princess having a different personality and skillset from the moment you enter the basement. Taking the knife implies she's a potential threat and even before she sees that you have the knife, she speaks far more threateningly. If you talk rather than killing her right away, which further reinforces all the ways she's a potential threat (she's aloof, somewhat cynical, intelligent, well-spoken, and outright threatens you at one point), there's no way to kill her and also survive. And if you let her kill you after freeing her and the Narrator hijacks your body, she shows herself to be skilled with the blade and unflinching in putting you down.
But if you go down without the knife (signalling you don't see her as a threat, not even a potential one) she's much sweeter when calling to you on the stairs. She sounds harmless, scared, but a little hopeful. And when she kills you after you free her, she doesn't know how to use the knife effectively at all. She kills you while crying and stabbing randomly. She both doesn't want to kill you and is incapable of being an actual threat. You have to hold still and let her kill you.
Unless, of course, you try to kill her anyway, which means she's now fully capable of beating you to death with her bare hands, likely because trying to kill her implies another shift in view (probably due to seeing her try to gnaw off her own arm). She is a potential threat now, and of course attacking someone comes with concerns about them trying to defend themselves--how capable are they of fighting back? And of course she'd fight back, who wouldn't? All the Princesses fight back when attacked except for the Damsel because by that Chapter the idea that she A. can't, and B. wouldn't, is locked in by her inability to put you down efficiently the last loop and the Smitten's unfailing faith in her.
So as early as Chapter 1, from the moment you enter the cabin and even during your interaction with her, your thoughts and beliefs are shaping reality and that ability is incredibly volatile.
And that's part of the Narrator's problem! The Princess needs to be helpless so she can't hurt you or defend herself but in that case, what justification do you have to kill her? So she has to be enough of a threat in the future to justify killing her, but not at the moment, and killing anyone comes with concerns about them fighting back. The Narrator has to walk a very fine line here because even thinking it's possible she might have the ability to fight back or kill you means she absolutely can, but you also have to believe that she could possibly be a big enough threat that you simply can't risk leaving her alive.
So the Narrator has to go "Okay. There is a Princess. She is harmless. She cannot hurt you or escape right now and you have to kill her. Why? Because she will be a great threat in the future. Not right now, she's perfectly harmless right now, but you have to kill her. No, no, you can't talk to her and ask questions because she'll trick you into not killing her. What kind of threat? The world-ending kind so even if you doubt me you can't risk it, there's too much on the line if there's even the smallest chance I'm correct and you must do it right now. How is she capable of ending the world? Don't think about it, please please don't think about it."
(I also think that's probably part of why the Narrator made her a princess of all things. The stereotype around a princess locked away is that they're fairly helpless in a fight, simply waiting for someone to come save them, but also you could justify killing her because she's an oppressive monarch, in title at least. And, indeed, that is a perspective the Narrator pushes and one you can agree with. Not to mention all the story tropes where royalty or a maiden of some kind is infused with a special connection to the world or god--a Princess who can end the world just by the nature of her being is not far removed from those tropes)
I mean, trying to get someone to kill another person without thinking them as an immediate threat or questioning anything too deeply is a monumental task. And everything from the ethical questions you might ask to risk assessment all have the potential to make the Princess quite a threat. No wonder it goes wrong so fast.
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squuote · 15 days
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hi i'm in love with your tsp drawings they are soooo good scrumptious nom nom noom
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TYTY <33 a few stanley warm ups 4 you :-)
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epersonae · 7 months
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I have more thoughts about this, probably, but I'm copying this from a DM to a couple of friends, to potentially elaborate on later (or y'all feel free to elaborate as one does here on tunglr dot com)
after driving for an hour and a half I have many thoughts, among them sort of a Unified Theory of Stede Bonnet (I am about to roast myself quite badly) - if he gets out of his own head, he does great but when he gets in his own head, that's when he can't quite make it work: trying to put on the captain voice vs "stand down", the bit where he threatens the French captain vs just whirling around with "that was your warning" - it's a funny line about getting out in the field and his body takes over but also it's absolutely the truth
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ormymarius · 5 months
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Patrick’s voice??? he’s killing me 😭
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luck-of-the-drawings · 11 months
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ohhh niklaus, how he enamors me!!
i DO love a good morally grey Antagonist, not just a grand villain, but another person, with such a rich life and history and power that we dont even know where to start fathoming yet.
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