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#*dh
targarrus · 5 months
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the last leviathan
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no-light-left-on · 1 month
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martyfive · 1 year
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well that’s unexpected
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void-damned · 10 months
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[Two Serkonans take a Trip to Dunwall, c. 1827, colorised]
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mxlfoydraco · 1 year
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this is genuinely so fucking funny. harrys so emotionally overwhelmed that the only comfort he can think to offer is HERE SMELL HIM
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toomanyassassins · 2 months
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absolutely beside myself that we could have had this as part of the dishonored ui. incredible. perfect. no notes. why was i not allowed to stop in the middle of gameplay to pull out a dead rat that's got my inventory strapped to it? what was i supposed to be doing again?? hold on let me get out my rat real quick and check my objectives.
imagine you're a city guard fighting corvo attano and in the middle of battle he reaches into his pocket to bring out this rat corpse strapped to a bit of driftwood, staring at it intensely before suddenly blasting you with a new power he's just learned. we could have had levels of rat dad previously unknown to gameplay. we could have had everything.
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phantaloon · 2 years
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same
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abibeur · 30 days
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courtesy of @karnot570, it still makes me laugh
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targarrus · 8 months
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a thing i did for @10yearsofdishonoredzine :)
leftover sales are open until aug 30 !
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no-light-left-on · 8 days
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based off this post
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meglosthegreat · 4 months
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I think the primary failing of Dishonored 2's dual protagonist system is actually not the fact that Emily was the intended protagonist and Corvo was a late addition, but rather the fact that picking one necessarily leaves the other to be locked out of the narrative for the majority of the game's runtime.
This is a problem for two big reasons. 1) Emily and Corvo have all of one tutorial and an incredibly brief scene at the beginning to interact before they are forcibly separated. This means that you never get to see what their relationship is like, and thus the whole objective of rescuing the statue-ified one falls flat. DH 1 understood the importance of this, which is why it had you rescue Emily early and gave you the chance to get to know her before she was taken again.
And 2) It is deeply unfair to both characters to leave either one out of the trip to Karnaca. Both of them have things to contribute to the story, and forcing one to stay behind leaves either version somewhat hollow. Emily needs to go, because she needs to see the things that were brewing under her rule of the Empire. Corvo needs to go because this is literally his homeland, and he deserves to have a say in how things shake out.
Not only that, but I feel that both are integral to each other's arcs - Emily needs to learn to be a better ruler, and that involves confronting the things her father taught her, and Corvo needs to learn to let go and allow Emily to figure some things out on her own. Leave either one of them behind in stone, frozen in time for the entire series of events, and who's to say the exact same problems that caused them in the first place wouldn't just repeat themselves? And wouldn't it make the story that much stronger if the protagonist had to go back and defeat Delilah not for personal reasons, but because it was the right thing to do?
You don't even need to lock Emily in as the protagonist for this. It would work just as well with either of them in that role. But you do need them both there, because if the story can be about either one, then in reality it should be about both of them.
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martyfive · 1 year
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the sound of major scales
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void-damned · 7 months
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fullmetalgirl98 · 1 year
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Finally they're all here!
😭❤️️💙💛🖤🧡💜
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blinkngone · 10 months
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(hinny angst)
“Stay,” she says, when he makes to move. She clutches his spent body to hers. The aftermath is a dreamlike state: she feels strangely light, like if she wanted, she could float away, and yet, the feeling of Harry on her, moors her to this world.
His face in her neck, her arms around him. The lights from the London traffic pressing on the ceiling of his bedroom. She traces the ridges of his spine delicately, the way you’d trace the topography of a long-forgotten, precious land.
“Okay,” he says now. “I’ll stay.”
“Okay,” she tells him. “Alright.” She can feel herself being lulled to sleep by the pattern of his exhalations.
She wants to fight the sleep. Scared, so scared he might leave again. Scared of the emptiness he will leave, if he goes. She doesn't think she can bear it, to have him go again. Like a kid, she needs assurance. She is suddenly needy.
“Will you really stay?” she asks him. Identical rivulets run down from the corner of her eyes. All her life, she has loved him. All her life, she will love him.
Harry can sense this dread inside her, perhaps. Can tell her pulse has accelerated.
“Gin,” he says. All this time, she’s been looking at the ceiling. “Gin.”
She looks at him.
“I’m staying, okay? I’m staying.”
“You won’t leave then? Again?”
Pain creases his face, and she wants to rub it off with her palms. Wants to wipe it and paint this beautiful, beautiful face with golden happiness.
“No. I’m here to stay.” He kisses her forehead. “Where else have I to go?” he asks her. He could be crying, too.
“What if I leave?” she breathes onto his lips. Because it is true, she is scared of herself, too.
“I’ll follow you. I’ll go wherever you go.”
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