#TheGamingMuse

[priscilla-garrison-lover]

Seeking a connection that's as deep as the ocean and as fiery as the sun.

#fansly content #TheGamingMuse #dragoncon #tattoedwomen #biglips #disability pride month #blond #hugebabes #Tease me #mountains #older men do it better

[inevitablesurrender]

Finally got to watch this today, and it needs sharing.  I was waiting to see if the way Dante and Nero met would be touched upon at all and I AM NOT DISAPPOINTED.

He even covers the gay cowboy thing, like.  dfhjskf  Thank you.

#potential autoplay #H0m0 Eroticism in Devil May Cry #Homoeroticism in Devil May Cry #TheGamingMuse #this is gonna get me go read all of anax imperator's fics again isn't it... #I'd love to write more myself! but... Dante is not a muse who participates for me #anyway this is not what brought me to Devil May Cry but it sure as fuck is what keeps me here #...that and the continued admissions that Dante's basically a thousand emotional issues in a leather coat and chaps #letting the boys all have legit emotional moments in DMC5 was the right choice #I love this stupid fucking series and these stupid fucking assholes

[defending-grilled-cheese]

sometimes trauma is just trauma and not fuel for your revenge quest

#svsss #quoting thegamingmuse video on svsss on yt

[strangerthings4theories]

I think it would be really awesome if you started a YouTube channel for your stranger things theories, kind of in the same vain as Thegamingmuse if you’ve ever heard of her. I would love to see your theories in video essay format!

Aww thank you! I've played with the idea once or twice. Sadly idk if I could find the time or energy. It's one thing to write little posts here and there, it's another to put together a whole-ass video essay 🥲

I def appreciate your comment, however. It's nice to know you'd watch videos about my theories 🥰 Maybe someday I'll give it a shot.

#answering your mail

[hatenwaronplanetearth]

cool female youtubers

((love to have them in the background while doing whatever))

nisipisa

connie ramos

the purple palace

strange aeons

izzzyzzz

how to cook that

caroline winkler

cascina caradonna

shayna conde

maria davids

yanghaiying

valerie lin

nae

abi doukhan

senseijutsu (spanish)

tanya shpachuk (luthier)

dr fatima

aisha rae

emmymade

kianna naomi

broey deschanel

wen wen (spanish)

zhariya aleice

thegamingmuse

hannahleeduggan

enya umanzor

overthink podcast (most videos)

tiffanyferg

if u have any more send me!!

[ladysunamireads]

#AO3 Link #FanFiction #AO3 Bingqiu #♥ #Bingqiu #SVSSS #⚣ #⚔️ #R:G #A:Thegamingmuse

[bibliomorgan]

One of the best documentaries about the amazing game franchise Silent Hill is playing now. Let's go check the awesome work of @thegamingmuse <3

#youtube #silent hill #silent hill 2

[baronvonriktenstein]

Silent Hill Symbolism: Henry Townshend Redux (SH4)

#video #henry townshend #thegamingmuse #silent hill #silent hill 4 #i love this so much lol

[angelinmymind]

My interpretation of Walter, especially the idea that he wasn’t violent until the Order put Valtiel into his unconscious, was really influenced by this video by thegamingmuse. Their whole Silent Hill Symbolism series is awesome tbh you should check it out.

#headcanons #walter sullivan #thegamingmuse #silent hill symbolism

[elinorsmuses]

Silent Hill Symbolism: Vincent

Does anyone else follow thegamingmuse on YouTube? I love her videos so much. Please enjoy this one about how Vincent is a terrible person

#canons #thegamingmuse

[venustearss]

one of the many things i hate about the silent hill fandom is how much people go on and on about how "boring" henry is like just bc you don't like subtle characterization doesn't mean he's fuckin "boring" jfc...

#the witch speaks #i see plenty of cool things about henry like??? for one i really do buy what thegamingmuse says that he probably came from an abusive #background

[voidvoyeur]

GIVE A MAN A MASK ...  

As always, a disclaimer that this is my personal lukewarm take, imbued in my portrayal. I do not regard the following analysis as an objective truth to all - but an important facet to the writing and characterisation on this blog.

The use of masks in the horror genre has consistently been a crux to unsettle its audience. By not showing a face we perceive as ‘true’ there is the instinctive notion that such a character who wears a mask has something to hide. A masked villain is intentionally separated from their cast of heroes, victims and extras, all of which are unveiled. In Michael’s case, his mask is meant to unnerve these characters before it terrifies, at first sight forcing the onlooker, Laurie, to question whether she has something to fear at all, if she is being too superstitious - especially on Halloween of all days.

 This is achieved with the mask’s design, an uncanny impression of a man’s face (originally William Shatner’s...). The facial structure alludes to an initial, unremarkable presence of a passing stranger, but the hollowed, black eyes and impossibly white pallor intrude - presenting a loss or absence of humanity. One of the most succinct explorations into this effect is by Alexandra Heller-Nicholas in Masks in Horror Cinema: Eyes Without Faces, most relevantly quoting J.P. Telotte, ‘[the mask] is neither grotesque or distorted nor natural, but more resembling the face of a dead man.’ With this analogy, it becomes clear that Michael’s face serves as a reflection of the fate of his victims, inhabiting both the fear he evokes and death he inflicts.           Doctor Loomis prophecises this in his monologue, detailing the ‘blank, pale, emotionless face’ and ‘the blackest eyes, the devil’s eyes’. What makes this a prophetic monologue is that this reading of Michael’s maskless face becomes a reality which we and Laurie have experienced, and will continue to do so with Michael’s ‘mask’. It is now an argument of whether the mask is a mask at all, but Michael’s true face. If Michael himself is aware of this encapsulation of both fear and death, then Loomis is a mouthpiece for Michael’s own self-fulfilling prophecy, embracing the belief of being ‘pure and simply evil’ - using the mask to enact his role, as Murray Leeder claims, ‘Like an actor in a Greek drama, [wearing] his villainy plainly on his face,’ but I would modify that it is not ‘on’ his face but ‘as his own face.’           In Dead by Daylight, his place as a killer among killers still may not deter from how eerie he is to see from a survivor’s perspective. Applicable is thegamingmuse’s analysis of Valtiel in Silent Hill 3, ‘He looks more human than almost all the other creatures we see, but that only makes him more upsetting. The similarities make the differences stand out all the more.’ Michael stands within the space between the familiar and unfamiliar, what we know and what we don’t know. In the film, he demands to be looked at, especially in Haddonfield where he agitates the suburban safety of the town. And when he is not in the scene at first glance, he still demands to be looked for because we know he doesn’t function within the same physical laws as a human, but we do not know the exact extent of what that power means.           When comparing his 1978 mask to the 2007 remake’s, the original mask’s ‘wholeness’ is much clearer. For the most part, Carpenter and Hill’s Michael is pristinely presented - his mask unblemished, suggesting a fully realised sense of self in both his role and belief of being a villain. In contrast, Zombie’s Michael is damaged and deteriorating. Befitting the director’s more psychological interpretation of his character ambling between the role of victim and villain - a cracked and marred mask portraying a more ‘damaged’ and unstable sense of self, a malformed identity hinged upon reuniting with his sister - and when he fails to do so that mask and identity becomes all the more ‘incomplete’ in the sequel. Whereas in 1978, Michael is (presumably) completely extricated from his family after murdering Judith, assured and arrogant in his character of stalker, perpetrator and killer. What is notable is its only point of damage would be a hole in the neck from Laurie stabbing him with a knitting needle - leaving a permanent mark in the same area of anatomy Michael exploits to overpower his victims through strangulation. Her action in the narrative showing her refusal to be disposable — consequentially having ‘living’, tangible proof.           She, along with Loomis, is one of the rare few to try and prove his mortality - only to result in him getting back up, asserting his enduring immortality. This immortality is even foretold in his face, ever watchful with an unblinking stare - bearing a likeness to ivory statues and figure sculptures throughout Western art history, depicting culturally significant fictional and historical figures. Just as sculptors like Michelangelo, Bernini and Rodin have brought such characters to solid life, Michael is immortalising himself just as these statues are commissioned to immortalise their subject, mythologising himself (which ... considering his fandom cult status). If he is likened to a marble statue then he assumes the infallibility of the same material, his silicone flesh does not decay. Simultaneously, we know he can move therefore we are prey to an ominous atmosphere, led to think when he is not immobile within our line of sight, he is still able to walk behind us without our knowing. It also raises the question of if his mask is what grants him infallibility to death...           In contrast to his impassive white mask, his smiling clown facade at the start of the movie seems to be a hyperbolic mockery of emotion. Compared to Zombie’s choice of Michael wearing his most recognisable mask when murdering Judith, Heller-Nicholas stating, ‘Here the mask has a distinctly adult look, and on Michael’s body it suggests he is a child capable of committing ‘adult’ crimes.’ Whereas in the original, the clown mask has a disarming playfulness and infantile innocence, further adding to the shock reveal that this was a child who killed his older sister. For five minutes (or a few seconds if you were unaware of his age) he fits within the uncanny child trope, defamiliarising what we expect a child to be capable of, the unmasking of a child doubles as the unmasking of a killer. More so is it unnerving to consider how much in the same way clowns exist between comedy and tragedy, evoking laughter from their audience with staged stunts going awry and choreographed misfortune, the young Michael derives joy from the tragic act of murdering his sister. It is also important to note that Judith immediately recognises her younger brother while he is masked, solidifying he will be the mask he wears. Fifteen years later, his victims are deprived of this same familiarity and knowledge.            The sinister truth of the clown costume is brought home all the more when Jamie Lloyd chooses similar garb as her trick or treat outfit in Halloween 4. Later fulfilling - or possessed by - the same prophecy of evil when killing her foster mother at the end. Throughout the movie, everything she feels is written on her face, she is unmasked and entirely honest in her terror, pain, brief happiness and sympathy until she has inherited Michael’s evil, the red pom-pom nose referencing Michael’s own crime when he was a child, while the eyemask also references his visibly void gaze now – adopting his mask’s dead-set impassivity with her own face.  Again, the child’s crime is shocking but there is no moment of unmasking, rather the opposite: an inherited mask.           Even beyond the Halloween franchise, the significance of Michael’s mask is brought back into the pop culture consciousness through the subversion of other killers in the same genre. In Scream, Wes Craven creates a direct relationship with Halloween while transgressing from it, parodying the slasher horror formula. This is even evident when comparing Michael and Ghostface’s masks; the two are similar in their pitch black eyes and white faces but where Michael’s is intended to evoke fear in the audience and narrative’s victims, embodying a disturbing synonymity between an everyman and dead man, Ghostface’s mirrors the screaming faces of the audience and characters - mocking their fear. Much like Jamie Lloyd, Ghostface credits a certain lineage to The Shape, but where Jamie unwittingly follows in her franchise father’s (or uncle’s) footsteps, Ghostface is the teenager trying to rebel against his forefather’s conventions.           Ultimately, Michael’s mask serves as a blank page or screen to project our fears, ideals and theories onto. As much as anyone, including his own psychiatrists, would want to know why he wears a mask, there will be a range of readings that can only be individual interpretation because the only certainty is the mask is designed, as a cinematic device, to be emotionally provocative of caution and fear. Nonetheless, my own interpretation is exactly that - he wears it to primarily provoke a reaction and to witness the expression of those who witness him, knowing full well he is personifying the horror his victims suffer -- and we as an audience experience.

#META / HEADCANON. #( and i didnt even get to h2018 lmao ..................... #I'VE BEEN Wanting to do this for a while and quarantine provides ample time #was just a question of attention span ! !

[gohsuto]

Some three houses fanart cause I've been watching Thegamingmuse stream it! I know it's not much of a ship art because I'm not good at drawing characters interacting, but it's a start :) might post more FE stuff.

#fire emblem #edelgard x byleth #fire emblem three houses #Edelgard #byleth #scopo tw

[paniimilenka]

Please, if you are interested, consider backing this project <3

#free2play #triqueta #kickstarter #myths #murder #horror

[lesbianscreamqueen]

musty youtube gaming “personalities” WANT what thegamingmuse has :-)

#i owe this woman everything tbh

[koffein-art-archive]

Here’s some context.

So there’s this really cool youtuber TheGamingMuse who makes these wonderful essay videos on video games, the most popular being the Silent Hill symbolism series. 

#my art #sketch #fanart #silent hill