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#dream images
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foggy night
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"Although one might wish otherwise, in dreams what is important is not the images. What matters is the impression produced by the dream. The images are minor; they are effects." - Jorge Luis Borges
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bamsara · 2 months
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hey man thats a lil fucked up
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mildmayfoxe · 5 days
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GET WEIRD! // shop
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accursed-worm · 1 year
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Parts [ 1 ] [ 2 ] [ 3 ] [ 4 ] [ 5 ] [⭐️] [ 7 ] [ 8 ] [ 9 ] [ 10 ]
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wiredalienvampire · 5 months
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episode 3 my beloved
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ciderjacks · 10 months
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i love this photo so much. i really like this photo. i could look at this photo forever. i want to draw this photo.
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puppyeared · 3 months
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me when the laikas comet. is this anything
@laikascomet
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horang-07 · 6 months
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FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!
i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.
i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.
in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.
this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable
it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.
then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.
he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.
finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.
it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.
in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.
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The Don CeSar appears to be floating in the sky thanks to fog/moisture in the air.  Karen Michels from the base of the new Tierra Verde Bridge.
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"You know that things become stories about other things. Everyone I used to love lives in my mouth. I let them out when I am afraid. I am afraid. You know that everything good goes away. The great function of poetry is to give us back the situations of our dreams. Nothing is ever the way you think it’s going to be." Lauren Ireland (via oofpoetry) [Alive On All Channels]
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I lived and went to school in St. Petersburg in the 60s. At that time the Don CeSar was a haunted mausoleum :: the giant pink palace on the beach. It was part of the landscape as an abandoned curiosity. But it was always there. Now it has been resurrected and is a kind of grand palace. But to me, the Don CeSar, floating in the fog is more how I think of it in my memory. You would think that going to college in a beach town would be many trips to the beach :: boats and water sports and studies on the side. But it turned out so differently. I think of Florida itself, and St.Petersburg in particular in the 1960s and it was all so very haunted and ramshackle, as building on the water tend to be. Nothing was very sunny and shiny. The millionaires and the rebuilding and rebranding hadn’t happened yet. It was more of a Tennessee Williams kind of place. Full of secrets and mysteries and intoxications. The place as it was and truly vanished. * “The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.” ― Tennessee Williams, The Glass Menagerie*
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plusie · 5 months
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dreemurr-skelememer · 7 months
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i missed star sans poly week and dont have much time or energy to work on a proper piece (maybe later) so!!!!
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marklease · 4 months
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asking bf dreamies for separate beds
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telling clingy dreamies you wanna start sleeping in separate beds. enjoy!
requests open, i’m back everyone! 🥺🫶
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marvelandponder · 1 year
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one amazing thing about the Owl House finale is that it finally contextualized for me one of the central metaphors of the show. Spoilers for the series finale Watching and Dreaming ahead.
we good? no one spoiling themselves? beauty
for a long time now, I thought we had a pretty standard coming-of-age metaphor dichotomized by the show's central antagonists. you've got your protestant witch hunter Belos who introduces a maturity and ugliness to Luz's narrative; he clearly represents a particular, restricting form of adulthood, and just when Belos becomes his most threatening, boom, enter the Collector, Luz's dangerously naïve inner child to ruin all her development on the Boiling Isles. Seems simple enough
what I didn't anticipate was just how specific and personal their roles in the story actually are to Luz once you have the full context from the series finale
look again
this story - this whole series - is about the grief that a neurodivergent kid experienced at a young age, introducing the cruelty of loss and adulthood before she was ready to handle it. and, how to reclaim a more whole understanding of herself as she rebuilds her life with people who get her
Belos is designed to infect the titan carcass like a disease. a cancer. it's super goddamn significant that the titan is King's dad (King, who became Luz's younger brother). they set up Belos not just to be another fascist kids' cartoon villain (although yeah, he do be doing some of that), but to specifically become a force that oppressed the weirdness from the one place that understood Luz. the Iles. the dad. And by the end of the story, Belos's goopy body-horror isn't just for show, he's just like the cancer or other terminal disease that took Luz's dad from her
he's the thing Luz hasn't processed in season 1 that comes in at the end like a warning. he's the threat that forces Luz to grapple with her own humanity, feeling somehow (often completely unjustifiably) harmful to those around her, through the grief she doesn't want to be a burden or the weirdness (neurodivergence) others don't understand. he's the force that says there is something wrong with you, Luz, give in to your grief, this is what you can't face. this is the lie you've been telling to those closest to you: that you're okay
then you have the Collector. (notable that he's a collector, and we see Luz's mom and dad had quite the collection of nerdy memorabilia)
the Collector is the child too young to understand death. Too young to understand consequences, or why their playmates don't feel like playing anymore with someone so weird and maybe a bit too involved in their own world. The Collector is Luz's inner child, that kid we see right before the "worst week ever" — the one who didn't and couldn't understand what was about to happen even as it was going down. unapologetically weird, a bit destructive and short-sighted, but wholly colourful, wholly themselves. that's why the Collector wants to live out Luz's adventures, but without all the depth. just the fun escapist fantasy
but don't think I forgot the internal conflict! :D
because Camila's role also gets an added depth too: Camila was framed at the outset of the series as someone who loved Luz, but wanted her to fit inside a box that she just didn't. later, Luz completely misconstrued her mom's breakdown when she learned that Luz chose to run away. as many people have pointed out by now, Luz misremembers the actual dialogue that Camila says: Camila only wanted her daughter safe, not to lose her. Luz meanwhile felt like she had to choose to destroy this part of herself, or give up her connection with her mom altogether
but we know now Camila actually deeply relates to Luz. she may not understand Luz's fascination with horrific things like on the boiling isles (very akin to a kid getting more grim hobbies in the wake of a death, like Luz's taxidermy), but she loves Luz for who she is. all of her. she never wanted Luz to change
Luz was the one framing the central conflict of the show as go back to her mom or stay in the boiling isles. Luz was the one who felt like she had to punish herself by rejecting the one place where she felt like herself. once Camila realizes what's been going on, and how deeply connected it is to the loss of Luz's dad, she knows Luz is trying to make a "very bad choice for herself." And she won't let that happen (what a great mom!!)
But Luz does have one real choice ahead of her
because of the inner child who once again has to confront death (this time, Luz's own), Luz is able to connect with a father figure, the titan, the one place she feels understood. in the form of a power-up that makes her into a fantasy witch straight out of the Good Witch Azura, the one place she got joy after that huge loss, the titan gives her the strength to face the cancer—a force draining everything good in her life from her and making her question she deserves it in the first place—but only if she can choose herself
and that means choosing happiness, choosing found family, choosing love and friendship and self-discovery in the place she feels most at home! every bond she's forged, everything she's worked for, it all comes down to choosing to face grief and move on in life with weirdos who stick together.
hoot hoot, that's some good metaphor
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waddei · 8 days
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it hurts to imagine what he would think of you right now
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animatedtext · 7 months
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requested by transandgaybutworse
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0ctosquid-cd · 1 year
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I am both King and Queen best of both things!
But Dad works fine.
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