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#for emotional effect
fuckyeahisawthat · 1 month
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Oh I realized a thing about the Paul/Feyd-Rautha fight. So usually if you have a big fight scene, but especially if you do something like have a character get injured in a way that would definitely be fatal if they weren't cursed with inescapable Main Character Energy, you follow up the fight scene with some moment of comfort or relief or something, which serves to release the tension for the audience and let them know whew, that was scary, but it's okay now. Your character is hurt but they're gonna survive. (Or alternately, if they're dying heroically, it was worth it and what the narrative demanded.)
But here there's nothing. Paul is surrounded by devoted followers; his mother; his lover; one of his oldest teachers and a loyal servant of House Atreides. No one steps forward to offer a shoulder to lean on or help him to his feet. He's left them all behind. He's not a person who got hurt in a fight anymore; he's a myth that people shrink back from. So he pulls the knife out by himself. He stands up by himself. Other than the emperor very begrudgingly touching his hand to kiss the ring, I don't think anyone touches him at all for the rest of the movie. He's completely alone. They never release that tension, because Paul's alive but it is very much not going to be okay.
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hajihiko · 6 days
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close call maybe?
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shorthaltsjester · 9 months
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watching the sdcc panel and i am just very :) about how sweet their answers to “what are some of the micro moments from the game that have stuck with you the most over the years?” are. taliesin saying what the fuck is up with that which was the first like The Party Gets To Know Each Other moments of c3. travis saying asking his wife if he could kiss her in campaign. marisha going way back to the cannonball competition in campaign one. ashley choosing the beauyasha date but also just the silly goat noise matt made. liam adding onto that to compliment matt roleplaying grass so well and then saying his favourite moment was writing a story for laura and reading it to her as caleb for jester. and then matt saying that was his answer, and that his favourite moments of the game are when they find ways to give gifts to each other whether tangible or not. and sam saying his favourite moments have less to do with the story and is more so when he can just. see his friends across the table from him. when marisha perches and when laura and ashley are (badly) drawing dicks and liam saying he loves when sam sneezes and ashley tells him to stop it and just. yeah. they Are an extremely popular online powerhouse, but i’m so happy that they’re also friends building a world together out of gifts to and love for one another.
like i Am so enamoured with the characters and the world of exandria but the moments when you can feel the love that those people have for each other reach out from behind the stained glass of their performances (to steal a metaphor from brennan lee mulligan) are so extremely special and i am endlessly grateful that they decided to share their silly little home game with the world.
#it’s just the. laura and travis’ characters always being supportive of one another when they’re facing hardship#taliesin and marisha consistently making characters who challenge one another and still protect each other relentlessly#all of them being so fond of ashley’s characters always and literally seeing them light up in c1 episodes when ash got to join in person#sam and liam always making characters who offer one another reprieves into kindness that they don’t always get in the campaign setting#liam making orym after falling in love with keyleth as vax#marisha making laudna after matt’s storytelling with delilah and choosing vex as her body double#ashley using ‘i would like to rage’ and matt having kord ask her where she finds her strength#laura and matt always weaving these deeply complicated and emotional interactions between a daughter and a father#the gasps and yells and clapping when matt makes cool sound effects or reveals a map or breaks/ends on a cliff hanger#them ending both campaign 1 and 2 with ‘what a great/nice story’ and travis saying ‘let’s do it again!’#and it’s like. yes yes i love the comics and i’m a fan of tlovm but . seeing this well produced thing that somehow mimics#the feeling i get sitting in my living room laughing with my roommates about my ranger’s giant rat failing to climb stairs#it’s very special it’s very sweet#critical role#sdcc 2023#taliesin jaffe#travis willingham#marisha ray#ashley johnson#liam o’brien#matthew mercer#laura bailey#sam riegel#cr cast#critical role cast#my posts
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zaana · 8 months
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Their welcome-back hug would start happy and end in crying
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angstyastro · 10 months
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13 tickets for Barbie pls
Late for pride month but have my gay war criminals
The lighting is based on pride flags for each chara!
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strawberrysamara · 4 months
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"Kaidan Alenko is boring" WRONG. Kaidan Alenko is one of THEE characters of all time. He's Canadian, he's Schrodinger's man of colour, he's DOWN to fuck and still didn't manage to figure out that he's bisexual until his thirties, he killed a man as a teenager and almost caused a diplomatic meltdown bc of it, his tits are bigger than yours, he's constantly getting migraines, he has autism but doesn't know it AND he glows. What more could you want
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robinwithay · 3 months
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i think a lot of people in the fandom have a bad habit of acting as if aziraphale should know everything we, the audience, know about crowley, and that he should therefore be more sympathetic to feelings that aziraphale literally doesn't even know crowley has, because crowley hasn't told him.
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vacant2007 · 1 year
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elven-butts · 7 months
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OCtober day 5 - smoking ill be at the corner screaming
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asterlark · 5 months
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me and den @unloneliest were just talking about murderbot and ART's relationship and i want to discuss how they quite literally complete each other's sensory and emotional experience of the world!!
there's a few great posts on here such as this one about how murderbot uses drones to fully and properly experience the world around it (it also accesses security cameras/other systems for this same purpose). but i haven't seen anyone so far talk about how once MB stops working for the company and consequently doesn't have a hubsystem/secsystem to connect to anymore (which for its entire existence up to that point had been how it was used to interacting with its environment/doing its job), after it meets ART, ART starts to fill that gap.
ART gives MB access to more cameras, systems, and information archives than it would normally be able to connect with while MB is on its own outside of ART's... body(? lol), but also directly gives MB access to its own cameras, drones, archives, facilities, and processing space. additionally, so much of ART's function is dedicated to analysis, lateral thinking, and logical reasoning, and it not only uses those skills in service of reaching murderbot's goals, it teaches murderbot how to use those same skills. (ART might be a bit of an asshole about how it does this, but that doesn't negate just how much it does for murderbot for no reason other than it's bored/interested in MB as an individual.)
we all love goofing about how artificial condition can basically be boiled down to "two robots in a trench coat trying to get through a job interview" (which is entirely accurate tbh) but that's also such a great example of ART fulfilling the role of both murderbot's "hubsystem" and "secsystem", allowing it to fully experience its environment/ succeed in its goals. ART provides MB with crucial information, context, and constructive criticism, and uses its significant processing power to act as MB's backup and support system while they work together.
from ART's side of things, we get a very explicit explanation of how it needs the context of murderbot's emotional reactions to media in order to fully understand and experience the media as intended. it tried to watch media with its humans, and it didn't completely understand just by studying their reactions. but when it's in a feed connection with murderbot, who isn't human but has human neural tissue, ART is finally able to thoroughly process the emotional aspects of media (side note, once it actually understands the emotional stakes in a way that makes sense for it, it's so frightened by the possibility of the fictional ship/crew in worldhoppers being catastrophically injured or killed that it makes murderbot pause for a significant amount of time before it feels prepared to go on. like!! ART really fucking loves its crew, that is all).
looking at things further from ART's perspective: its relationship with murderbot is ostensibly the very first relationship it's been able to establish with not only someone outside of its crew, but also with any construct at all. while ART loves its crew very much (see previous point re: being so so scared for the fate of the fictional crew of worldhoppers), it never had a choice in forming relationships with them. it was quite literally programmed to build those relationships with its crew and students. ART loves its function, its job, and nearly all of the humans that spend time inside of it, but its relationship with murderbot is the first time it's able to choose to make a new friend. that new friend is also someone who, due to its partial machine intelligence, is able to understand and know ART on a whole other level of intimacy that humans simply aren't capable of. (that part goes for murderbot, too, obviously; ART is its first actual friend outside of the presaux team, and its first bot friend ever.)
and because murderbot is murderbot, and not a "nice/polite to ART most of the time" human, this is also one of the first times that ART gets real feedback from a friend about the ways that its actions impact others. after the whole situation in network effect, when the truth of the kidnapping comes to light and murderbot hides in the bathroom refusing to talk to ART (and admittedly ART doesn't handle this well lol) - ART is forced to confront that despite it making the only call it felt able to make in that horrifying situation, despite it thinking that that was the right call, its actions hurt murderbot, and several other humans were caught in the crossfire. what's most scary to ART in that moment is the idea that murderbot might never forgive it, might never want to talk to it again. it's already so attached to this friendship, so concerned with murderbot's wellbeing, that the thought of that friendship being over because of its own behavior is terrifying. (to me, this almost mirrors murderbot's complete emotional collapse when it thinks that ART has been killed. the other more overt mirror is ART fully intending on bombing the colony to get murderbot back.)
in den's words, they both increase the other's capacity to feel: ART by acting as a part of murderbot's sensory system, and murderbot by acting as a means by which ART can access emotion. they love one another so much they would do pretty much anything to keep each other safe/avenge each other, but what's more, they unequivocally make each other more whole.
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phantom-0-writer · 7 months
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scene 03: get in loser, we’re going shopping
original prompt: gotham academy's mentorship program
more at: table of contents
timeline: much later after scene 1 & 2
Danny and Damian sat at one of the corner tables in the library. Danny had finals coming up, and was busy reviewing the term’s worth of topics from all his classes. Damian, who had insisted on joining him, sat bored. having nothing left to study. 
Danny looked at the younger boy when he sighed for the 3rd time in the past five minutes. Deciding that maybe he should take a break and indulge Damian, Danny finished the last problem, and let his book shut with a loud finality. 
Damian looked up at him hopefully, “Are you done, now?” He asked. Danny could tell he was trying his best to not seem too eager, but Danny couldn’t help but laugh at his antics. 
“Yup,” packing his things away first, he waited for Damian, when he noticed what the boy had taken up in his boredom. “Woah, Damian.” He whispered in awe, picking up the paper closest to him. “You did this?” 
Damian seemed to need a moment to understand what Danny was referring to before becoming flustered and embarrassed, a soft pink spreading on his ears, “It was simply mindless work.” He sounded defensive, like someone had berated him for his artist interests before. Danny tried not to react to that, knowing Damian would probably find it insulting. 
The sketch was on the back of a math worksheet Damian had long since completed, it was of a fighter who seemed to be using his sword to attack a nondiscript opponent. Danny knew from his many intensive training sessions with Pandora that the figure's form was slipping into leaving them open for an easy frontal attack from their opponent, while simultaneously leaving the fighter to not have the range of motion they might need to defend themselves. Most of the lines of the drawing were scratchy and short but overly repeated giving the fighter the illusion of fast movement, directly in contrast the hard outline of the fighter’s form made it seem like the fighter was stuck in their position. 
Liminals and liminal-agencent people by definition did not have a strong awareness to manipulate ectoplasm consciously like other more ghostly beings could. Coincidentally, liminals tended to leak their own internally produced and stored ectoplasm when they acted on their deep emotions. Scientifically this usually showed itself as a person ‘harnessing their full potential’ in moments of crisis or in some more extreme and rarer cases accessing their metagene (meta’s were not to be confused with liminals or ghostly beings they hold few to no similarities outside of coincidence). Danny had known from the beginning that Damian was a liminal, likely from prolonged exposure to ectoplasm, and paradoxically had a difficult time understanding and accessing his own emotions. Emotional negligence was never healthy for an ectoplasmic being, and Danny knew it would be a long process for Damian to learn how to properly deal with his layered and complex emotions. 
  That being said, there was a steady level of ectoplasm spread over the paper, something that did not match what Danny would have expected from Damian’s current state with his emotional and subsequently his ectoplasmic abilities. The fighter was clearly a character Damian had either consciously or subconsciously created to represent himself. 
Danny could work with this. 
During the long moment of silence Damian seemed to have grown more and more anxious for Danny’s reaction. Danny let his emotions display easily on his face, wide eyed, “This is so good, Damian. I didn’t know you drew. Do you like art?” 
“I do not draw. Art is a meaningless waste of time and only those without higher goals would indulge in such an activity.” Damian sounded conflicted, and the words he was saying were pretty obviously echoed from what someone else had said to him. 
“That’s ridiculous,” Danny scoffed, “Art is a very important basis for almost everything. I mean it would feel pretty stale to live in a world where there was no uniqueness anywhere. Drawing, painting, writing, acting, sculpting, singing, or whatever else, are all unique forms of making something that no one else could truly ever recreate exactly. Even if it’s minute, there are always differences in the way that one person would commit to something than another person. It’s the basis of humanity and in the core of the human mind. If you try to block it so harshly from yourself, you’ll end up locking up an integral part of yourself that sets you apart from the other 7 million people on this planet.” 
Damain stood there, considering what Danny said. 
Not waiting another moment, Danny grabbed Damian’s bag heading out of the library. “What are you doing?” Damian asked suspiciously, quickly falling in step with Danny, grabbing his bag back. 
Danny smirked at him, “We’re going shopping, Loser.” 
Damian looked scandalied at the nickname, not understanding the reference. “I am not a loser.” he huffed. 
Danny just laughed as they waited for the next bus. Once they got to their stop and entered the store, Danny beelined for where he knew the art supplies to be. Damian followed behind him, unfamiliar with the store.
Sure, if Damian wanted, he could easily buy the more top of the line supplies, after all he was a Wayne. But Danny was pointedly a broke scholarship kid right now, and it didn’t sit right to let Damian pay for things he was buying, no matter how much of a trust fund kid he may be. Not that Danny was exactly broke, but he imagined the cashiers at their local supermarket wouldn’t appreciate him trying to pay for a sketchbook, a couple sketch pens and pencils, and a 25 pack of Crayola markers with solid gold coins. 
It was around 4:30 when they left the store with their stuff, Damian eyeing the bag curiously the whole time. They walked the rest of the way to a local cafe, and Danny sat Damian down. 
“Okay, we’ll be here for the next hour,” He pulled out his own sketchpad, the concepts filling the pages were more accurately  blueprints more than drawings, “Draw whatever you want.” 
“I don’t know what to draw.” Damian huffed, awkwardly taking the supplies from Danny, and examining his surroundings carefully. Damian sat in the corner for a while, blending into the surroundings as he watched how the world spun around him. Danny was half-way through reviewing one of his older designs when Damian finally decided to open the pack of pencils and the first strike on the paper was made. They stayed there for long over the allotted hour, both sucked into their own projects. 
“I finished.” Damian breathed in satisfaction, stretching his hand and back in his chair at the admission. 
Danny eyed him with curiosity. “Can I see?” He asked. Danny wasn’t sure how right he had been about Damian using drawing to help regulate his ectoplasm and emotions, and he wanted to check how consistent it would be. Also he was really curious to see what he had drawn. 
Damian looked a little bashful at his request, but he nodded, handing the sketch book over to Danny. Danny could easily feel the ectoplasmic energy scattered across the page, it wasn’t as constant as the first drawing had been, but it was still there. So he was right. 
The drawing this time was of what had likely originally meant to be the barista, based on the outlines of the industrial coffee machine and register that had started out but been forgotten later for the center of the piece. The man was wearing an apron similarly like the one the barista had been wearing and a similar uniform, but that was the only similarities that Danny could draw from his surroundings in the drawing. The man, unlike their teenaged barista, was quite aged, with thin but well groomed hair, and a mustache. He had a longer face scattered with wrinkles of old age. The old man was looking down, presumably working on something, and seemingly happy with whatever it was. The ecto-signature was more concentrated around the old man, leading Danny to believe it was someone Damian likely loved and admired. 
“You’re so good at this.” Danny complemented, honestly. “Did you have fun?” He asked, it was starting to get dark and they had stayed at the cafe longer than Danny had asked him to without complaint. 
“Yeah, I did.” He answered after a moment. Danny ruffled his hair affectionately, “Hey, you’re gonna mess it up.” He complained, making no effort to remove himself. 
“C’mon, let’s get you home. I have to go to work soon.” Danny led them out of the store, just in time for an expensive looking black car to pull around the bend and expertly stop in front of him. 
“Young Master Damian, I’ve come to pick you up.” An old British gentleman spoke from the driver seat, it was the man from the drawing. 
“Understood, Alfred.” Damian turned to hand the art supplies back to Danny. 
“They’re yours.” Danny refused. 
“I’ll take care of them.” Damian promised, placeing the supplies carefully inside his book bag. 
“I’m sure you will.” Danny nodded, stepping back so the car could drive away. 
“Mister Daniel, I would have no problem taking you home as well. It is quite late now.” The driver spoke kindly. It surprised Danny how accurate Damian had drawn that picture without so much as a reference. 
“No it’s alright.” Danny waved away the idea, “I have to go to work now, and it’d be too out of the way for you.” He explained. 
The driver didn’t press, but Danny noticed how his eye caught on something in the distance before he bid his farewells and left. 
Danny made his way to the bus stop, and waited, mindlessly scrolling through his phone. Moments later another older teen approached the bus stop as well, waiting idly for the transport to arrive. He had black hair with a white tuft in the front, a sign of prolonged ectoplasmic exposure Danny knew all too well, roughly 6’ and some inches, and wore a hood of his red jacket over half his head. 
Danny supposed it was fitting for someone who called himself the Red Hood. 
The bus arrived, and both Danny and his co-passenger got at the stop before Arkham Asylum. Park Row AKA Crime Alley. By the time Danny clocked in and changed into his uniform for his shift it was already dark outside. 
“Welcome to BatBurger.” He said in chorus with the rest of the workers at the bell chime of the door opening. The man walked to the counter silently, his white tuft of hair skillfully swept under a baseball cap he hadn’t had before. When he approached Danny’s station, Danny took his order, and right before completing the transaction, as per procedure, “Can I get a name for your order?” He asked. 
“Jason Todd.” 
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inkiedraws · 2 years
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Alright.
Got this joke out of the way.
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ohmnohmnnom
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thoughtfulchaos773 · 11 days
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Sydney: I don't want you to think I was, like, being jealous or, like, bitter or whatever because that's, like, not the case at all. And like thank you for-for saying that. And also, she was really nice. I'm sure she's great--
Carmy: She is. She is. She's great...
Sydney: Yeah? 👀
Carmy: 👀 Yeah...
There's something about Sydney's rambling and the sudden pause when Carmy confirms how great Claire is - and damn it, her stare as she looks down at Carmy and Carmy looks up at her. Sydney affects Carmy in a way that makes him look at her instead of the task. Why did he have to break what he was doing and look at Sydney? Did Sydney's "yeah?" confirm for Carmy that there was some jealousy even though Sydney says otherwise?
It's not the words in this scene but the subtext behind their words and how it affects them. Even Carmy tells her she's great but locks eyes with Sydney. It's freakin April, and I'm still obsessed, but I submitted to the brain rot long ago, and at this point, June is soon, so I'll just keep going.
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veshialles · 2 years
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i love you fictional vehicles that become a main character in the story by extension, i love you ships with iconic names that turn into a home for the characters, i love you humanized modes of transportation with imagined personality quirks, i love you sapient starships with real personality quirks, i love you inherent human ability to emotionally bond with literally anything
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nellasbookplanet · 7 months
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The more time I sink into andromeda, the more I suspect the biggest reason it ultimately failed commercially was because of the massive tonal shift I've already mentioned, and how there was probably a pretty big chunk of original trilogy players who simply no longer fit as a demographic, while the game failed to reach the people who might’ve enjoyed it.
The original trilogy, much as I love it, feels a little bit like a wishfulfillment power fantasy for a very obvious demographic. Almost all women are overtly sexy in design and the f/f relationship in the first game seems to be written along the guidelines of 'what would a straight man find hot'; you play as someone cool and confident and powerful, the most specialest human ever, and maybe you aren’t always respected but YOU and the NARRATIVE always know you're right and you get to be rude to and sometimes punch/murder people who disagree with you so it’s fine. The game then salvages all this by means of genuinely well-written characters and arcs, really cool sci-fi tech and lore, a fantastic story, and meaningful and hard-hitting choices and consequences (which also allow and often encourage you to steer away from that exact macho ideal).
Enter andromeda. Instead of being a super powerful supersoldier from the start, you're the kid of one. You barely know what you're doing. Everyone doubts you, including yourself. You don’t get the assuredness of knowing you are Right and Cool that you have as Shepard. You don’t demand that same respect. And I'm sure there are a lot of people who hated that.
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isan0rt · 10 months
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You know, when you consider Azure Moon as a self-contained narrative, the use of ‘unanswered questions’ and ambiguity as a reinforcement of the themes of the route are really effective. I honestly think having the route not address the Slithers was the best narrative choice IntSys could possibly have made given the themes of Azure Moon.
Like. The developers didn’t really expect people to actually play all the routes; they designed the game so ‘everyone would have a different experience.’ As a result, all the routes have very different themes and scopes. Azure Moon is the tightest, most character-driven narrative despite not being the shortest route.
And Azure Moon is about grief.
Grief hangs over the entire route; except for Mercedes, every single one of the Blue Lions is haunted by the Tragedy of Duscur and the unanswered questions surrounding it. Felix loses his brother directly, and his worldview and best friend to the aftermath. Ingrid loses her fiance, but also her sense of security; without Glenn, her people may starve, and her personal future is now uncertain. Sylvain and Glenn were the same age, so we can assume they were friends, though his loss is less direct; Sylvain is surrounded by people broken by loss, including his own father. Annette’s father leaves her family in disgrace over being unable to stop the tragedy. Ashe loses his foster brother to the aftermath; and later his foster father as well. 
Dimitri and Dedue lose everything.
All of them spend the whole route wanting to find answers and some kind of closure for this event. It drives the entire narrative for all of the Lions actually from Faerghus. Mercedes, meanwhile, stands as an outside observer to that tragedy - but she is also dealing with her own personal tragedy and unanswered questions about her brother, and that drives her during Azure Moon.
And the thing about grief is that sometimes you never get closure. But you still have to move on, anyway.
That’s the whole point of Azure Moon. Dimitri has to move on. All the Lions have to move on. 
Mercedes cannot regain her brother, whether you find out his identity or not in the route. She has to move on anyway. Dimitri cannot reconcile with his family, not with Rufus (Did Dimitri kill him? We the viewer can never really know for sure) and not with Edelgard. He never finds out whether Patricia wanted to kill his father, or whether she loved Dimitri at all (and we the viewer don’t, either). He has to move on anyway. The Lions never find out the cause of the tragedy.
They have to move on anyway.
Involving the Slithers at that point would not only add a bunch of last-minute narrative complications that aren’t necessary in Azure Moon, it would undermine the emotional impact of the route (in much the same way the last map of Verdant Wind does, honestly). The themes of Azure Moon not only don’t need to answer the question of the Slithers; not answering that question is the point. Bringing up the Slithers at that point would take all the air out of the personal drama the route takes its entire runtime addressing.
Dimitri hesitates at the end. He stops, and tries to look back, and Byleth stops him. He has to move on. He can’t keep looking back at Duscur. He’s got to walk forward. 
And that means leaving his questions unanswered. 
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