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#the dialogue that follows that line is
braceletofteeth · 1 year
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(insp.)
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inheartofwinter · 7 months
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Written for @drarrymicrofic 's prompt "Follow". The moment I saw the prompt, this basically jumped in front of me and demanded to be written down. (G | 66)
Follow You
“Where are you going?”
“To Hogwarts.”
“Okay, I will follow you.”
(*)
“Where are you going?”
“To the Burrow.”
“Okay, I will follow you.”
(*)
“Where are going?”
“To the Godric Hollow.”
“Okay, I will follow you.”
“Don't.”
“...Ah, okay. Sorry to intrude. I guess you want privacy—“
“No, idiot! I don’t want you to follow me. I want you to go with me.”
“...Okay. Let's go!"
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casualavocados · 2 years
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pat “subtlety is never the answer” napat jindapat
BAD BUDDY (2021-2022)
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bird-bureau · 6 months
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I'm doing a cleric of Selune playthrough of bg3 and have been excited to reach the end of the Gauntlet of Shar and Shadowheart's crisis of faith, and BOY did it not disappoint. In particular, I keep thinking about this moment:
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The game gives you two Selunite specific dialogue options: one where you tell Shadowheart to kill Aylin, and one where you tell her to spare her.
Both choices lead to her killing Aylin.
And I think this is great. I was shocked, at first, that option 4 leads to Shadowheart killing Aylin, but I really shouldn't have been.
Shadowheart has been having a crisis of faith for a good chunk of the act already, which she is open about with a romanced Tav. She feels conflicted about what she knows is coming. She knows that what Tav is saying is true. Shar will never stop asking sacrifices of her, and she is struggling with whether she can make her peace with that.
But at this crossroads, hearing a Selunite Tav point this out only strengthens her resolve to go through with it. Tav doesn't even have to invoke Selune -- Shadowheart makes that connection herself and flinches away from it.
I just really like that narrative choice. I think it's very well done.
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valeriefauxnom · 1 month
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Interesting(?) Corollary on Aroarce!Euden
So, I've kinda already dug up the more obvious scenes that hint that Euden seemed to be Aroace (as seen here if you missed it).
But as I was spamming Dragalia to my friend today, I found another thing that I think is an interesting addition to this previous evidence.
Specifically, Orion's stories. His base form doesn't exactly give out any flags, aside from his continuing absolute blind spot re. romance...
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...But his Valentine's alt has an interesting line in it indeed.
The exchange is as follows:
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Again, pretty innocent. Euden thinks he's 'too young' essentially, to be worrying about that, etc. Fair enough.
But this concept seems to be echoed again all the way later in Summer Mym's story.
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I'll stress the 'not mature enough to understand what it means to be in love' part for this one.
Here's where it gets hypothetical, but to me, it almost comes across as if Euden, growing up, has learned to associate 'romantic love' with 'maturity' in some fashion. It might stand to reason: kids are often told that, when they see couples behaving certain ways that are weird to them, etc, 'you'll understand when you're older/an adult/when you find that special someone/etc.' So child!Euden might have had a similar moment or three, and associated that romantic love=maturity.
The mere omnipresence of romance as a major theme in society probably doesn't help to dissuade the notion that it's the 'normal' state in the world, and that he is the weird one as he grew up to never having that spark of 'oh now I get romantic love'. Combined with the aforementioned connection he's made, Euden might believe that since he still doesn't feel it, it means he's not mature/too young.
Combined with his other comments over the years like flat-out stating to Naveed he doesn't understand the kind of love he's talking about (romantic) to Malora's story where he says "(romantic love/'capturing someone's affections') [is] just not the kind of thing [he] think about", Euden is consistent on the notion that he just flat out doesn't understand what people mean and feel regarding romance and the corresponding love.
At the very most, he can echo some of the trope sentiments people commonly say word-for-word in media, but even that kinda reinforces that he can at best throw out the most common tropes when trying to come up with what 'romantic love' is: this fanciful 'love at first sight' devotion where one puts absolutely everything about their partners ahead of anything else.
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Even then, he doesn't mean a word of it and doesn't really understand why Elisanne is acting all weird about it, because he understands it was an act, she knows that, why would anyone react to having that spoke to them? He was just mindlessly repeating tropes from romance books to upset a dumb fiend. At most, he could see why it was uncomfortable - because it is uncomfortable having that kind of stuff professed to you when you don't like someone, which Euden would perceive Elly as feeling (Heck, he doesn't even really know Elisanne is big into romance novels, thinking 'it's not like her'). In fact, he more bases this comment on making her uncomfortable from a religious sense with the whole 'undying love of Ilia' thing she's forsworn above all else.
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So yeah. Valentine's Orion provided an interesting prequel to Summer Mym's story that I felt added a new little layer of elaboration about what Euden thinks of love. All in all, it's surprising just how consistent they were in the messaging some of Euden's thoughts regarding romantic love and its associates.
Bonus round:
Also, apparently the dev team was being funny, and decided to add a running joke for Orion's anniversary lines that Euden just immediately starts walking away and ignoring him whenever he starts waxing poetic about love:
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Which, as my friend said, "Honestly what a mood for Euden to walk away/zone out when it comes to things he doesn't experience, aka romance. If he doesn't know what it's like then it's hard to focus or even relate"
The idea of Euden just getting a glaze over his eyes and meandering off whenever somebody starts talking like this is a funny one, though!
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thatgirlonstage · 2 months
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Yeah yeah “show don’t tell” get mis-explained and misinterpreted as writing advice a lot and yeah sometimes you SHOULD be telling the reader things however I am unwilling to discard this particular phrase given the number of stories I have encountered that make me want to slap the author across the face with it
#tal reads#this post brought to you by my current audiobook#telling me. REPEATEDLY. in conversation and internal narration#that the mc is this incredible rebel who never follows the rules and who everyone knows likes to live on the edge man#meanwhile in terms of his actual ACTIONS in the story#the most exciting thing this man has done is buy a coffee shop without his family’s approval#(there’s a LITTLE more weight behind this than I’m making it sound bc his family is politically important. but not much.)#there’s this whole conversation he has with one guy#to whom the mc mentions his family wanted him to take religious orders#and the next like. ten lines of dialogue#are all just the guy repeating how UTTERLY UNBELIEVABLE this is and how NO ONE is less suited to that than the mc#and I’m just sitting there like. this guy is neither a serial killer nor afaik a political atheist so like calm the fuck down perhaps#it’s not a bad book overall!!!#but the reputation the author wanted her mc to have is HILARIOUSLY out of step with the character she actually wanted to write him being#if it was all internal narration I might call it a brilliant bit of unreliable narrator of the self-aggrandizing flavor#and take it as an artistic choice#but it’s clear other people think of the mc how he thinks of himself#just with…zero justification in the actual story lmao#every time he gets close to actually doing something seriously risky he’s like ‘but I’m not stupid so I didn’t’#me: WHY DO YOU HAVE A REPUTATION FOR DOING STUPIDLY RISKY THINGS THEN???#anyway if you have to TELL your audience what kind of person your character is#rather than letting their actions speak for themselves#then it’s time to reassess if that character actually is the kind of person you’re describing
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goldlightsaber · 8 months
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i've always found it surprising whenever anyone said that everyone in succession "talks weird" because one of the first things i loved about the show was that fact that the dialogue felt so real to me? i mean, sure, the business jargon sounds undecipherable to the average ear, but it makes sense because why would the characters be talking in layman terms, as if they are aware of an audience who doesn't understand business esoterica? also, i feel like a lot of movies/tv shows have clear-cut dialogue with a lot of straightforward answers and eloquent emotions, but the messiness and vagueness of the dialogue in succession is precisely what makes it so accurate to real life. i mean, sure, some of the clever quips are clever quips, but some of these characters are clever and/or funny people (roman, gerri, etc.). the way everyone in succession talks feels more natural to me than a lot of other shows -- with all the "uhhhs" and "umms" and "likes" and indirect answers and even the "maybe the poison drips through"s.
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Honestly, I don’t want anymore official arts of Shinoa squad because those arts are there pretending as if the squad is important when they are not and my picky brain finds that to be insulting. K is pretty much aware that he stopped treating the squad like the main characters that they are supposed past the 30 chapters mark. There is no way he is not aware of that. At this point K and Y can just go and make all the arts about Mika and Yuu. I don’t care. If Shinoa squad gets an illustration, please make it after, idk? after Yoichi, Kimizuki and Mitsuba have more going on with their backgrounds, have a say in group discussions and their opinions can actually influence on the path they are going to take as a group? Basically them not being cardboard cutouts whose only dialogues every chapter are “Yuuichiro”, “oh” or “…”?
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axolotluv · 7 months
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What's with art communities and forgetting people can just do things for fun and not be professional about it??
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mars-ipan · 11 months
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i think part of why i love tsp is i love horror but hate threats
#no monsters in that game! the horror comes from your solitude#you are the only one in there! you are the map’s sole living occupant#when you see that rare glimpse of the employee walking through the window you don’t feel /fear.:#you feel /relief./#relief that slowly dwindles as you realize you will never get to interact with this npc#you’re as alone as ever#and the game knows this!!! it knows it!!!#your sole company is the narrator- a disembodied voice. that’s it. nobody else#(yes i know the curator the timekeeper/settings person but you get my point)#and some of the most unsettling moments in the game are moments when the narrator is quiet#the playtester ending where you fall out of bounds and he can’t follow you#the infinite hole in that moment where he leaves and you can’t do anything but wait#do i even need to explain the skip ending. the distress in the narrator’s voice- the distress YOU feel at being forced to leave him alone#he actually has a really interesting bit of dialogue in there. to paraphrase- ‘if you can hear me then maybe i’m real’#i feel this line perfectly encapsulates the loneliness of this game#it is just you and a voice. each confirming that the other is there. that the other has an impact. that their actions mean something#that they’re real.#and what’s CRAZY about it is that it’s not even a horror game!!!!#is that part of it? yes undeniably. but the game is about choice#the narrator says so all the time#GOD it’s so good. one of those games that turns you into a philosopher#another reason i like tsp is because the narrator is relatable lmao#i too love to go on long tangential rambles and use purple prose and i too will be distressed if nobody listens to them#might be why the skip ending seems to frighten me extra#anyways i think more art should focus on the horror of loneliness and effects of solitude on the soul#i could write a goddamn essay on this shit. actually i might i loveeeeee analysis
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gaytoddhoward · 7 months
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big things happening in the skyrim custom follower fandom
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danielnelsen · 24 days
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the whole time i’ve been converting the da2 conversations i’ve been worrying about follower_banter.cnv because it’s the largest file BY FAR and i was able to do it successfully but google sheets really wasn’t a fan of working with a 94,000 row file
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takadanobaba · 9 months
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You know how the trains can hit you when they pass through the valley? I'm just imagining the farmer casually dropping "Oh yeah I've actually gotten run over right here like six times and it'll probably be at least seven lol" to the boys
I've lost track of how many times I've been ran over when testing their schedules omg.....
Eh.... They're working on the railroad all the livelong day. I'm sure they see it and are more annoyed at the farmer trying to get hit on purpose all the time ^^;
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mockerd3light · 4 days
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Why do I get weird comic books vibes from the story in ff7 rebirth? Well not the story, but the way they treat the characters/having to have played a MILLION side installments to make sense of some of the story beats(Kingdom HEARTS CODED). I think this is mostly focused on Sephiroth, not necessarily in the game but also in the fandom. Like I acknowledge that some of us probably have not played thru the original ff7 in a minute...but I'm not the only one that read/understood the little thing of green vs. blue eyes Seph in the end and the understanding from databook entries that basically canonized that at least HALF of Seph going off the rail involves Jenova fucking with him?
Idk implications of the little Gi Arc notwithstanding I'm being given a sour taste of the fandom and their dialogue around Sephiroth as a character that draws halfway on his characterization from games like KH, Dissidia, and memes(basically him cameoing in any fighting game that can afford him). Also the way the narrative is treating him. No asides I can find or any data/information you can gather that might, idk, FILL HIM OUT? At least the version of him without the multiverse nonsense???
Don't get me wrong I am DEEPLY enjoying the spectacle of the games, but as a story it is falling really flat for me. Idk it's not like it's anything egregiously BAD, but I feel they are simultaneously relying on fans of the original understanding all of the underlying and connected story, while at the same time inserting really unnecessary changes into storylines that don't need updating, instead of ones that might benefit from a deeper focus or minor changes that might align more with the multiversal themes?
I also think it's because of the action set pieces not feeling well-put together with the internal world building in mind that makes it harder for me to engage with the storybeats.
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nothingunrealistic · 1 year
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youtube
QUERIDO EVAN HANSEN
TALLER DE 3° ITM, PRACTICAS DE INTERPRETACIÓN EN EL TEATRO MUSICAL 21/22
this is a delight… obviously the production values aren’t the highest but many fun acting and staging choices here, especially the four evans, and i’m impressed that they managed to incorporate the anonymous ones and hiding in your hands without cutting songs
#is that legal? probably not but i doubt any other element of this is. think they also ripped some ywbf projections right from the movie#dear evan hansen#don't know spanish well enough to comment on most of the nuances of the translation but i can tell they cut some dialogue#e.g. the “nothing unrealistic” lines from sincerely me; the lines about dana p from evan and alana's act 1 conversation;#some of jared & evan's dialogue about the connor murphy memorabilia market; squip connor dissing jared;#alana offering jared the role of treasurer or secretary; “great idea evan” / “thank you jared” / “no sweat”;#cutting off sincerely me reprise after the first four lines??? and cutting some dialogue there and in the following heidi scene;#the lines about evan's dad in to break in a glove; evan and zoe joking about a kegger; “wonder of wonders miracle of miracles”;#heidi & cynthia & larry's wine discussion; the chicken milanese; the sulu/sula confusion; some of evan and heidi's pre-gfy fight;#alana's comment about evan dating zoe; a few lines in the scenes around for forever reprise and words fail; & the pottery barn discount#evan & jared's spanish project becomes an english project quite appropriately; heidi now says “fuck” after the gfy fight which i love#and zoe's line of “i didn't realize you were actually capable of saying something that wasn't nice” gets turned into#something that ends in “politically correct” instead of “nice” which is a fascinating change#don't love the audience laughter at the dialogue around the anonymous ones given that it's not supposed to be funny#but it sure does speak to the quality of that dialogue compared to the text of the original stage show#also there is clearly a tumblr post in the ywbf projections lmao. may make this the only version of the show to acknowledge tumblr
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oreolesbian · 1 year
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that feeling when you’re reading a fic (or anything really) and you and the author are so in sync about the characterization of a specific character that you’re able to predict exactly what said character is going to say/do next — and then you’re right
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