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#the flooded city
corpseprince · 1 year
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we should talk more about cities that are vampires. cities that are cold and wet and sink into your bones and stay there. cities that are hungry and want to live. dead cities that dont know they're dead and suck the life force of their people to maintain the delusion. cities with harbors that are actually mouths; one-way entries. cities that are devastatingly lonely and see consumption as love
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puppetmaster13u · 6 months
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Prompt 47
Hear me out. Amity Park gets shifted in universes slightly- maybe it’s from Pariah, maybe it was a wish, maybe they did so on purpose to escape something- and they end up in the DC-verse. The thing is, thanks to the media blackout and the shields, no one in the new universe notices. The Amityville Paekers know about outside, can go on the internet and leave whenever they want, but they’ve all become more than a little liminal. More than a little off. Movements too graceful, eyes too sharp, ears too pointed and teeth more akin to predatory fangs. Skin with a soft glow, hair moving as though underwater or being tussled by the wind- bodies seemingly unaging after a certain point. They’re so ecto-contaminated that they’re unsure they can even be counted as human anymore, and it wasn’t like the city wasn’t already practically self sufficient. Add in a portal or two through the Infinite Realms to get supplies to start a few fields or some fish farms and well, they’re pretty good. Sure it’s resulted in them using a mixture of modern and older money and having several extinct plants and animals running around but that’s fine. There’s magic in this world! Actual magic, that they can learn! And use? Oh this makes rebuilding after a sparring incident go so much faster! 
This results in the hero who stumbles across this place to believe they’ve stumbled across some sort of city of fae or elves. 
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semioticapocalypse · 4 months
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Achille Darnis. La Berge Inondée (The Flooded Bank). 1897
Follow my new AI-related project «Collective memories»
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mechanicalchickens · 1 month
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Oh! That’s most certainly Mitzi, on first read I didn’t look close and thought that was Atlas’s silhouette. All the old crew are caught adrift in what was, huh.
Which means that which ‘makes light for dead eyes’ is the dead tree… does it represent Atlas? Or the dead husk of what he built, upon which Mordecai Mitzi and Victor project so much?
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What is that veining the tree? Lightning?( the crackles certainly suggest so).
Or is it water ? a flood slowly seeping through the dead husk of what was built, until it all cataclysmically crumbles (the primary mechanisms of which would be ROT and slowly building water pressure, very thematically appropriate).
They’re in a desert, with a singular dead tree. a trickle would bring life, a deluge will lead to flash flooding and destroy the tree. But I’m not sure what water IS metaphorically in that interpretation of the scenario. I do know that the great flood of 1927 is coming.
There’s a storm brewing in the sky(which would bring WATER), maybe they’re all waiting for lightning to strike twice — that would make Atlas’s first entrance into their lives a metaphorically lightning strike, ultimately destructive. And if the tree crackles with energy, then perhaps that suggests that is what M&M&V are doing — living off the aftershocks of energy, waiting for another lightening strike even if that might mean doom.
Interesting, not quite sure what to make of it, except that living trapped in memory is unlikely to end well for any of them!
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avocados-of-law · 1 month
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"What a bunch of sentimental garbage!"
"But you told me that"
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cherryjuicegf · 8 months
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"Leaving without a goodbye?"
His voice echoes like a lost melody in the quiet forest and makes Yennefer stop. Her lips form a short smile.
Truth is, she thought it would be better. Seeing the last of him in a far away part of her memory, because this was no time for weakness, no time to let him steal all of the strings left that hold her facade together, and make her face what's underneath. But oh, how her knees give in, relieved.
How about this then, a weakness welcomed, waiting for her with open arms.
She turns around. "No use, I'm afraid. You always pop up in my way like a stubborn sprout."
This, except it's him, here, once again, somehow still standing, perhaps the only one.
Jaskier laughs. He laughs at their old quip, but it's nothing like the way he used to, no bite or sharpness or preparation for a comeback. It's only breathy and fond, and tired. He is tired. His eyes, bloodshot under the moonlight, awake and waiting for something that will always slip through his fingers. His shoulders slumped and untouched, a wailing space hollowed in their place, his hands hung and soft and gaping, empty.
She takes pity in them as he opens his arms.
It's the same old thing. Unchangeable among everything, it makes for wretched comfort. For she can feel his arms wrapped around her back before they actually reach her, and his face buried in her hair before she has the time to settle in his warmth, and hold him close, closer still as he clings, as though by clinging he will rip away a part of her and keep it still on him after she's gone.
She feels the lump choking his throat as she presses herself against him. His hand, on her hair. On her head. Shaking.
"My darling, darling witch."
This time his voice is no melody. No, it crawls, writhes, dies on her shoulder where his head is buried, sobbing and voiceless and wrecked, and yet still tender, like a broken heart.
She bites her lips in a smile and hopes to carve it upon his chest. She can't afford no more tears. "Pretentious, foolish bastard." Jaskier muffles a chuckle in her hair, and she takes just a few more moments, just to memorize the bruises his desperate fingers leave on her back. Then, she pulls back slowly, looks at him. "Take care of–"
"You know I will take care of him," he interrupts, solemn like a vow, undoubtable. As though he was offended just by her thought of requesting.
Yennefer stares at him for a few seconds, a fond, vexed look in her eyes. "Yourself," she says firmly and watches as Jaskier's expression falls at once, and his eyes suddenly gleam just a bit foggier than before. With a sigh, she holds his head between her hands and places a kiss on his forehead. "Take care of yourself."
Somehow, she knows he will.
Jaskier holds her wrists like he would hold an injured flower, and presses his lips just there, above her pulse. "You too. Be safe." Then, as though knowing she was never one to make promises, he ties her to himself. "For me."
A clever move. She doesn't say her ties are already laid elsewhere. He knows, he always did.
Only, with a smile, she nods.
A last caress on his cheek, a place to leave her weakness behind, and know it will be safe. One last admission of longing before they bury it in the ground. Then, they let their hands drop and she turns away without looking back.
And there, once again, the last one standing, he looks at her fading form from behind.
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fruitsofhell · 5 months
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Yall, its time to ramble about visual/environmental storytelling cause this is silly article is driving me insane.
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I won't argue for if the game should have had more constant and involved cutscenes like Robobot or Star Allies, but what I will say is that this game is VERY rich in story through the world design. The Forgotten Land as opposed to say the Land of the Sky in TD or the entire galaxy of Star Allies is like, DROWNING in writing and narrative. It builds so much mystery and intrigue through the theming of every world and even individual levels, with exploring both how the people of the land originally lived and how it's being reclaimed by nature and the animals.
I think the closest things maybe is Robobot and Halcandra in RTDL, the former having great little designs that key you into WHAT Haltmann is doing and what makes it so toxic. Halcandra though is the ultimate grand-daddy, the contrast between it and the Lor, and Egg Engines and Dangerous Dinner is full of theming and clues about the nature and history of the planet. AND THAT IS STORY, THAT IS WRITING! Especially when compared to say Star Allies, where most of the levels of the levels are just ye average Kirby themed fluff with little to say about the Jamba or the state they've left the galaxy in. But when you play through the casino levels of Robobot, as well as delightful theming and level design, you see that Haltmann is erecting literally the most predatory entertainment centers imaginable. When you step off the sleek futuristic Lor into the scrapyards and wastes of Halcandra, you get fun intimidating final worlds, and a good grasp on *why* the people who made the Lor aren't around anymore, and may even start questioning why Magolor made such a great fuss of dragging you to this horrible place. Music is also deeply important to this storytelling. Each of the factories/towers erected in ever world of Robobot's theme is a remix usually of themes related to older mechanical levels, subtly clueing you into where Haltmann go their technology from. Outside the Lor rather than the comfortable motif of Green Greens is this almost comically suspicious and disoriented theme once you're stuck on Halcandra and returning to Magolor with more doubts about his words. The final level inside of the volcano house a theme that is teasing the twist to come, and the theme for fighting Landia before the big reveal is less triumphant, and more majestic and pensive. Possibly trying to evoke more hesitance than confidence, even if most people wouldn't catch on to that on a first run.
But the cooler thing, is that while Robobot has this cool theming at key levels, and RtDL does at the end, this type of shit is pervasive ALL throughout Forgotten Land. Every world and nearly every level is a unique, well thought-out set piece! You get to see abandoned towns, cities, malls, stores, factories, resorts, and an amusement park, each which serves as more than just a fun location, but a clear picture of the world and the state its in. This intent is made clearer through the music and tone that goes out of its way to not highlight the destruction of these areas but their beauty, wonder, and mystery through the eyes of an clueless animals and our favorite pink alien. The abandoned Alivel Malls theme is a track as upbeat and peppy as what must've played over it's speakers in it's hayday, because the hustle and bustle breathed back into it by the animals and Kirby just exploring this mysterious complex is just as lively. The theme of the Everbay Coast is peaceful and sunny despite the Holine ruins because it's as part of the scenery to the animals and Kirby as the picturesque palms and sands. And Wondaria!!!!!!!!! OMG WONDARIA WHERE TO EVEN BEGIN WITH EVERY FUCKING LEVEL AND THEME IN WONDARIA!!! THIS IS WHY I CAN'T TAKE THAT CLAIM SERIOUSLY - y'know when I cried at Forgotten Land? In world 3. Not because of a cutscene or a line of dialogue, but just from the sheer emotion the setting evoked in me. The sweet, laid-back, starry-eyed wonder that it expressed from Kirby mixed with my own sense of nostalgia being aware of what that place was, and how beautiful it was to see it rediscovered and adored by Kirby and the animals of the Forgotten Land. It evokes such a strong feeling of bittersweetness, of existential dread comforted by the knowledge that the simple joys and memories we create places like amusement parks to share will continue on as long as there is life in the world. And unlike some of my musings about past games, this was explicitly intentional. What truly brought the tears to my eyes was remembering an interview where the devs were explaining how they were trying to keep the tone light and Kumazaki said specifically they wanted to evoke peace and beauty rather than loss.
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LIKE THIS IS WRITING! This is storytelling, this is intention. It's just subtle, but not at all unimportant, and it ties into the more overarching plot. It raises the question constantly of where the people went that is answered by Forgo, and expresses the dichotomy between the simple innocence of the animals compared to the ambitions of the people who abandoned them and that is now possessing their leader. It creates stakes for Elfilis and Forgo's intentions to destroy everything so beautiful and pure about the current world, but as it absolves the current world of guilt, it puts into perspective JUST HOW LONG Forgo must have been locked away that things changed so much. And as softly as the exploits of the original people are portrayed by the game, knowing their treatment of Eliflis and Forgo as a thing of entertainment and tool for innovation is sickening placed in contrast with it. Like back to Wondaria, the way it shows how much space travel must have pervaded the imagination and escapism of the people either before or after Forgo's arrival is insanely smart. And it gives me chills in the best way seeing Kirby run around images of cartoon aliens from a civilization who would never meet him. Of Kirby, Elfilin, and Bandana sticking their head into a cardboard cutout of an astronaut meeting an alien, with the text "wish you were here" above in a script they don't even understand. A SCRIPT THE WRITERS MADE FOR THIS GAME SO THAT THEY COULD ADD MESSAGES LIKE THAT INTO THE WORLD FOR KEEN PLAYERS TO NOTICE AND MAKE CONNECTIONS. Like it's insane. The dedication the Hal Labs has to stuff like this is maddening! It's so sweet and heartfelt and crafty, I'm so pissed off how little respect it gets because people don't understand visual storytelling!!!!! Saying Forgotten Land is light on story is preposterous, it might just be one of the most finely crafted stories the series has had to date, and is just a really solid piece of science fantasy writing in general honestly. It is packed with environmental storytelling that drives me Up The Fucking Wall, Man.
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federer7 · 2 months
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Boy in Flood Dream. Ocean City, Maryland. 1971
Photo: Arthur Tress
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arttsuka · 6 months
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Day 26
Fnaf movie premiere today so I had to draw this abomination
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thoughtportal · 1 year
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Cop city in Atlanta
https://www.transitionus.org
https://defendtheatlantaforest.org/
http://www.savetheoldatlantaprisonfarm.org/
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tonguetyd · 5 months
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IIII LOOOOVEEEE NEW YORK CITY!
OHHHHH YEAHHHHH NEW YORK CITY!!
Also to give context to how big of a deal this is (aside from just name recognition), Webster Hall (where they played in September) has a cap of about 1500 people. Radio City’s cap is just under *6000 people*. That’s a STUPID massive jump. Like when I was tinfoil hat-conspiracy-ing venues, I joking said “psh, sure I guess they COULD play Radio City, but Beacon (which is like, half the size of Radio City) makes way more sense” AND I HAVE NEVER BEEN SO HAPPY TO BE WRONG!!
This is so exciting for them, and going to be so confusing to be in such a fine upstanding venue while screaming about blood and ancient gods 😂
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ryan-sometimes · 3 months
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I just got ubereats and I felt so bad about making my delivery person drive in the current storm that I tipped $14 on a $16 order 😭 even the driver was like wtf??!?
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anormalkidingotham · 5 months
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i think someone should tell batman that just melting all of the ice we got over the last few days isn't actually helping because the sewers never work and now we're basically living in a lake
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froginninjago · 12 days
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Something I don't think we've addressed enough about the merge:
People outside of Ninjago... Probably don't know what happened in Ninjago. They also probably aren't used to the weirdness.
Not as in they don't have weird things. As in they probably aren't used to the daily life-threats
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wachinyeya · 7 months
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