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lilylovelyxo · 1 year

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Steve warning Tony: “You won’t do that again!”

Tony rolling his eyes: “Unless I want to.”

Y/N whispering: “Does anyone else feel the sexual tension?”

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malaesthetics · 1 month

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#the iron man #blood feast #texas chainsaw massacre #leatherface #scream #ghostface #sydney prescott #billy loomis #casey becker #jaws 1975 #jaws #event horizon #horror aesthetic #horror movies #t shirt #fashion

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haveyoureadthisscifibook · 3 months

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vote YES if you have finished the entire book.

vote NO if you have not finished the entire book.

(faq · submit a book)

#scifi #books #The Iron Man #The Iron Giant #Ted Hughes #poll #result: no #l: English

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stevesmewmew · 1 year

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STEVE X TONY

So remember in Avengers (2012) one of the dialogues between Steve and Tony is:

Steve: you are not the guy to make the sacrifice play

Tony: everything “special” about you came out of a bottle

Then in Endgame when Steve picks up the Mjolnir and deems himself worthy and Tony is the one to snap and save the whole god damn universe by proving each other wrong

I MEAN MARVEL PEAKED

#tony #tony stark #genius billionaire playboy philanthropist #Iron Man #the iron man #Robert Downey Jr #marvel #MCU #Steve Rogers #captain america #Steve Rodgers #Chris Evans #tony x steve #steve x tony #captain america x tony stark #mcu spoilers #marvel theories

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cheroux · 7 months

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Tetsuo: The Iron Man (1989)

#tetsuo #the iron man #japanese

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f00dcourt · 1 year

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Tetsuo: The Iron Man (dir. Shinya Tsukamoto) (1989)

#Tetsuo #The Iron Man #Shinya Tsukamoto #movie #horror

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chuchotements-de-le-radiateur · 1 year

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DnD character concept: Artificer

So, despite my interest in DnD I have never had a chance to play it. This means jack shit to my fantasy, which immediately latched to the whole concept and started imagining characters, locations, etc.

So i just decided to go through the classes and come up with some interesting concepts for them. Let's go alphabetically and start with the Artificer.

"The clockwork heart"

Cracked glass and bent gears. Pocket watch dropped by a careless nobleman, stomped and forgotten, picked up and traded by a curious kid. Traded for what — you don't remember. The glass is removed, the shards are melted and cover is reformed anew. The gears are taken out one by one, by steady hands holding the tiniest of pincers. There is rhythm and order to things. You know that. You feel that. Hands keep moving, pick up the pieces and slot them into their place. A clank of metal, a tug of a spring, a turn of a screw. Then another. Three more and the hands rest. The ticking is rhythmical, steady, but something is amiss. Your eyes follow the hands with curiosity, watching what they will do next. After a brief pause the cover is removed again, the edge of a spring is bent just a tiny amount and everything is covered again. And pause. The ticking continues, but there is a note there now, one that you feel more than hear. All is right. Your hands rest. For now, the panic subsides. But soon the the chaos will become to much again, demanding to be ordered, to be fixed, and the hands will start moving again. You hope you will find something to fix by then. The ticking inside you used to be soothing, calming, reassuring, but lately you can barely sleep, as it grows louder and louder with each passing day, and subsides ever slower.

There was an explosion. Or so you've been told. You were an apprentice to a talented artificer, helping them make their ambitions a reality, push the limits of what is possible, weaving magic and technology together in ways you couldn't imagine. You weren't as well educated, as experienced, as driven, but you were talented and willing to put in the work. They inspired you, and though it was hard, you kept working. But days, weeks, even months prior to that day turned into a blur, with shattered fragments flashing in the dark. Fire. Pain. Sound. Hands. Their voice. You were found in the smoking ruins of their laboratory, alive but covered in bruises, cuts and burns. One wound was different — a big scar on your chest, almost healed, but one that was not there just a day ago. And the artificer was nowhere to be seen.

Days spent trying to remember what happened, you finally realized: whatever you did together, whoever made a mistake, you paid for it with your life. You remember dying. And then their hands, their voice, arguing with someone. You don't know what your master did to save you, but you are alive, and they are gone. And where you once heard heartbeat, you now hear ticking of gears and twisting of springs.

But as the days kept flowing, you understood that that's not all that changed. You see the world differently, understand it more clearly, sharper, ideas filling your head and your hands being more precise than ever. You build things you never thought you could. Except that you are getting less and less certain, if it is an ability, or a compulsion.

What you don't know, is that your master did not save you, or build the heart that keeps you alive. You were not a victim, You were a sacrifice. A price that your master paid for their communion and ascension with something beyond your comprehension. But whatever it was, it wanted you alive. It gave you this heart, it filled your head with ideas and kept your hands steady. And as you encounter more danger and make mistakes, as you fall in battle and come close to death again, even after your allies bring you back, even after you heal, you feel the ticking getting louder. And one day, as an dagger cut your hand deep as it could, as you were pushing the assassin away, you could swear that instead of the white bone, under the blood flowing from your hand you saw a dull shine of bronze and gold.

#artificer #dnd #dnd ocs #dnd character #dnd character concept #dnd backstory #dungeons and dragons #This reminds me of that wierd japanese horror? Tetsuo #the iron man #And a little bit of Hoffmann stories #like sandman etc #This backstory might be used for a warlock #but I like the idea of not adding classical warlock abilities #and instead expressing the horror and the power through the inventions #gadgets and gizmos #from beyond #Oh and just in case - feel free to use this in any way you want #as I am not likely to

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nerds-yearbook · 2 years

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In October, 1957, an alien robot crash landed in Rockwell, Maine. Due to damage received in the impact, the robot forgot he was designed as a weapon. He was taken in by child Hogarth Hughes and junk yard artist Dean McCoppin. Complications arose when government official Kent Mansley arrived ordering a military strike, which activated the robot's defense weapons. When traditional weapons failed, Manning called in a nuclear strike. ("The Iron Giant", flm)

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rookie-critic · 6 months

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Rookie-Critic's Halloween Horror-thon: Part 4 - #16-20

#16: Tetsuo: The Iron Man (1989, dir. Shinya Tsukamoto) [REWATCH]

A cult classic of Japanese cyberpunk horror and the debut film of one of my favorite Japanese directors, Shinya Tsukamoto (if you couldn't tell). The inspirational reach of this film is palpable if you know what to look for, having been cited by directors like Darren Aronofsky for his film Pi, Quentin Tarantino, David Fincher, and the Wachowskis for The Matrix. It's hard to argue with results like that. I personally love this movie, I have its scant 67-minute runtime nearly memorized and have seen it more times than I can remember. However, I can certainly acknowledge its shortcomings as something that's not accessible to most audiences. Plot is definitely more of a suggestion than a rule here, and a lot of the film is spent in a state of frantic bewilderment as you try to piece together what exactly is going on through the nearly incomprehensible madness onscreen, but ultimately the "why" of it isn't important. It's rare that I say this, but I almost prefer that the film doesn't really give the audience anything concrete to go off of. It gives enough, and for the purposes of its dissection (apropos word choice there, good job, Rookie) of the relationship between man and metal and the growing industrialization of the 80s, Tsukamoto does exactly what he needs to do, and doesn't overstay his welcome in the slightest. It's one of the bigger reasons why this film works better than either of its sequels/reimaginings, and why it's so well-regarded amongst international film buffs. A short, manic, bizarro-thrill ride, and I wouldn't have it any other way. Score: 8/10 Currently streaming on AMC+/Shudder.

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#17: Onibaba (1964, dir. Kaneto Shindo)

This, for a majority of its runtime, doesn't really feel like a horror movie. That being said, there are plenty of pieces of horror in it to where, by the end, I see why it's labeled as such. The suffocation of the grass field that surrounds our main setting from all sides aides the claustrophobic nature of the film, and casts an air of foreboding over every shot. It's an interesting watch that dives into the desperation we feel when we are starved of our base desires and how that can cloud our judgement, especially in times of great hardship (in this instance, war). It's a film that leaves itself wide-open for interpretation, and one I'm still pondering over days later. Score: 7/10 Currently streaming on Max.

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#18: Eyes Without a Face (1960, dir. Georges Franju)

This French horror from the early '60s is another that I've owned for quite some time, and just never taken the time to actually sit down and watch. It's a slow burn (much like a lot of these older, black-and-white films are), and there are moments that feel like they drag on for too long, but the parts of this film that do work, really work. What Franju and his team were able to accomplish with practical effects and makeup in this is exceptional by today's standards, let alone when the film was released in 1960. The acting from Édith Scob as Christiane is similarly excellent considering she acts through the entirety of her screen time with a mask on. To be able to convey emotion without the benefit of facial expressions and have it come through despite that handicap and the language barrier (the film is in French) rightfully earns this film the praise it has received over the decades. Score: 7/10 Currently streaming on Max.

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#19: Ginger Snaps (2000, dir. John Fawcett)

OK, so I've seen Jennifer's Body twice, right? Once back around the time it came out (I hated it then) and then once within the past 5 years because I heard it was underappreciated in its time and is worth re-evalutating (I still don't like it very much). So with the memory of Jennifer's Body still fairly fresh, I'm just gonna say this is so close to being the exact same movie (there's obviously some differences in their story: werewolf not succubus, sisters not best friends), to the point where I out loud in the group I was watching it with said "Jennifer's Body just straight ripped this off, right?" and got a fair amount of agreement. However, this, to me, is a much better film. It has a lot of the Diablo Cody-esque kitschy dialogue without tipping into hard cringe and the practical effects work, while B-movie-ish in nature (we're never, as a society, going to top the transformation sequence from An American Werewolf in London), is really well done. It strikes a good balance between camp and smartly written horror which Emily Perkins and Katharine Isabelle juggle competently. Isabelle especially steals the show here as the titular Ginger, and provides a good, if not slightly caricatured, depiction of female puberty. Narratively messy, but tonally sound, Ginger Snaps deserves its status as a cult classic. Score: 7/10 Currently streaming on Peacock.

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#20: Opera (1987, dir. Dario Argento)

Opera is largely considered director Dario Argento's last great film before the quality of his output started to drop, and I can see why. It has all of the things that make his movies so good: a compelling main character driven by an even more compelling lead performance, an engaging mystery that unravels itself naturally over the course of the film, and that impeccable giallo style that he is the king of. Cristina Marsillach gives an impassioned performance and easily garners the audience's sympathy. The biggest curiosity of the film is that the murder sequences, which are expertly shot and unique in that the killer always ties up our protagonist and tapes needles underneath her eyes so that she has to watch the horror that ensues, are always cut with this insane, Judas Priest-like heavy metal music playing over them. Let me tell you that the consistency with which that heavy metal music played throughout the film had me confused, and then put off, and then finally fully indoctrinated by the final time it happened at the film's end. So much so that when that final time was about to happen, I was quite literally on the edge of my seat with anticipation, because I could feel it coming, and then when it finally came on I jumped up and cheered. I'm not sure if the desired reaction was achieved, but man was it massively entertaining. It's a little goofy, but I feel like this was about as far as Argento's signature style can be pushed without being a parody of itself, and Opera still largely works in spite of that glaring oddity. Score: 7/10 Currently streaming on AMC+/Shudder.

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danielpico · 8 months

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鐵漢 (1973)

#the iron man #iron man #movie #china #kung fu #jimmy wang yu

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pirate-kitties · 1 year

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I think everybody needs to see this hilarious little thing that was posted to the official Puss in Boots tiktok. It's a parody of that one Old Spice commercial.

#A little ironic since Puss canonically is pulled over by the Knights in Shrek 2 for possession of catnip #He is the man on catnip 😩#puss #puss in boots #pibtlw #my posts™

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billykcplan · 3 months

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