#I may have overdone this a bit

[catebees]

Marian Hawke's wardrobe through the years (9:30-9:42)

[homuraholic]

Would you like a pet boops boops, then?

(Also, too bad we have no more boop button…)

Not really, I already have five dogs. I don't want any more pets for now.

Yeah... at least I learned how to Evil Boop right before it ended. It was fun while it lasted.

[berrybelbakerycrackfic]

It's kind of WIP but I will take this as an excuse to post anything original. This is part of a larger doodle sheet I'm making just to kind of generally practice more pixel art(pizza tower style specifically although I didn't abide by the color pallete for the most part). Specifically one that uses 3 frames.

[sweetandglovelyart]

A little art/comic announcement: While Knightfall in Dream Land is still in progress and I’m still working on that I’ve also started plotting out the storylines for both the Daroach backstory comic and the Susie redemption arc comic that I want to do.

Before I started drawing Knightfall in Dream Land I did some very simple pencil sketches with dialogue written on them to get an idea for the direction the story of the comic would go in and get an estimate of how long the finished comic would likely be/how many pages it would likely have. That’s the stage I’m at right now with the Daroach comic and Susie comic. I’m planning to start posting actual pages for both of these comics in January 2025, because I want to get a little bit further into Knightfall in Dream Land first before I launch the new comics. The final length may vary a little bit depending on whether or not I decide to add more stuff or change some of the dialogue I’ve plotted out, but when Knightfall in Dream Land is finished I’m estimating that it’ll be around 34-36 pages, so I’d like to maybe get to page 20 or so before I start posting the new comics. Knowing how slowly I update I’ll probably hit page 20 around late December of this year so January is likely when I’ll be launching the new comics.

Like I’ve mentioned before I’m also still very busy with grad school stuff (I’m working very hard to finish up my PhD in the next year and hopefully get a job lined up if I can so I don’t have to live with my parents when I graduate) so comic updates might get even slower than they already are in the coming months. Thank you to everyone who’s been reading the comic even though I update it really slowly, it really means a lot to me to see people enjoying what I’ve created, and I hope you’ll enjoy the new comics too when I eventually start posting them.

[whoredmode]

i’m doodling side characters so if you have suggestions for some i should draw lemme know

[callmesweetcheeks]

okay okay but nobody is talking about how I know that he loves me by Autoheart is such an icemav song from ice's pov, it fits perfectly with all of my headcanons of the beginning of their relationship, when they got over their rivals phase and are something more than friends too because

"He comes and he goes / but I know that he loves me" like??!?

I always imagine their relationship to be unsteady at first because dadt and internalized homophobia and all that angst, and yeah sure they both have issues, but I always imagine mav being the one to constantly pull away (because he's afraid of commitment) and ice is always waiting for him because he knows he knows mav loves him

also "And when I'm losing the plot / and overthinking it all / and my resilience falters / I know who too call" ?!??!

like, in my mind ice is insecure about,,, well anything really, and mav knows him, he somehow always knows exactly what to say to make him feel better, he knows exactly how to help

Also "I've been tripping over laces / and stumbling my words"

this just fits with my headcanon that ice is head over heels and when he's that much in love with someone he loses every single braincell, however I think he learnt to hide it extremely well so nobody notices even tho he's convinced he's being very obvious

yeah, this song just perfectly captures their uncertainty and fearfulness in the beginning, but also their complete love and trust in each other

[softhousewife]

Awe its so cute that you’re drinking all that delicious fattening heavy cream. But as far as how much, I think you should drink as much as that cute chubby tummy will allow and then maybe a little bit more. I bet it would make that tummy of yours extra cute~💕

- a chubby trans girl

I ended up drinking a quart and then some! My stomach is NOT used to cream at all and I felt so sick for a few hours. I did end up adding sugar to make it more toleravle but whew...

I plan on finishing off the second quart this weekend :3

Disregarding the nausea it actually was super fun, and its definitely something I plan on doing more!

[trolldaeron]

His story is that after his home forest was burned he retreated to far north and hid in magical mist, where he tries to rebuild his home in form of frozen sculptures. Because of his trauma, he freezes everyone who enters his webs.

[paigemathews]

Honestly, I am so hardcore obsessed with the next gen and Camelot/Arthurian mythology right now. It's actually a little bit of a problem bc I may not even be able to fit in a full Camelot arc and I refuse to half-ass Camelot when I'm so obsessed. I already have too many ideas for season arcs as-is, lmao, the original season 1B arc has been pushed back twice already and is now 2B and is steadily getting closer to being pushed back to 3A at this point. (It doesn't help that at least two arcs drastically impact some of the characters, so I wanna make sure I fit in the stuff before those turning points.)

Even if I do manage a Camelot arc though, I have way overplotted the Camelot era and I'm still fleshing out some of the other characters' past lives. While I definitely can fit some of this in organically, I really can't fit in half of the dynamics or events I want to. Which makes sense! This is a story about their reincarnations! This is not a story about the Camelot era! But also I have too many thoughts. I stg, this always happens to me.

[the-cat-and-the-birdie]

Hobie Brown, Emotional Preparation, and the Art of Great Dialogue

Nearly all of Hobie's dialogue is written with his goal - protecting and preparing Miles for Miguel's abuse - in mind, even if it may not be obvious at first watch.

Here's an unhinged breakdown where I over-analyze literally every one of Hobie’s lines and explain how every sentence was written to contribute directly to Miles’ radicalization.

Hollywood. Pay your writers. (:

___________________________________________________

Hobie has around 10 minutes screentime total, but for the sake of introductions and this analysis, let's start at the end of the battle, and the beginning of the quantum hole.

Starting with his first line in the scene:

"I don't follow orders. Neither does he."

All morals considered, Hobie doesn't seem like the type to speak for someone who can speak for themselves - he's a punk after all. But here, he speaks for Miles. This line serves to tell Miles 'I don't respect them, why should you?', but funnily enough, it can also be a point to Jess, as if to say 'Miles isn't interested.' - even if he is.

"Bit much, innit?"

While, Hobie and Mile's next interaction is their exchange in the elevator, the scene leads to Mile's introduction to the Society. Miles gawks at the lobby, obviously impressed. Gwen affirms this awe, telling him 'this is just the lobby.' However, Hobie feels the need to chime in. His next dialogue 'Bit much, innit?' is a subtle nudge to Miles that the society is not a place to be in awe off. It's a spectacle, one that's a bit overdone. Knowing Miles now sees Hobie as cool, Hobie makes it known - he sees the Society as uncool.

"Gwendy, How much have you told him? About his place in all this? Maybe not enough."

'So what happened about that small elite strike-team?' - 'Most of these are part time.' This is by far one of Hobie's more interesting lines, and I wrote about it here. But in short, this is Hobie's soft but direct confrontation of Gwen. After Gwen lies to Miles in front of him, Hobie immediately asks how much Gwen has revealed to him. And when she tries to play it off, he openly says 'Maybe that's not enough.' He's not angry with Gwen, but he is disappointed, which in turn motivates him to have his discussion with Miles.

"Super humane, and not creepy."

One of my favorites, because it's hard to catch and to the point. After talking about Hobie and Gwen's mission history, they're taken to Margo and the control room. As Miles marvels at Margo and the Go-Home-Machine, and Gwen says she voted against it. However, Hobie says blatantly: 'Holy shit, Miles isn't this inhumane and weird???', validating that the Society is willing to do inhumane, hurtful stuff to those it deems 'misplaced'.

Next comes Hobie's confrontation with Miles.

Because Hobie knows this is his last movements with Miles before he meets Miguel, and this is where if final push of emotional support kicks in, before he goes quiet in front of Miguel.

And because this conversation is so well layered, I think it's best to go line by line. ______________________________

H: "Bet this doesn't even do anything." M: "Maybe it did before you ripped it out of a wall!"

Hobie has now confirmed that he'll be making an exit soon. And he begins his finally sweep of parts he needs for his watch, stocking up his pockets. He's not stealing to steal. He knows he's leaving and this is his last chance to get what he needs before he's out the door.

"Propaganda, bro! It's to distract you from the truth!"

HOLY SHIT I missed this one. Notice how in this shot, Gwen is not visible at all. Hobie notices they're out of hershot of her for the first time. And his first line is - 'Propaganda.' Their watches can take them anywhere. When Gwen needed to, she was taken to exactly where she needed in Mumbattan. But when they're heading towards HQ, Jessica makes them walk through the lobby. They could have been sent directly to Miguel's station, but instead she makes them do the whole tour, which serves as a flex of muscle. In order, Miles was shown the massive number of members in the Society, then their prisoners, then the go-home-machine. Only THEN can they see Miguel. All of which was intent to intimidate Miles on purpose. Hobie tells him directly: 'Everything you just saw was propaganda.'

M: And what's that?

"I ain't got a Scooby Doo, mate. Cause that's what they want."

One of the most iconic and notable of his quotes. Cockney aside, this line ties back in with his discussion with Gwen just a couple minutes before. They've done their tour and walk. Both Jess and Gwen have been given a chance to prime or explain to Miles anything, and both have chosen not to. So Hobie simply tells him, 'They want you in the dark. And they're sending you into a fight.'

The next line is:

H: Why do you want to be part of this lot? M: To get a watch. H: Make your own watch.

Miles sucks his teeth at Hobie.

Because of this - Hobie begins to change methods. Which I cannot stress is incredibly perceptive of him.

Miles is exasperated with him. So instead of dissuasion and making the society out to be uncool, he tries to turn Miles' attention towards his family.

"Bet you got a nice setup, huh? Nice parents?"

This line is a very well done one, with two things of notice. First, I find it interesting that the screenplay phrases this line as a question, not a sentence. Hobie is asking. He's taking a shot in the dark here. And this is backed up by his delivery; Hobie hesitates while saying this. The only line in which he does so. He may not know about Miles' mom and dad, because Gwen hadn't met them when she met Hobie. But still, Hobie asks, hoping the reminder of Miles' parents will dissuade him from continuing.

M: They're fine. H: [After this line, Hobie turns black and white momentarily. Potentially a nod to the fact that this conversation is the only 'black and white' one Miles has had so far.] M: But we got into a fight. They just want what's best for me, so...

[Hobie frowns. The scene and dialogue REALLY starts to pick-up from here.]

"That's a bloody shame. Because you're not ready for everyone else."

As the scene progresses Hobie goes from behind Miles, to beside him like an ally. Then, when Gwen finally comes back into frame, Hobie crosses in front of him. When Miles mentions his parents wanting what's best for him, Hobie warns that everyone else does not want what's best for him. At the same time, visually Gwen has her back to Miles, and Hobie puts himself between Miles and Gwen, trying to block his path. The scene is set up to show that in Hobie's eyes, Gwen is turning her back on Miles. She does not have his best interest in mind. Hobie is telling Miles 'They're using propaganda on you, they're keeping you in the dark, and they do not have your best interest at mind. You're not ready for this." And he physically tries to block Miles from continuing, one last time.

Miles goes through Hobie, and now within earshot of Gwen again, this is Hobie's final chance and push to get as much information into Miles as he can - without freaking Miles out. Above all else, he needs Miles to be prepared, confident, and willing to fight back.

His voice becomes more serious, and he starts speaking more straight-forward and a lot less cryptically.

"Listen to me, bruv. The whole point of being Spider-man is your independence. Being your own boss, you don't need all this!"

I think Hobie saying this reveals a lot about his character, especially understanding the context where he's from. While many Spider-men would agree that being Spider-man is about responsibility and power - to Hobie, it is about independence, and freedom. Hobie is a freedom fighter, and one of the only Spider-men besides Noir that knows how to fight systemic threats as well as physical ones. To him, being Spiderman is about being able to free yourself and others. It's about independence and freedom, and he's trying to nail that in Miles' head one last time.

M: Then why are you here?

"Looking out for my drummer, is all."

As the scene is coming to a close, the writers chose this time to reveal some of Hobie's motivations, starting with the independence comment, and now this. Despite knowing about Gwen's deception towards Miles, he is still looking out for her - and Miles. This is the writers' and Hobie's last push to solidify himself as an ally to Miles and the viewer.

M: I want to be in a band. I want to see my friends, and I need a watch to do that. G: Guys, come on.

"Alright, Squashed. Just don't enlist until you know about who you're fighting."

I genuinely had to sit and ask myself why the writers would choose to leave Hobie's collective effort - a LOT of effort - with this line. And honestly, I think it's a perfect segway. Hobie chooses his words very clearly; He doesn't say 'what', he says 'who'. The next scene leads into Miguel's intro, and up until this point, Miles doesn't know who he is. He only knows about the Society, but never who is at the top. We know about Miguel, but all Miles knows is his name. That's why Hobie says 'who you're fighting'. Because the Society isn't really a Society, and this isn't really between Miles and the Society at all. It's a dictatorship - and the person he's enlisting to fight is Miguel. The perfect introduction and warning to the person he's about to meet. He's telling Miles, 'Don't rush into it. Wait until you meet Miguel first'. And when Miles does meet Miguel, he finally sees that this isn't the place he thought it was, just like Hobie said. ALSO EVEN MORE INTERESTINGLY - THIS is one of the lines that is changed between the two versions of spiderverse (there are two theatrical versions on release.) In the alternative he says 'Don't enlist unless you know what war you're fighting.' And I think that the fact the writers chose to publish two different versions of this line goes to show how powerful they knew this line would be in Miles' characterization. There is so much Hobie has left to say to him, but only one line - and so we get two versions. How fun!

With the scene now over, we see a change in Hobie's demeanor, and I love the writers' choice to have the shot linger on Hobie.

We see him give Miles a look that isn't exactly full of confidence, but from this point forward, Hobie chooses to hang back, no longer having any motivation to instigate. He knows his work here is done, and now all he can really do is wait for Miguel to reveal his true colors, and hope that he got through enough to Miles that he will react, and fight back.

And closing out the scene - I noticed that when Peter B. arrives Hobie pointedly says

"Oh boy, Humbling Reality Spider-man has arrived."

All I'll say about this is Hobie has to be Jamaican cause that was so mfing rude shgjfkghjgjkdfjk

Hobie has about three lines between this point and then end of his screentime - Two of which were his lines to Mayday, and his comment during the canon events.

But there is one shot of him before it all happens. And after this shot the movie begins staging Hobie in specific a very different way than anyone else.

The moment begins with Miles' line 'My Dad is about to be captain.'

The camera pans to each character. Gwen, Peter, and Jess all avert their eyes. Miguel looks at Miles. And Hobie is the only one who looks at all of them. Instead of looking down, he looks to the others, in anticipation of whats going to happen. It's also important to note that this was probably news to Hobie. He probably didn't know Miles' dad was a cop - or at the very least going to be captain. So the understanding of just how much trouble Miles is in kinda multiplies in this moment.

Then, this happens

From this point forward, every time Hobie is portrayed, he is shown as separate from the other characters, always being divided from the group - with Miles as the divider. Even as the camera moves, Hobie visually remains - quite literally - as the only person in Miles' corner. And as the scene goes on, he moves farther and farther into that corner.

Until finally the scene comes to a climax, and Hobie gets two shots to himself - delivering his final lines.

"Here we go." - "Hobie, You're not helping." - "Good."

GUYS IM GONNA CRY OKAY IM GONNA CRY

This is Hobie seeing his work pay off. This is him knowing that he got through to Miles and that it was worth it. He's proud of him.

Hobie knew what he came to do, and he used literally every line he said to Miles to the FULLEST extent. He doesn't give a fuck if he's not helping the Society. He's helping Miles. And now he knows his work is done.

Being a punk is not about being a hero, it's about empowering those who feel powerless. HE UNDERSTOOD THE MOTHERFUCKING ASSIGNMENT.

IN SHORT - HOLLYWOOD PAY YOUR FUCKING WRITERS I SWEAR TO GOD.

if you read this far let me know :) thanks bye

[lilithsliltum]

i decided to ordered pizza from a new place nearby for dinner. it was rly delicious but i think i may have overdone it,,,

i dont usually have issues w/ dairy or anything but for some reason about 20 mins after eating i started feeling queasy. i decided to lay down for a bit hoping that would help but it didn’t :( its been over an hour and my poor belly is so bloated and gurgly 😣

[noahsresources]

ROMANCE & RELATIONSHIP HEADCANONS !

i know this topic is a bit overdone, but i wanted to make a more sfw romance & relationship headcanon meme! most if not all of these questions are related to romance and topics that may arise within romantic relationships, but without explicit nsfw topics!

1. what is your muse's sexual/romantic orientation? 2. has your muse been mainly attracted to masculinity, femininity, androgyny, or an even split (between two, many, or all of the options specified)? 3. has your muse been mainly attracted to men, women, non-binary people, another identity not specified, or an even split (between two, many, or all of the options specified)? 4. does your muse find any specific features particularly attractive? 5. what is your muse's ideal first date? 6. would your muse kiss on the first date? 7. where is your muse most sensitive? 8. is your muse a good kisser? are they experienced or inexperienced? 9. is your muse monogamous or polyamorous? would they be interested in a polyamorous relationship? 10. has your muse ever been cheated on? would they ever cheat on their partner(s)? 11. how comfortable is your muse with their appearance and their body? 12. does your muse get flustered easily? how would they typically react to compliments from someone they are interested in/dating? 13. what traits does your muse value in a romantic partner? 14. what traits does your muse want to avoid when it comes to choosing a romantic partner? 15. how does your muse feel about valentine's day? 16. what is/are your muse's love language(s)? 17. what are some of the signs that your muse shows their care/love without saying they love/care about their partner? 18. how does your muse feel about marriage? would they ever want to get married? 19. how many serious relationships has your muse been in? are they experienced or inexperienced when it comes to dating? 20. how does your muse feel about public displays of affection? would they engage in them? 21. is your muse more flirtatious or shy, or does it depend on the context? 22. does your muse tend to take on a more dominant or submissive role in the relationship, or does it vary based on circumstance? 23. would your muse be good at recognizing their partner's needs right away, or would it take some time? 24. is your muse proactive in communication with their partner(s), or is this something they need to work on? 25. does love and romance mean a lot to your muse? do they seek it constantly or let it come when it does? 26. is your muse more likely to be loud and proud about being in a relationship, or are they more quiet about it at first and open up about it over time? 27. is your muse more confident or shy when it comes to approaching someone they like? 28. would it bother your muse if they had differing interests from their partner(s), or would they delight in it? 29. how important is having (a) physically attractive partner(s) to your muse? 30. would your muse ever be in an open/non-exclusive relationship? would it make them insecure, or would they be open to trying it? 31. does your muse develop crushes easily? would they be open about it to a friend or keep it to themselves? 32. does your muse have an ideal "type"?

[feyascorner]

2 | The Fangs Between Us

summary. While seeing him leaving tore you apart from the inside and out, he chose not to see you. He decided what the end of your relationship would be without ever stopping to ask you. You should hate him, truly.

But as soon as you swing open the door, you only have one dying wish.

You want to see him.

warnings. angst, comfort, slow burn, reader is a bard

pairing. Astarion x GN!Reader

parts. TFBU masterlist

a/n. and he finally makes an appearance;,; ik the first two chapters are a bit slow but i think i can start picking up the pace now woohoo!! Reader/Tav’s feelings are supposed to be confusing on purpose but I may have overdone it a tad,,

He hadn’t had time to gather any of his belongings when he left. And while your other companions graciously rid of everything they could into a single box packed away in the corner of the basement, even they could not bring themselves to throw the handheld mirror away–whether because of the intricate designs framing its reflection that surely held value or because of your apprehension for throwing it out, you’re not sure. You haven’t used it yourself, too afraid of even touching its handle out of fear it may crumble away.

One of the orphan children that Cora’s harboring places a cup in front of you. You raise a brow at her, silently asking how Cora’s doing, and she only shakes her head solemnly before scurrying away.

“Where were you at the time of the murder?”

“They’ve already said numerous times where they were,” Lae’zel spits in the Flaming Fist’s direction. “Are all Fists this incompetent, or are you just a special case?”

You run a hand down your face while Gale attempts to calm Lae’zel. Shadowheart’s had her eyes trained on the cups perched around the table for quite some time now, occasionally glancing up to listen to the Fist’s interrogation. Unfortunately, the cups lack their usual alcohol, but you don’t complain about the water with how dry your throat is. You pat her shoulder, and she finally meets your eyes, nodding before resuming her focus on whatever the Fist is saying. You’re not sure yourself at this point.

“As Flaming Fists, we must put the guilty in their rightful place, regardless of whether they’re the hero of Baldur’s Gate or not,” he straightens his back, then narrows his brows at you. “And right now, all witnesses point here. You were seen leaving the tavern with a man reported as missing this morning. Care to explain that?”

You can hear Gale’s chair scrape against the floor. “You can’t be serious. They saved the entire city, for Mystra’s sake! If they wanted bloody murder, they would've been positively drenched in blood by now.”

However, all you feel is the searing stares of your other companions, who remain blissfully unaware of the encounters of your previous night. But you can tell they’re not accusing you, unlike the Fist—they never would—but rather demanding an explanation. You sigh deeply. “I didn’t go home with him. We spoke for almost two minutes before I left.”

“And what proof do you have of that?”

“Considering I woke up in the Blushing Mermaid, I’m sure you can do a little questioning there to find some witnesses,” you stand, the chairs of your leg scratching against the tiled floors. “Are we done here? I need to go speak with Cora, because her husband just died."

“Sit,” he hisses, his fingers reaching for his weapon. “I won’t repeat myself.”

The air becomes tense in mere seconds. It'd been uncomfortable moments ago, but not as much as this—not enough to make Lae’zel reach for her sword as she’s doing now. Your eyes narrow warningly into slits at the Fist, but his subordinates only step forward to stand on either side of him as if daring you to take another step. From the corner of your peripheral, you can see Shadowheart’s palm spark with light. The others occupying the Highberry household, even from outside on the patio, are talking in hushed whispers, all gazes trained on your very breath. And after a suffocating silence, you hear a chuckle from the door.

“Now, Yevir, we shouldn’t be treating our city’s most esteemed citizens with such hostility.”

Grand Duke Ravengard–Wyll’s father–steps into the home, shaking his head. The Fists, who were willing to go head to head with you mere seconds ago, are now turned and saluting the Duke, which makes Lae’zel scoff at your side. “You lot are dismissed under my name. Though I do have a word to exchange with the bard.”

Former bard, you want to correct him.

Your companions exchange an apprehensive glance at one another before you step forward. “And what do I owe the pleasure of speaking with the Duke?”

“You jest. We are all allies here,” he smiles. “Come, we must speak privately.”

You grin wickedly at Yevir as Ravengard steps past you toward the office in one of the other rooms. Yevir only shoots knives with his eyes, and you return the sentiments by sticking out your tongue mockingly, which earns a snort from Shadowheart. Then you quickly follow after Ravengard, shutting the door behind you.

“Have you had any news from my son?” he asks, facing the window with two arms locked behind him.

“Karlach’s been sending a few letters. They’re limited, as you might expect, but they do come,” you say. “She says Wyll is doing alright. They both are.”

He lets out a breath that can’t be mistaken for anything but what it is: relief. “Good. Now, as for what went down between you and Yevir in the other room, I apologize on his behalf. He’s always been too passionate for his own good. Righteousness is admirable, but not when it blinds your judgment.”

“A lot of things can blind judgment. I don’t blame him.”

He turns to you, and despite the questioning gaze in his eyes, he ignores it. “I’m sure you’re well aware of what’s been occurring in the city—you recently received a first-hand experience.”

“So has half the people on the block, apparently.”

“I’m not talking about Cora’s husband.”

He reaches behind his back, pulling out a slim file and holding it to you. “The number of victims is increasing every day now.”

Flipping through the pages in the file, each one is etched with the murder scene of each victim. There’s one with a man haphazardly buried half in the ground, another with a woman collapsed next to the alleyway in Wyrm’s crossing, another of a man bleeding out in the fields of Rivington. You flip the pages again and again until you arrive at one you would’ve preferred to forget.

“Colin Hedgins,” Ravengard says. “Though most of the Fist, including Yuvir, is unaware, his body was found this morning.”

His silvery hair is stained with what you can only assume is blood. His face, which is stretched in horror, makes you wonder if maybe slitting his throat yourself would have given him a more peaceful leave to the afterlife. Not that he really deserved it. You swallow hard, shutting the file away. “So you think I killed him too?”

“No. In fact, I’m sure you didn’t.”

“Then why show me this? This is classified information, no?”

“Each one of these victims has one similarity aside from their brutal deaths,” he frowns. “The puncture wounds on their neck, and the fact that their bodies seem to be drained of blood.”

Your breath hitches. While you’d had your suspicions, surely not all of them could have been of vampires? With Orin and the Bhaal worshippers now defeated or retreated into the shadows, the city had gotten eons safer—this just felt like a slap to your face. One group of murderers after another, it seemed. Instead of replying, you stare at Ravengard with pursed lips, urging him to get to his point.

“Wyll has told me of your relations with the vampires,” he says, and it makes your teeth clench. “He was gone by the time I’d joined your camp, but Wyll tells me you had a vampire for a companion for most of your journey. Could he be involved in-”

“No.” The answer is fast. Almost instant. And while a part of you feels disgusted for defending him, even now, another part refuses to let you live while the city thinks of him as nothing but a bloodsucking monster. Even if everyone thought of him as one now. “He wouldn’t have.”

The worst part is that he fully could have, even if you don't want to believe it. Your mind flashes back to the way his hands had felt around your throat, and for a moment, you can’t breathe.

Ravengard’s expression softens, and you see it again. Pity. Gods, you’d do anything to never see that kind of face again. “I’m also aware that you two had an—-arrangement. One that involved more than just mere friendship. But you must know if we cannot catch the vampire spawns that are running rampant in our city, dozens if not hundreds of more people will die.”

You want to tell him that he should not search for sympathy in you. Because you were once a person willing to get rid of 7000 spawns for the sake of one lover, who only ended up trying to kill you. “He won’t talk to me anyway. I’m sure you also know he didn’t leave on good terms, seeing as you seem to know everything about my love life. I can’t help you.”

The words come out snappier than expected, but Ravengard doesn’t react like he expected this.

“I see,” he says. “Then perhaps you’ll at least be able to keep an eye out. And please, report to me.”

You don’t budge.

He takes it as a sign to leave and moves toward the door. “If you do change your mind, let me know.”

You want to tell him your future is not a matter of what you want. It’s what he wants, and he’s already chosen your fate.

“And is anyone else aware that an entire horde of vampire spawn is living under the city?” Shadowheart says in exasperation. “No wonder they think Astarion’s the one who did it. They think there aren’t any more vampires here anyway! With that many vampires, imagine what destruction they could bring if they miss a few meals!”

“Surely we can convince our sharp-toothed friends to lay low in the Underdark with the others for a while? We convinced half of them. I don’t see why we can’t convince the other,” Gale suggests.

“A warrior who seeks blood shall have blood,” Lae’zel hisses. “I see no reason for them to leave. If I’d been a spawn, I would stay behind a city full of cattle than return to a place of eternal darkness.”

Your head hurts. From continuously sleeping anywhere but the comforts of your bed or from what’s going on, you don’t know, and you don’t care. You just want a nice long bath to wash the dirt on your face and a hot meal to go along with it. Your companions continue arguing, and it’s times like these when you wish Wyll and Karlach were still traveling beside you—they were usually the diffusers of the group.

To an extent, you had been too. Not anymore, though. That was the least of your worries.

“Why must we fix Astarion’s mess in the first place?” Lae’zel adjusts the sword she’d been cleaning on her lap. “We are not dogs to do his bidding. And from what I recall, we have no longer relations with him.”

This finally urges you to speak, almost instinctively. “We have to help. That’s final.”

It's not often that you reinforce your power as the appointed "leader" of the group, preferring to incorporate their opinions rather than choosing all on your own. They all turn to you with a mixture of suspicion and mostly cringe from Lae’zel. Your face flares in response. “I’m just saying we can’t just let a bunch of innocent people die!”

“Of course,” Gale coughs.

You can feel yourself losing your composure, your palms feeling clammy. Still, you straighten your back. “Astarion has nothing to do with me either. I’m doing this for the city.”

“Right.”

You opt to just clear your throat. “I’ll talk to Petras. We’ll figure out a way for all of us to be happy.”

Lae’zel rolls her eyes, but Shadowheart only raises a brow. “And how exactly are you going to find Petras? It’s not like he has a mailbox or an address.”

“I’ll figure it out. Always do,” you smile, and her face softens. “In the meanwhile, I’ll have to rely on you guys to pick up my work for rebuilding the city so I can focus on tracking him down. I don’t think it’ll take too long—maybe a week or so.”

Gale’s face knits together in concern. “And you’re quite sure you won’t need any of us to accompany you?”

“They’re fully capable of taking care of themselves, wizard,” Lae’zel snaps. “Very well, then. We’ll await good news.”

Looking back on it, perhaps you did need the help.

Days upon days of searching, yet nothing. You’re sure you covered almost half the sewers at this point, and you’re not sure if you’re just insanely unlucky or the vampires just left while you’d been searching elsewhere.

But the number of deaths says otherwise. 

So you’d turned to a new approach. If you couldn’t find them, you’d let them find you.

The days stretch longer, with the city being in its summer season. And while you’re grateful, since it means vampires will have less time to hunt, you always despise the way this cloak is sticking to your skin and the hairs that seem glued to your cheeks with the hood stifling any hope of breathing freely. Still determined, you force your legs forward into the darkest alleyways you can find.

Though you’ve had a few fruitless days, pacing aimlessly throughout the city during the dead of night into early morning, a part of yourself keens at the moonlight draping over you tonight.

It had been on a night like this, one where the clouds make way for the moonglow to illuminate what lurks in the city during the night. Though at the time, instead of the comfortable bed in the house you and your companions managed to buy after scraping enough gold together, you were sleeping on a bedroll that did little to shield you from the rocks, doing nothing to even the ground below.

Back then, your companions were nothing but that—companions on a journey you hoped to end as quickly as possible to return to the taverns and bars of Baldur’s gate, where you would spend your nights singing the familiar tunes that your patrons enjoyed most. So after the camp celebration with the Tieflings, when Astarion led you to the forest clearing where you first felt skin other than your own, you realized this adventure of yours was more than just that. It was a new stepping stone in your life.

He’d held you close to him, offering you whispers of affection while his hands ran through your hair. He’d kissed you, his hands caressing either side of your cheek. He’d let you marvel at the scars on his back, his hands resting on your waist.

The same hands that wrapped around your throat months later. You can still feel them sometimes.

Despite your speech to Gale before Cora’s husband showed up dead, you weren’t sure how you would react if you ever saw your former lover again. On nights that weren’t plagued with nightmares, you stayed up, wondering if you’d cry. If you’d reach out for him, embracing him in a hug you never wanted to let go from. If you’d let him brush his knuckles on your cheeks, if you’d let him press a kiss to your forehead, if you’d let him love you again.

You weren’t sure. And a part of you—the part shoved deep inside the corners of your heart—wonders if never seeing him again was a blessing. That regardless of the ache in your heart now, never seeing him would save you from something worse.

So deeply lost in your thoughts, you barely notice the murky figure swinging a pipe at your head.

Nearly scathing the surface of a concussion, you dodge, but he’s too fast. Before you’ve even begun reaching for your knife, the figure swings you toward the wall, and you swear you can hear it crack as your back collides with it. Your vision only manages to straighten itself once the figure has you shoved onto the ground, either of their knees on the sides of your hip. 

Instinctively, your hand flies up to stab at their arm, but you’re no match. They twist your wrist, forcing you to drop the blade, and pins either of your arms to the ground. You can’t see anything but the glint of their fangs against the light.

You’d fought vampires before, and you had never seen one so fast. So aggressive. So primal. Astarion had entertained you with friendly spars, but you’d also fought Cazador to the death. Even he hadn’t been this fast.

“I just want to talk to Petras! I’m not going to hurt you, I–” Your pleas go deaf on their ears.

When you squint, you can finally see the blood staining their fangs, and you realize that they’ve already fed.

They’re fed, and they’re still hungry.

A fed vampire, is a strong one, you remember. And if you add their hunger on top of that...

Even as you try to yank yourself away, they only squeeze their grip harder, enough to cut off blood circulation. The color drains from your face, your expression almost fearful. No, it does scare you. It scares you that this is only a spawn, but they can still attack someone so ferociously. It scares you that Astarion could have done the exact same thing to you.

The spawn yanks your head to the side with a claw on your hair, allowing them access to your throat. You thrash and kick, but to no avail, forced to watch as they’re about to sink their teeth into you. You hate your mind because even at death’s door, all you can think about is him.

Is this what he would’ve done to you had your companions not been there to save you?

Is this what he wanted to do the day he first approached you, asking for your blood?

Anger burns in your chest, and with the last bit of your strength, you lift your head and bite them first. Your teeth sink into their throat, feeling the break of skin just before they rip you away, wailing in pain as you’re carelessly tossed to the ground. As they grasp at the wound on their neck, you take the opportunity to lunge for your knife.

You feel genuine rage for the first time in what feels like forever. No self-pity, no dejection, no sorrow for losing the man you’d given everything to, but rage for the state you were reduced to just because of him. And that while his leaving tore you apart from the inside and out, he chose not to see you. He decided what the end of your relationship would be without ever stopping to ask you.

You thrust the blade into their chest, and they stop. It’s no stake, but it’ll do for now. And as their throat gurgles with blood, all you can hear is the desperate panting of your own breath when their body falls to the ground, face first. 

You pray they’re dead.

Then, your vision in one eye blurs with red. When you lift your hand to your forehead, you feel the warm blood trailing down, probably from when you collided with the wall. The little strength left in your legs vanishes as you reel forward, your knees crashing onto the mud beside the spawn.

Though you thankfully manage to collapse on your back rather than your poor counterpart who’s probably choking on the dirt and grim of the city grounds even in death, you can feel your head going light, even as your hands tighten around the knife laying on your chest. You greet the moon again, this time with a breathy laugh.

Seluné must be smiling back at you, surely.

You’re not sure who’s standing above you when you open your eyes again, being only seconds away from entirely blacking out. But you think it must be an angel, with his snow-white curls and how he revels under the veil of the moon. You want to reach out to him, but your shaky arm says otherwise.

He’s beautiful, you think, even if you can’t make out his face.

You hope the angel doesn’t pity you.

Apparently, heaven is at Elfsong Tavern. You’d imagined being greeted with the smell of roses and a fresh stream rather than the overwhelming stench of booze, but you suppose it’s fitting considering how you’d died in a puddle of what you assume to be a concoction of cat piss and your own blood.

No, that can’t be right.

Looking around frantically, you lurch forward, the sweat and mud sticking your hair to your skin. Multiple pairs of eyes bore into you. You’re slumped in the tavern's kitchen, several Fist soldiers peering at you curiously. And finally, you manage to make out Shadowheart, whose hands are hovering over you with a gentle glow.

“Lay back down, I’m almost done,” she frowns.

You ignore her request. “The spawn! I’m not sure if they’re dead–”

“Never mind that,” she snaps. “They found you blacked out on the ground next to a dead body and a broken wall. What in bloody hell happened last night? Do you know how much it scared us when the damn Fists were banging at our door at 4:30 in the morning?”

Your head spins, and you clutch at your head. “Got ambushed. I tried to talk to them, but apparently, they just wanted a midnight snack.”

“Heavens above,” she breathes. “I knew this was a bad idea.”

“No, I was so close, Shadowheart,” you shake your head frantically, smearing at the mud still plastered on your face. “I’ll be more prepared next time. If I manage to just capture one of the spawn alive, I could ask them where Petras is-”

There’s a loud yell from the hatch leading to the basement. Your head whips in its direction, then to Shadowheart, staring at her inquisitively.

She sighs, finally lowering her hands to her side. “Look, I need you to listen to me very closely. As your friend, I can’t have you losing your composure in front of the Duke downstairs. They’re in the hideout, but they’re also with–”

You hear Gale’s voice holler. “You’re the only one who knows them well enough, Astarion!”

Suddenly, your blood runs cold. While Shadowheart tries to keep you still, nothing can stop you as you yank the hatch open, sprinting downstairs. You run through the secret entrance to the hideout, your mind racing rapidly with words you can’t even decipher because they’re going by so fast. You want to hide away and barge into the room simultaneously, and the pounding of your head does nothing to help.

You're different now, you assure yourself. A part of you hates him for what he did, and you're willing to act on this hatred. You won't be passing out on the street, drunk on the pit of isolation he left behind, praying he'd appear from thin air and assure you things are fine. You're better now, and you did it all without his help.

But as soon as you swing open the door, you only have one dying wish.

You want to see him.

The room is cold–empty, except for three figures alongside two more guards standing at the door. Ravengard, standing at one end of the circular table, has his arms crossed, brows knitted together comprehensively. Gale, who had been pacing back and forth around the room, freezes instantly when he sees you. So does everyone else.

“Ah, and here comes the star of the show.” You haven’t heard his voice in so long. It almost feels foreign.

Standing between the other men on either side of the table, Astarion’s eyes bore into you, lips curled in a grin barely showing off his fanged teeth. When you lock eyes, yours grows wider as you take him in.

He looks almost the same. The same curly white hair, the same blood-red eyes, and the same smile that once brought you joy yet now only fueled the endless longing of your nightmares. While you expect yourself to feel anger, relief, or shock, all you feel is the rapid beating of your heart, your mind void of everything besides how uncomfortable the dried mud feels on your face. Your breath hitches as he lifts a finger to the side of his head. Only then do you also feel the warm liquid sliding down your cheek.

“You’re bleeding, darling.”

With the inevitable urge to barf up nothing from your empty stomach, you're back to being the same person as you were four months ago.

Tags: @ayselluna @littleenglishfangirl @bg3obsessedsideblog @iwillpissyourpants @cyberpr1m3 @ukeia-uchiha @snowlotr @road-riot @spacekidnova

[constantlystuffed]

My stomach is so full, it’s distorting the shape of my belly! I may have overdone it just a bit.

[isaacarellanesismyhusband]

too far

pair: Fred Weasley x reader

summery: Fred has always been the king of pranks, but one day he goes a bit too far, and he Fred spends the rest of the day trying to make it up to you with adorable gestures until you can’t help but forgive him.

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It had started out like any other day. You’d gone down to breakfast with Fred, laughing at his usual banter with George, and sharing a few secret smiles across the Gryffindor table. Everything was normal—or so you thought.What you hadn’t known was that Fred had been planning a prank for weeks, something he’d been brewing up in his mischievous mind with George, and unfortunately, today was the day it would unfold.

As you wandered into the Great Hall after your last class of the morning, you didn’t notice anything strange at first. That was, until the entire room went dead silent. You blinked in confusion as heads turned toward you. Whispers started to rise like the rustle of leaves in a storm.

You furrowed your brow, glancing around. "What...?"

That’s when you caught sight of your reflection in one of the windows. Your heart dropped.

Your face was entirely green. Not just a faint tint—no, your entire face was an alarming, bright emerald, as if someone had dipped you in paint. And your hair? Oh, your hair. It was floating above your head, static and wild, sticking out in all directions as though you’d been struck by lightning.

"Oh. My. God." Your voice came out in a strangled whisper.

Laughter erupted, and the students around you couldn’t contain themselves. You could even hear some of the professors trying—and failing—to hold back snickers. You felt heat rush to your cheeks, though it probably wasn’t noticeable under the neon green hue.

This had Fred Weasley written all over it.

You stormed out of the Great Hall, not bothering to look back as the giggles followed you. You could feel your pulse quickening, your anger bubbling up. You loved Fred and knew what you signed up for when you started dating him. But this—this was mortifying. Public humiliation in front of the entire school? It wasn’t just a simple prank. It was just too much.

You headed straight for the common room, desperately trying to calm your breathing. When you reached the dormitory, you stopped at a mirror and tried to undo the spell, but nothing worked. The green was still there, and your hair continued to defy gravity.

That’s when Fred found you.

You didn’t hear him at first, too caught up in your fuming frustration. But then his voice came, soft and sheepish.

“Hey… love.”

You spun around, your eyes narrowed at him. Fred was standing in the doorway with a guilty look on his face. He looked like a puppy who had been caught chewing on shoes.

“Don’t ‘love’ me, Fred Weasley,” you snapped. “This—this is too far!”

“I... I may have overdone it a bit,” Fred admitted, scratching the back of his neck. "I thought it would wear off by now, honestly."

“Well, it hasn’t,” you shot back, crossing your arms. “And now I’m green and my hair is a mess! Do you know how embarrassing that was?”

Fred winced, taking a small step forward. “I didn’t think—”

“No, you didn’t,” you interrupted, giving him your best death glare. “You humiliated me, Fred. In front of everyone.”

He opened his mouth to respond but closed it quickly, looking genuinely remorseful. For a moment, you thought he was going to come up with some cheeky remark, some joke to lighten the mood. But he didn’t. Instead, he just nodded.

“You’re right. I shouldn’t have done that. I’m sorry,” he said quietly.

You looked at him, still angry, but you could see the sincerity in his eyes. It softened your heart just a little, but not enough to let him off the hook.

“I’m going to make it up to you,” he added quickly, noticing the flicker in your expression. “I promise.”

You raised an eyebrow. “Oh really? And how do you plan to do that?”

Fred’s eyes brightened a bit as if a new idea had sparked in his mind. “Give me a chance. I’ll fix this.”

Without waiting for your response, Fred dashed out of the room, leaving you standing there in confusion. You sighed, still furious, but there was a part of you that was curious—what could Fred possibly do to fix this mess?

Throughout the rest of the day, Fred tried everything.

First, he sent a bouquet of enchanted flowers that followed you around the common room, apologizing on his behalf every few minutes. "Fred is sorry!" they would chime in unison, but that only annoyed you more.

Next, Fred appeared with your favorite sweets, freshly baked chocolate, and your favorite pastries from the kitchens, delivered with a sheepish grin. "I’m still sorry," he said, trying to offer you one. You accepted the pastry, but it didn’t mean you were any less upset.

Later, he charmed your textbooks to dance around you, but you gave him a deadpan look, and he quickly put an end to it.

By dinner, you found yourself back in the Great Hall, still green, still trying to avoid everyone’s gaze. Fred, however, was relentless. He stood by the doorway with a large sign floating above him, reading: Forgive me, Y/N!

As you sat down, your anger had started to melt, but you weren’t quite ready to forgive him yet.

Finally, when you thought the day couldn’t get more exhausting, Fred approached you outside of the common room, where you’d retreated to escape the stares. He wasn’t carrying gifts or pulling any pranks this time. Instead, he held something small in his hand.

“I know I’ve been driving you mad all day,” he said softly, stopping a few feet away from you. "But… I just wanted to give you this."

Curious, you glanced at his hand. It was a small, golden locket in the shape of a star. He opened it to reveal a tiny picture of the two of you together, taken just a few weeks ago. You were both laughing, looking so happy. Your chest tightened.

“I wanted to get you something real. Not to apologize for the prank, but because I care about you, and I never want to hurt you,” he said, his voice sincere. “I’m really sorry.”

You blinked, taken aback. This wasn’t like Fred—he was always goofy, always trying to make light of things. But here he was, looking so genuinely sorry that it made your heart swell.

For the first time all day, you smiled. “You really went all out for this apology, huh?”

Fred’s face lit up at your words. “Does that mean I’m forgiven?”

You sighed, pretending to think about it. “Well… I suppose I can’t stay mad forever.”

Fred grinned and closed the distance between you, pulling you into a tight hug. You could feel the tension melt away as his arms wrapped around you, warm and comforting. “Thank Merlin. I don’t think I could’ve come up with any more grand gestures.”

“I think you’re done for the day,” you chuckled, resting your head on his chest. And in that moment, you forgot all about your green face and wild hair. Because Fred’s embrace was more than enough to make up for the prank, and somehow, you knew you’d always fall for this ridiculous prankster.

[mellxncollie]

Part 1 of looking into some of the technical cinematography aspects of the show

(or, why does Dead Boy Detectives look Like That?)

(update 6/30/24: there's now a part 2! check it out here)

Dead Boy Detectives has some interesting things going on with the cameras. You probably noticed it at some point while watching the show. Whether it was the weird blurs or the sort-of-fisheye, there’s something about many of the shots that doesn’t look the way many people expect TV shows to look.  

The main reason why is because it uses an anamorphic lens instead of a spherical lens. These lenses are pretty different from spherical lenses, and the recent rise of anamorphic lenses in TV has not been without some pushback, as viewers unaccustomed to them may find the look weird, distorted, or that it pulls their focus away from the content. Whether you enjoy how Dead Boy Detectives looks or find the cinematography distracting, this post is designed to explain the different effects that the lens has on the show.

This post is very long and very graphics heavy (I made lots of gifs to illustrate my points) so the rest is under a read more.

What is an anamorphic lens and what is it used for?

To begin with, a bit of history and technical info. Say you’re making a movie at most any point before the mid-'90s and you want it to be widescreen. However, the 35mm film you’re shooting on has a smaller aspect ratio (closer to a square than widescreen). You could use letterboxing (black bars on top and bottom) but then you waste the top and bottom parts of the film, and it ends up being slightly lower in ‘resolution.’ The solution: use a lens that records the full height onto the film, but squishes the picture horizontally so that it fills up the whole film frame without any letterboxing. Then, a projector (or a computer) can stretch it out again to display the whole thing in widescreen. The kind of lens that can do that is an anamorphic lens. They've technically been around since before the 1920s but were mostly used between the 1950s and the 1990s.

Up until sort of recently, television networks broadcasted using a smaller aspect ratio that they required shows to be in, and TV shows were not given the kind of cinematography budgets that movies were afforded. Anamorphic lenses are expensive and for widescreen, so they really just weren’t used for TV shows. Instead, a spherical lens was used, which is just the standard lens you think of when you picture a camera lens. 

In the 90s, new flat/spherical film formats came out that allowed for widescreen (one of the popular ones being Super 35) caused anamorphic lenses to drastically drop in popularity. However, there has been a recent resurgence, one that you’ve probably subconsciously noticed in both film and television.

In the last 10-15 years, TV has been given larger and larger budgets. Additionally, the rise of streaming services and the use of phones and computers to watch shows rather than actual televisions has meant that networks have started allowing wider aspect ratios, paving the way for anamorphic lenses to begin to be used for series. 

The history of these lens’ usage means they’re associated with a ‘cinematic’ look. They have a lot of characteristic effects that are not really ‘natural’ and depending on the viewer, this either enhances the experience or detracts from it.

Lots of recent series have been embracing these lenses (to varying degrees of success), including The Witcher, Sandman, Shōgun, Narcos: Mexico, The Mandalorian, Andor and Chilling Adventures of Sabrina. Doctor Who also started using anamorphic lenses at the switch to the 13th Doctor, so that may be a good reference point. For some of these, it’s a very subtle look, for others, the lens choice is glaringly obvious and overdone (I’m looking at you Sabrina), and sometimes, as is the case with Dead Boy Detectives, it’s really obvious but it remains an effective and compelling choice. 

Why use an anamorphic lens in the 21st century when you could just use a spherical lens?

Anamorphic lenses create a look that some filmmakers desire, whether for their associations with a more cinematic look or their sometimes unusual quirks. In a film and tv world filled with spherical lenses that are nice, clean, and precise, anamorphic lenses introduce some irregularity and character. Making an informed decision on what kind of lens to use can enhance different themes of the work. 

I want to briefly bring up Moonlight to illustrate this point. Go watch the trailer if you haven’t seen it, and you’ll probably see some parallels with the cinematography of Dead Boy Detectives. There’s less of the ‘radial’ look, but otherwise, there’s a lot of the same kinds of things. Moonlight uses an anamorphic lens and it makes the whole thing look dream-like, nostalgic, and a bit like we’re getting into the character’s heads. To me, it indicates that the story is being filtered through people. We’re not detached from the characters, observing them. The story we are watching is personal, emotional, and necessitates intimacy. 

Dead Boy Detectives really benefits from the same visual effects. This is not because it enhances a dream-like or nostalgic quality, but because in the context of the show, it makes it look a bit otherworldly, magical, or otherwise supernatural. Additionally, the constraints of the lens means we get lots of focusing in on individual characters, with nice long looks at their faces allowing for more reflection on their dialogue and reactions.

So, here’s 5 different effects of anamorphic lenses to point out to you all. Starting with the one that allows us to easily identify that anamorphic lenses are being used in the first place.

You’ve probably heard of bokeh before. It's the way the lens renders the direct sources of light that are in the background but out-of-focus. You can see in this shot of Jenny how all the string lights are not circular, but elongated. On a spherical lens, these would be round.

In this next shot of the Cat King, the candles around the floor are all those elliptical shapes. Additionally, lots of other details in the background that aren’t from direct light sources also have an elongated shape. This is sometimes called waterfall bokeh.

Finally, check out this shot of one of the cats. Not only are the lights in the background irregular and elongated, but if you look to the left where the ‘horizon’ line is, there's a series of elliptical shapes where the light hits the edge of the docks.

The bokeh effect is one of those things that just happens because of the lens, and makes it pretty easy to identify that an anamorphic lens is being used. Unlike some of the other effects I’ll mention, I don’t have much to say about how this does or doesn’t add to the visuals.

Breathing is how the field of view changes when you refocus to a subject closer or farther from the lens. While spherical lenses also breathe, there’s a much more distorted look to the breathing that occurs with an anamorphic lens.

Lets start with this shot:

You can see how much the frame widens when the focus shifts from the jar of coins to Jenny. It affects the edges much more than the middle of the frame. Here’s the same shot, but with some of the features outlined (forgive my messy outlining, I used my laptop trackpad) so you can see the movement.

The frame widens when the focus goes from the foreground to the background. It appears like the whole shot is being stretched apart horizontally and compressed vertically.

However, it also does the reverse, narrowing as the focus moves from the background to the foreground.

(also in that last shot of hell, notice how the two points of light in the background elongate into those oval bokeh once they are no longer in focus)

Breathing is a very dramatic way of refocusing, and it forces us to pay attention to different things. In the shot of the Night Nurse, we have a light but the important thing after it turns on is not the light but the reaction that the people have to the cause of the light. In that shot of Niko and Edwin, it’s telling us: listen to Niko. In the shot of hell, it’s not letting us forget what the characters are running from. 

The next effect is the lens flare. You can get a lens flare from a spherical lens too, but anamorphic lenses typically generate strong, horizontal flares. A spherical lens would typically create a more radial flare, with multiple lines shooting out in different directions from the light source like rays from the sun.

We see these all over the show, sometimes they’re very prominent, such as in these shots with obvious light sources:

And sometimes they're a bit more subtle. Take this shot of Edwin, Charles, and Crystal on the dock:

While the lens flare at the top of the frame has a clear source, there’s a bunch of other horizontal lines cutting across near the middle and bottom half of the frame. These likely come from light sources outside of the frame.

Some directors, cinematographers, and other creators really like anamorphic flares. Others don’t. For a show with so many dark scenes that have colorful and dramatic lighting, the lens flares seem to enhance this. They are also a constant reminder of the interaction between the lights and the camera, kind of a fingerprint of the production. Sure, they make it seem more ‘cinematic,’ but I think they also ground us in the physicality of the production. (Kind of ironic given the lack of physicality of the main characters, and also you could consider the flares themselves to be the ghosts of the lights and the camera!)

Barrel distortion is where we start getting into why exactly the show looks the way it does. This is basically a subtle fisheye effect. Because of the squishing and stretching of the footage, anamorphic lenses have more distortion than spherical lenses, and it is strongest around the edges. 

You can see it most clearly in shots that have lots of vertical lines. They are relatively straight in the middle of the frame, but the closer to the edges, the more they are warped.

Looking at that shame shot of Niko in the bathroom, I have set it to stop at 3 different spots. Pay attention to the shape of the edge of the door.

At the start, it’s curved outward, like an open parentheses: (

Then, in the middle, it’s a vertical line: |

Finally, as the door passes all the way across the frame to the opposite side, it curves inward, like a closed parentheses: )

Again, notice how the lines in this shot of the Lost & Found Department change as they move from the outside towards the center. The door has an outward bulge at the beginning but becomes more 'normal’ shaped as it gets further away.

Anamorphic lenses can also have a pretty shallow depth of field and it’s used a lot in this show which is why we get a lot of those centered close-ups, and why we get that ‘radial blur.’ 

The center of the frame is where the actors are least likely to be distorted, meaning its easiest to have just one character in the dead center (pun intended). With a shallow depth of field, the background is out of focus, and since the actor is in the center, the background gets the most affected by the barrel distortion, leading to the sense that the background has been radially blurred. 

This blurred background with a strong, centered foreground really makes objects in the foreground pop. We are then able to really focus in on different objects and characters. It brings immediacy and intimacy. Here, we have nothing to do but consider Charles. He isn’t speaking so we must consider his reaction to what’s being said. 

Also, the further a character is from the center of a shot, the more they are distorted, such as Edwin and Charles in this still:

This kind of distortion definitely lends a more unnatural look to the shots, which definitely supports a show about ghosts and the supernatural. If the subjects are able to see things in our world in a way the viewers cannot, then why display the physical world the way we see it?

Finally, we have focus falloff. This is (like some of the other effects) a distortion that occurs around the edges. Here, the focus decreases the further from the center of the frame even if they’re all about the same distance from the camera.

In this shot of the Tongue & Tail, the sign 'Butcher Shop’ is clear and legible. But imagine if that sign was up in the top left or right corners, where things start to get blurry. We probably wouldn’t be able to read it.

It's also visible in this shot of Edwin. Not only does the floor get blurrier the further you get from the center, but you can see how the rope is less in focus in very top and very bottom of the frame.

The falloff (combined with the barrel distortion) is how we get the really unique dream-like look of the Edwin and Niko scene on the roof in Episode 8. (If you’re having a hard time spotting the falloff here, look at their legs)

When you start looking for falloff in this show, you start to see it everywhere. It’s easiest to spot in the corners of shots, but you can usually see all the way around the edges.

Look at the corners of this still of Edwin, or the way the top and bottom of Niko’s rent envelope aren’t as clear as the middle of it.

Or in this still, look at Charles’ jacket. The arm closest to the center has a much more defined line between it and the background compared to the arm closest to the edge. 

This blur definitely is one of the more noticeable effects in the show, and it’s good at focusing our attention on the center of the frame. It guides the viewer exactly to what we should be looking at. We get tons of centered shots in this show because of this and the barrel distortion. 

The falloff makes the show look softer and artistic, sometimes painterly or impressionistic. More than any other effect, the falloff is what makes me feel like I’m watching a dream or a vision. It puts us into the sensation of being fully immersed in a story.

I would argue that all of these effects (but especially the last two) not only enhace the supernatural aspect of the show, but they help us fall in love with the characters. They focus us on their faces, and encourage us to reflect on their motivations, reactions, and thoughts. The lens is telling us that we are not to take things at face value. It’s not letting us forget that there are multiple people and multiple stories involved, that things are blurry around the edges, and that things are not perfect and clean-cut. 

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Sometime in the next week or so I’ll be working on part 2, where we’ll take a closer look at the cinematography of Edwin’s flashback to 1916 in Episode 1. It's posted! Read it here.

I really wanted to highlight the work of the cinematographers, Marc Laliberté, Craig Powell, and Pierre Gill because it’s clear that there was so much care and intention put into every aspect of this show. 

I’m so glad fans of this show are really embracing the work of different crew members, like the work of costume designer Kelli Dunsmore (and if you somehow haven’t seen @captainfantasticalright's posts about the costumes and other aspects of the show, please go check them out right now. My roommates and I have a kind of 'stop everything, new costume analysis dropped' attitude towards their posts, and their approach to show analysis was definiteily an inspiration for this)

If you want to read more about anamorphic lenses, the article Why ‘Shogun’ (and the Rest of TV) Is Slightly Out of Focus in The Ringer is about Shōgun and the rise of anamorphic lenses in TV (Marc Laliberté also worked on a few episodes of Shōgun) and it's a great place to start.

Finally, I want to first thank @skyvoice for these tags on one of my gifsets for semi-inspiring this post (I was already considering making this but these made it into a reality).