#deeper thoughts

[unspokenvoicesss]

If someone really loves you, he/she will never leave you at all in any condition. Instead, they will try to find a way to make things work by sticking side by side.Thats LOVE.

#mentally bruised

[astearisms]

fionna and cake drawings before and after watching the episodes so far. it’s nostalgic and somehow cathartic and poignant and relatable and—it just started

[mychapel-004]

FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!

i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.

i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.

in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.

this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable

it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.

then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.

he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.

finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.

it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.

in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.

[spielzeugkaiser]

[MASTERPOST] - [prev] I just want you to imagine Jaskier, very early post trial, mostly nonverbal, not in control of his strength yet being just such a creepy kid sometimes. (His parents still love him obviously.) I also have a feeling that Jaskier is subconsciously 100% stressed at all times and wants to do his absolute best to please his parents and make zero mistakes so that they won't send him away again. (They didn't and he knows that, but he is just a traumatized child.)

[beescake]

I LOVE SOLKAT AND I LOVE YOUR ART SO MUCH UGHHHHHH their dynamic is one of my favorites and your art made me love them even more

AYY HAPPY TO HEAR THAT !!!

HAPPY TO SPREAD THE AGENDA <3

[heavensenthearty]

Do you guys ever think how Zuko is the only person who proves Katara that he won't leave her again?

Katara has abandonment issues. That's why she was so angry at Hakoda when they saw each other again, that's why she became so anxious when they had to separate, that's why she lashes out at Zuko himself, bringing up her mother's death. It's implied throughout the series that she has been abandoned physically and emotionally by the people she held dear.

Of course, Hakoda acknowledges and apologizes, but we don't see him making the effort to show Katara that he won't make her feel that way again—(which is probably due to the pacing of the story, although it's still a poor writing choice, but I digress).

But we see Zuko making an effort.

After betraying her, he is determined to make it up to her by any means. Even when she is openly hostile to him, he remains respectful and protective of her. He is constantly showing kind and heroic gestures. He goes out of his way for it in TSR to help her confront her feelings of grief and resentment, and saves her life yet again during Sozin's Comet. He expresses he has her best interest at heart through words and actions.

Thinking about all of that makes their relationship and personal character journey even more beautiful.

[ruporas]

happiness today and tomorrow (ID in alt)

[crystallizsch]

okay hi so listen hear me out

sea snake is a bit too obvious (and too boring)

so i made him based on some kind of lionfish??? (bc something something venomous marine animal) also with a LOT of creative liberties i made with how the fish looks like

let’s also give his fins some rips and tears here and there bc what are the implications of that??? that’s for you 🫵 to decide

anyways chat i lowkey dont know what i was doing

i had no other thoughts but haha funny snake man i turn into fish

[annymaght]

Something I wanna talk about with Kenji's character in Chaos Theory is the recurring theme of Claustrophobia.

Mickieart, who designed the interior of Kenji's trailer, said that they designed it to feel minimalist but also claustrophobic.

(By mickieart on Instagram)

When Kenji has his panic attack after losing his dad, he tries to open the door despite the car not having even stopped yet.

Claustrophobia is a really strong way to convey Kenji's emotional state.

He feels trapped in his current life, having lost Brooklynn, then Darius when he hid from everyone, and his dad is in a halfway house. Not only does he feel isolated, conveyed geographically, but he can't escape that mindset that everyone around him is disappearing and he can't reach them, either because of death or resentment.

He must also feel trapped in the feelings he still has for his father, that he still loves him even after everything, which is why he lives so close to him. But of course these feelings haven't quite risen to the surface yet.

So when he dies, those feelings boil up and he becomes even more claustrophobic than before.

Kenji trying to open the door in that scene is a small action that speaks volumes. Amazing.

[constellations-and-energy]

like doesn’t it make you angry? doesn’t it make your blood boil? scroll - loud as fuck advertisement - slows your scrolling - scroll - post about a trans person about to lose their housing - advertisement promoting gambling - slows your scrolling - post begging you to reblog vetted Palestinian GoFundMe’s - advertisement about how the job market sucks so you should try This Job Search Website Instead - get frustrated - close app - open different app - first post is an advertisement promoting AI - close app - sit there silently for 5 minutes before you open the first app again - advertisement for the upcoming election - scro- ARE YOU NOT TIRED???? ARE YOU NOT EXHAUSTED??????? ISNT THERE MORE THAN THIS?????? ISNT THERE????????

[post-it-notes7]

DIDIR FALSPAR GET HIT IN THE EYES?!?!@?")# IS HIS VISION OK???

His vision is going to need a moment! Luckily, his sense of touch is (mostly) still there.

[devotion-disorder]

ok since you listen to drama cds which japanese VAs suit the elves (this is totally not suspicious and i will not look those voice actors up when you answer)

love you for this. muah

Killian: 佐和真中

Asa: i dont know actually. 猿飛総司 mayhaps?

Yuri: 彩和矢

Mishka: 冬ノ熊肉

and i know you didn't ask for this but:

Kuuya: 一条ひらめ　(but like, imagine if it was more high pitched)

Noel: 湯町駆 or 五日天峰 mayhaps?

[shanksxbuggy]

The fact that Shanks is drinking heavily in reaction to Vegapunk’s message, just like Rayleigh, it’s likely he’s drinking because he already knew the truth of the world sinking and some other dark truths. While it’s unlikely Shanks knows the whole true history like the other Roger Pirates, he has to know enough about something to make him drown himself in alcohol. He’s not acting surprised or worried about people.

Buggy having this kind of reaction, I think Oda is continuing to highlight Buggy’s cluelessness. This further confirms that Buggy really didn’t know anything. Ever since his flashback of him eating the devil fruit he’s been painted as kind of an outsider in the Roger Pirates compared to Shanks.

Buggy’s cluelessness might be the very thing that saved him from becoming a despondent drinker like Shanks and Rayleigh. Oden once said he didn’t know if Buggy was lucky to get sick or not which prevented him from going to Laughtale…maybe because he didn’t discover the truth, Buggy was still able to keep his fiery passion and dreams. This might be the very thing that will help save Shanks from his depression…

[beccawise7]

"The beauty of human connection defies logic, tradition, and our inherent beliefs. It drives our need for passion, touch, and understanding from those who see us as we are, not as we pretend to be."

~beccawise7💜🖤('23)

[fidelishaereticus]

so, old news obvious news blah blah, but i keep seeing people not getting this about my girl gideon nav so have to say: i think at first blush, people get the impression that Harrow’s got all the convolutions and layers and hidden vulnerability whereas gideon wears her heart on her sleeve and is just brazenly herself (a loveable rowdy himbo) & that’s the contrast. and yes, that’s there, but that’s not all. that dynamic itself is a part of their mutual (codependent) front, and like everything else in this book, it gets peeled back. 

i think the real contrast is that they’ve both got masks, and those masks are complimentary. they’re both kids who never got a childhood. they grew up tortured in the same place from very different angles with no one but each other to butt heads against. they both had to play-act grown up versions of themselves with few models for what a well-adjusted adult even looked like. so it’s cartoonish. gideon is the plucky hero of her own adventure story that will totally have a happy ending some day, far far away from her nemesis whom she’s totally not in love with. harrow meanwhile (to grossly oversimplify) has to imagine herself as someone cruel and cold enough to cope with being alive at the price of 200 other people. these two things fit very well together. gideon can play the hero to harrow’s villain, and harrow can enact cruelty toward gideon to make herself feel strong and mean (and generally just to vent anguish). the way they hate one another is a kind of mutual protection - it re-enforces the self-image that each of them needs to get through the day. but that’s the coping mechanism. harrow the ruthless bones overlord. gideon the hapless swords idiot, who thinks of nothing but tiddies & sweet sweet vengence (harrow’s corpse in various states of disgrace ) all day. and behind that they’re both tearing apart at the seems beneath caricatures of themselves that are deeply unsustainable and neither of them feels safe letting on the extent to which that’s the case. their hearts are a goddamned mess. neither of them is wearing that shit on their sleeve.   so yeah, there’s a lot more to gideon than being a swords himbo but that’s not the wild thing. the wild thing is she’s so convincing that she somehow manages to sell people on her no braincells act while being the pov character of entire first novel.

- 

[gonnadosomethingwmylife]

the funniest thing suits could’ve done is make harvey reveal in therapy he and mike drunkenly hooked up once and never talk about it again. Nothing in canon changes.