Bruce Springsteen
↳ I'm on Fire (Paris, 1985)
[ID: Two black and white gifs of Bruce Springsteen from the side as he sings "Sometimes it's like someone took a knife, baby, edgy and dull / And cut a six-inch valley through the middle of my skull". /end ID.]
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back in elementary school, i was selling girl scout cookies inside a walmart. an older gentleman came over to buy a box, and he asked which was my favorite kind. i told him thin mints, he smiled, bought a box, and handed them back to me. i wonder how he's doing now
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I think one of my favourite visual details about TAU (2018) is its unique approach to the whole “robot/ai whose eyes turn red when they turn evil” trope. The way the colour of TAU’s display gradually changes over the course of the movie is just so lovely and so immensely important to me.
The rest of this post contains spoilers for basically the whole movie, so if you are concerned about that, please feel free to go and watch it first! This post will still be here when you are done :]
Initially, TAU’s light is completely red - aside from a slight orange tone in the centre of his “iris” - when he is still in his emotionally blank, unquestioning, “factory settings” state. The orange tones become more prevalent as he begins to speak with Julia, and the inner rings adopt an increasingly vibrant green as they interact more and his care for her and curiosity about the outside world grow, along with his defiance and resentment of Alex.
Once TAU reaches the point at which his loyalties lie firmly with Julia, only the outer edge of his display is red, the centre being a gradient from orange to bright gold to bright green, and glowing so much more brightly as well. When he shares his symphony and his being with her, all of his projections are made up of pure warm, golden light, flecked with green.
When I first watched it, the colour change was so gradual that I barely noticed it had changed until near the end, where he had all of his memories erased and his display reverted to being completely red like it had been at the very beginning, the intensity of his lights dulled back down as well. It was such a jarring change all of a sudden, and really helped to hammer home the realisation that all of his development as a person, the things he had learned and his time with Julia had been ripped away.
But perhaps one of my favourite touches is made evident by the drones TAU controls; they, too, have “irises” of red light at the beginning and gradually change colour along with the rest of him over the course of the movie, but when the drone Julia escapes with at the end wakes up and its eye glows only green, it’s just such a beautiful and relieving moment…
I could go on and on even more about the way colour and light are used in TAU because I absolutely adore it, but this is just what I was very focused on and appreciative of in my recent rewatch and I really wanted to shout from the rooftops about it for a little bit. I kept thinking about how much I loved seeing this reversal of the aforementioned trope; an AI whose light changes colour not to signify an impending cliché evil rampage, but to reflect positive change - growth and healing, the development of empathy, remorse, self-worth, loyalty, love.
It wasn’t at all what I expected from this movie when I first decided to watch it in 2019 but it was so pleasantly surprising to me, and these heartfelt and sincere themes are the main factor that secured TAU its place as my main comfort movie.
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2024 reads / storygraph
The Maid and The Crocodile
standalone YA high fantasy romance, set in the world of Raybearer (10 years later)
a girl ages out of her orphanage and searches for a job as a maid - but before she’s hired, she accidentally gets bound to the Crocodile - a god thought to steal girls through his shrines throughout the cities
she wants nothing to do with him or his curse, and gets herself a job as a Curse Eater at an inn, consuming the spiritual residue of their past mistakes and regrets
but her past and her connection to the Crocodile won’t go away, and she gets caught up in his revolutionary ambitions
disabled MC (vitiligo, cane user)
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oopsie
so the stream was a flop (ill need to solve that problem in the future but that was very weird cuz these settings worked with batdr before and i doubt batdr was easier to stream performance wise) but yall didnt miss out on anything cuz uh
basically in 15 minutes i was done with the part of the. "game". that was. actually kind of looking like one. you know i didn't expect any polish to this, it was free and all. that was the part with gaskette, it was. fine. i did not find it interesting but at least it wasnt what the rest of the game was
but you know what, i get it. finally i get it
they, or maybe just mike, but its released under their company so i will say they,
they hate theorists
they hate dataminers
alright, point taken, i guess
just push away the fans who were the most interested in playing your games, cuz that's smart
it's sad really but oh well have it your way
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I feel like there are two versions of Ambassador Armin, two directions this could go.
there's the version that has his shit together, is working himself to the bone but still keeping a somewhat consistent sleep schedule, has put the whole Eren fiasco behind him and turned it into positive fuel for change. Annie and Armin are together and are there for each other :)
and then there's the self-destructive, sleep-deprived version, who's barely holding his appearance together, left jaded by the carnage Eren turned their dream into, moving forward only by the obligation he feels to fix what he broke. Annie and Armin are together, but it's likely strained :(
either way, Armin can no longer die because the only way to fix things is to live
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