#in a different scene

[hiccupbutpurple]

In war of wings p1 Viggo and Hiccup back to back say ‘let’s get what he came for’ and ‘let’s find what we came for’ respectively.

I love lovers that mimic each other

[jesncin]

"Who Is Superman? A Private Interview with Lois Lane" a fancomic about hope and connection. I've had this story in mind for so long and I'm very excited to be able to share it at last. Thank you for reading, and happy Lunar New Year!

[dreadfuldevotee]

The way the everyone talks about Assad is truly hilarious to me. Rolin Jones keeps throwing him into the deep end just because he believes in his ability. Eric and Luke agree that Assad is soooo nice and sweet but gets scary as fuck when he gets in-front of that camera. Sam saying watching him perform is "spine tingling".

And then you hear from Assad and he's just all "I was shitting myself the entire time, idk what I'm doing"

[soranker]

98 lovemail doodles >_<

[chloesimaginationthings]

How did Bonnie get so fucking tall in FNAF 2…

[hinamie]

I'm always pushing you away from me / but you come back with gravity / and when I call, you come home

[curioscurio]

I'm rewatching Steven Universe and I will never forgive Fandom for what it did to her

[itsbasicallycanon]

was reading little kid with a big death wish (@remedyturtles) and wanted to play around with visualizing leo and sensei's headspace and putting it alongside the outside world and i'm mostly happy with it so i'm posting it

[riickgrimes]

I know who you are. You're Fire and Ice, right? Which one's which?

CHALLENGERS (2024) dir. Luca Guadagnino

[cobbbvanth]

#local disaster bisexual being micromanaged by his boyfriends #yeah they share custody #it's a two person gig

[bixels]

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Compare this to the anime, which fills every shot with dialogue. The pacing is fast; we never get to sit in silence like we do with the manga. The horizontal frame allowed the boarders to add Senshi, turning the composition into an over-the-shoulder shot, which takes us out of Senshi's POV. They also added a zoom-out in shot one, which adds unnecessary energy to a very somber scene. The tightening on Senshi as a close-up reaction shot also dulls the moment. In the original panel, Senshi stares ahead at the empty space to his left as a shadow surrounds his mind. It not only shows how Senshi's senses are dulling and his world is shrinking (setting up panel three), but shows how terrified Senshi is of what's in front of him, how the air itself becomes pitch black and opaque, how Senshi is surrendering himself to fear. The pacing is understandable and necessary; this episode packed a lot of story content together. It's just a shame because it really (imo) deflated one of the most nauseating moments in Dungeon Meshi.

[littlegayteaboy]

thinking about how Zuko got kicked out of his home country and, by extension, all formal education, at age 13. and i'm sorry Uncle Iroh but you're not qualified to teach a freshly traumatised 13 y/o algebra. so Zuko only has like, an 8th grade level of maths at most.

... meanwhile Sokka's a literal genius,

[vriskan8or]

let her go

[stark-lord]

Dead Boy Detectives (2024)

1.02 — The Case of the Dandelion Shrine

1.04 — The Case of the Lighthouse Leapers

[grey-viridian]

Leonardo

I finished this comic about a month ago but couldn't bring myself to post it. It started as a simple illustration and then I just kept adding more and more and at some point I had to stop myself and cut the story short. I'm still not entirely satisfied with the result but... well. I like it. That's enough.

[poorly-drawn-mdzs]

You made her cry, time to die.

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