#listen. it had to be done.

[kidokear]

This had ascended beyond a meme.

My brother's caption for this: "V1 after completing the no-fighting challenge."

[artistmarchalius]

Broppy Capture AU, where Branch didn’t confess after World Tour, but a love confession when all hope seems lost is just what they need to free themselves from Velvet and Veneer.

A version without text can be found under the cut.

[thesoftestcowboy]

German* food poll but we have meatless options

A while ago everyone did those regional food polls and i wanted to do one back then but forgot... anyway. If you don't eat meat the options can be very limited in (traditional) restaurants around here. I wanted to do one with dishes that don't typically contain meat or can at least be easily adapted. Also yes this is kind of based on both my personal tastes and experiences so it's biased towards southern food, lmao. If you're vegan please just pretend it's a vegan version it's almost impossible to find options otherwise

*yes some of these are technically considered to be from Austria or France but they're still incredibly common in the regions near the border.

[jitterbugbear]

sunday downpour

[crabsnpersimmons]

This one goes out to all the slow burn enjoyers, the dense Y/Ns, and the soft robo jesters that suffer in silence!

Inspired by @bamsara's “Solar Lunacy” fic.

If you feel like reading my ramblings and want to experience more heartbreak for fictional jester blorbos, check under the cut where I detail all the planning behind the frames!

so i heard this song for the first time in a while and the opening lyrics immediately made me think of moon, so i was daydreaming some scenes and then i decided to thumbnail some ideas:

and it all went downhill from there as everything became a metaphor and a parallel to each other, which i will now go into detail on!

you thought the animatic itself was sad?

*writing muse laughs maniacally* IT'S ALL A METAPHOR

Frame 1. "turn down the lights" We start with a back view on Moon. The lights are out, the Moon is out, but we do not see his face. The music and the greyscale atmosphere are enough to establish the weight of the moment and the weight on Moon’s mind.

Frame 2. "turn down the bed" We cut to a shot of Moon's body, kneeling on the ground of the daycare, like a padded cell. Moon’s hands are twitching with the effects of the glitch, with purple sparks coming from his hands. We still do not see his face.

Frame 3. "turn down these voices inside my head" Cut to an extreme close up on the dark half of Moon’s face. Now we see his face, but only a portion of it. His left eye is wide open, red and glitching out. The voices in his head can refer to the glitch but also his repressed feelings. Or maybe it could be Sun's voice in their shared headspace.

Frame 4. "lay down with me" Y/N's hand enters the frame from the upper right corner, lowering down to meet Moon where he kneels on the ground. Only a corner of Moon's face appears on the bottom left corner of the frame, his starry nightcap beginning to cover his glitched left eye.

Frame 5. "tell me no lies" An full shot of Moon on the floor and Y/N standing in front of him with their hand stretched towards him. A light spills out from behind Y/N, creating a boundary between them.

Now we see more of Moon. It is only when Y/N enters the frame—enters his world—that Moon’s body is shown in its entirely. When Y/N is here, he is no longer fragmented. He is whole.

Frame 6. "just hold me close" pspspspsps Playfully, Moon extends his own hand, beckoning Y/N to come closer, to join him. His right hand crossed over his body as he uses the playful gesture to hide his true feelings—to put distance between him and Y/N. His hat continues to cover his glitching left eye. He doesn’t want to worry Y/N.

Frame 7. "don't patronize" In response, Y/N’s hand pats Moon on the head, returning his playfulness. Moon looks surprised by the action. Moon, notably, does not lower his hand—perhaps he has forgotten it or perhaps his invitation is still open.

Frames 8-9. "don't patronize me" Moon rotates his faceplate so Y/N’s hand is touching the side of his faceplate, a more intimate gesture than a head pat. However, his hat is in the way. At this angle, his starry nightcap fully covers his glitchy eye and the dark side of his face, hiding his defect and acting as a veil between him and Y/N. A self-imposed boundary. So close, yet thinly separated. It's better this way. It's safer this way.

The lyrics are broken up by Y/N's arm, both to illustrate how the song is sung ("patronize" is drawn out and "me" is briefly added in before the chorus starts) but also to show how Y/N interrupts Moon's resolve, highlighting the irony between the visuals and the lyrics. Demanding not to be patronized, yet Moon happily accepts this play at intimacy. Don't patronize me, I am weak for it.

This is also the only instance where the red light of Moon's eyes glow and tint the surfaces around it. Visually, it makes it look like Moon is blushing (heavily inspired by @restinsodaroni's art). But also, in this moment of honesty, Moon's intrinsic light spills out, colouring the greyscale world. In this brief moment of honesty, Moon touches the world with his own colours, his own light.

(and this is also where i forgot to clean up the shading on Y/N's arm, but it's okay it doesn't need to be perfect it simply needs to be. And Moon will still love Y/N even if they are a continuity error.)

Frame 10. "'cause I can't make you love me if you don't" A parallel to a frame 4, Y/N retrieves their hand away and immediately Moon is reduced to the corner of his faceplate in the frame. Only now his glitched eye is fully covered by his hat.

The lyrics here (and in the next frame) in particular grow lighter to emphasize Moon's diminishing resolve and agency.

From here on out, the lyrics here are broken up, carrying on this theme of fragmentation. Y/N is pulling away, Moon is breaking up, the words are breaking up. Everything is coming apart.

Frame 11. "you can't make your heart feel something it won't" Y/N turns to leave. The lyrics, broken up as before, highlight the irony of the situation. Y/N, a human, can’t feel something they simply don’t feel. Whereas, Moon, the machine, feels something his code never intended him to feel.

Frame 12. "here in the dark in these final hours" Another full shot that parallels frame 5, as Y/N steps towards the light and Moon leans forward into the space Y/N once occupied. Y/N is leaving—that which makes him whole is leaving. And he is only capable of making it to the boundary where the light cuts into the darkness. The "final hours" suggest it might be the end of Y/N’s shift, or perhaps this scene takes place right before the glitch takes over—the final hours that Y/N has with the true Moon. Either way, time is running out—and only Moon knows it.

There is a contrasting display of body language here. Moon is on the floor leaning towards Y/N with his hand still left out. Whereas Y/N is turned away, walking away, and has already slipped their hand away and into their pocket. Y/N is closed off while Moon is limply open. Y/N is actively moving while Moon is on the floor, waiting, hoping, for that which he lacks the agency to reach for himself.

Frame 13. "I will lay down my heart" A close up on Moon’s hand, rising up again, perhaps to beckon Y/N back once more. This is a slight parallel to Y/N's hand reaching out to Moon. While Y/N can freely reach out and touch Moon, Moon cannot. He can't enter the light and more importantly he can't risk potentially harming his relationship with Y/N—be it through the glitch or by his feelings. He can only lay down his heart—put aside his feelings or hope that someone will pick up his pieces and make him whole.

Frame 14. "and I'll feel the power" Still on a close up on Moon’s hand, now clenched in slightly. This initially was going to have the glitch effects. However, I felt it more meaningful for it to be left without. Leave it up for interpretation why Moon pauses his hand. What is the power that he alone feels and stays his hand?

Frame 15. "but you won't, no, you won't" A parallel to frame 1, a view of on Moon's back with his hand stretched out towards the light, and Y/N walking into the light spilling through the open daycare door.

The placement of the lyrics suggest two different “you won’t”—Y/N who won’t realize Moon’s feelings, and Moon who won’t dare speak them into reality.

Another note on the parallel to frame 1, this time we also see Y/N's back, but it is notably different from our view of Moon's back. With Moon, we literally see inside him through the hole for his loop. However, Y/N is shrouded in shadow, just a solid, obscure silhouette against the bright light of a world Moon—and Sun for that matter—are closed off from. We don’t see into Y/N, just as the Daycare Attendant doesn't have any vantage point of Y/N's life beyond their time at the PizzaPlex. (The unfortunate reality of a being a character made for the purpose of being a vessel for the reader.)

Frame 16. "'cause I can't make you love me" We finally cut to face Moon head-on, frozen in place with his hand stretched out, unable to cross the boundary into the light. His eyes have gone dark. Where we began by seeing bits and parts of Moon, and never seeing his full face—now we, the viewer, see the full Moon, open and vulnerable—unbeknownst to Y/N.

Frame 17. "if you don't" But in the dark, behind closed doors, there is no one to perceive him—no one to receive him. The light dwindles as the daycare doors are closed. Moon stays frozen where he kneels. It is no longer the glitch that plagues him, but a far deeper dread.

But a lone streak of light peaks through the gap in the daycare doors. Perhaps that is just enough. A silver lining. A frail hope. A single, ethereal thread out of darkness and into light.

Thanks for reading and watching!

We'll be back to our regularly scheduled fun and games shortly!

[dusiashipsthings]

Is this anything?

[kaltacore]

one thing that is fascinating to me about merrill's arc is the way narrative manages to convince a big part of the fandom that she's immature and irresponsible and overall stupid. what we know about merrill and what we actually see on screen is that she successfully avoids possession for 6 years while working closely with a demon, almost every time she participates in some magic/spirit-related discourse she acts calm and confident and has some interesting input, she actively uses her knowledge of dalish lore and tradition to reason with her keeper, and that she actually did make progress with fixing and studying an ancient long forgotten artifact no one knows particularly anything about. but then an old woman who's never been shown to be an undeniably wise and reasonable figure, a guy who got willingly possessed with no awareness of possible consequences and whose whole mindset is still deeply andrastian and a bunch of people who know nothing about magic start judging and doubting her and everyone's like. yeah. she's so fucking dumb.

[immortallaughter]

You know how cat eyes do the thing™? Hear me out. (inspired by a conversation with @baldurstaint and friends)

[piplupcola]

Aww is Trolls 3 trending on tumblr instead Wish? Let me bring out my tiniest violin for Disney's worst attempt at making a movie.

[stresslitzia]

Here in a sanctum long abandoned, Unto the tinder falls a spark. I have a holy call to answer, to be an Angel of the Dark.

(Sparkle on, btw)

[animatedjen]

hey Jen how's Traitor Inquisito— I'm making my own cutscenes help

[natcat5]

*stares up at ceiling* choosing eradication of language as the cornerstone of the song for the 'Violence' circle of hell....

[koszmarnybudyn]

They were right this would make a pretty sick cover.

[min-xie]

help i cant stop drawing fem neuvillette

[smelricbros]

what did they get arrested for wrong answers only

[xviruserrorx]

Something that The Amazing Devil does so beautiful is that even though a lot of their songs are very wordy they don't rush or skip over the rests in-between. And my favorite examples of this are Elsa's Song and Old Witch Sleep/Good Man Grace, because in old with/good man the beggining is so nice because they put so much pauses between each phrase and even parts like the "Sleep now, oh, she said" there is this smallest rest between the "Now" and "Oh" and it's so subtle but if you don't do that rest it's very very noticeable because your just slurring these two (almost) very short phrases of their own. Then in Elsa's Song l love how the tempo and when they come in, is almost dragging, they are coming in at the very last second of the beat and it makes the tone of the song so so so good