#original source: the mirror

[elennemigo]

Benedict and Olivia Colman recently seen on set, filming "The Roses" 👀

[corvidus-fr]

mirror babies. you agree

inspiration/ref photos under the cut:

[divorcedtom]

daniel molloy version of k3nd4llr0y’s logan roy rollin with the lgbt edit

[exgirlfiend]

genuine question would yall be interested if I made a master doc of all of the cultural references in wotww (or at least the ones I can recognize) complete with links to name origins and visual comparisons for locations and architecture. I <3 doing deep dives into the references behind the character names and the real world locations and time periods each area is inspired by

[cappycodeart]

I got tired of circling back to frustration over my nitpicks on the f&c series so I OC’d my boy. Whoops. 😅💦. I'll still post stuff in the future about the AT version because I still have a lot of doodles I haven't posted yet and doodle ideas I want to draw!!... Buuuuuut in the meantime my brain gears have been turning hardcore over incorporating this version into my OC-verse... he's a silly astronaut now <3

[vignetted]

edit: DISREGARD. [REDACTED]

[villainanders]

TRYING to make a post abt the seb thoughts in my head but it’s incoherent

[bullet-proof-gay]

I can't find a source for this specifically, however it might please you to know he bursts into tears regularly according to his biography and he was visibly close to tears when interviewed recently about the stock plummeting

[dravidious]

Finally got around to making some rares for my modified-themed custom MTG set!

Also reworked a common (Eelskin Veil was originally just a reprint of Shore Up) and added flavor text to Forge Spirit and Temple Spirit. If you're wondering about the names of the legendaries, I used a random name generator because I don't like making up proper nouns. That also gave me the name "Jojo" for the enchantment faction's god, so that alone makes it the objectively correct decision.

[homeofthelonelywriter]

The boys still couldn’t believe it. They had just taken down Makarov, Johnny barely surviving it, and now they were somewhere in America, in a beach house with a strip of private beach. All curtesy of Kate, apparently it belonged to her family but was hardly used, so the boys using it was a welcome change.

They had been uncertain if they wanted to accept the (paid for) vacation, but after they all finally got released from the hospital, Price decided it was time for a break and some relaxation. So, they packed their bags and flew to the States. Kate had given them a brief introduction on what was where over the phone and the excitement grew, especially when she mentioned that there was scuba diving equipment.

So, the moment they arrived, after quickly dumping their stuff in the entry way and changing, they grabbed the equipment and set out into the waters. Even Simon couldn’t suppress a small smile or hide his excitement. At first, they stayed fairly close to the surface, but after Johnny saw a colorful fish he wanted to follow, they continued on into deeper waters. And that was when they heard it.

At first, it sounded like a wounded animal, but nothing like anything they had heard before. Either way, a sudden protectiveness coursed through them as they followed the sound to the source. And then they saw it. Or rather her. You.

Your tail had gotten stuck in an abandoned fishing net and you couldn’t get out. Originally, you had tried to reach your people with your cries, but no one came. Well, except for these four men suddenly in front of you. The few encounters you had with humans so far, had never ended well, so no one could blame you when you shrunk back in fear, reaching for the dagger that usually rested in its sheath on your hip, but you had lost it when you tried to free yourself earlier.

The men and you starred at each other for a few moments, before one of them approached. Immediately you tried to swim away, momentarily forgetting about the net, but you were immediately pulled back as the rope cut into your scales. A pained wail escaped you, as blood slowly seeped into the water. The man quickly raised his hands, before slowly gesturing to the net and then to his thigh, where you could see a small knife. You could see his eyebrows raise, as if asking for permission, and you slowly nodded, hoping that they would just let you go afterwards.

He mirrored your nod, before slowly approaching you and taking out his knife. With precision that was unknown to you, he cut through the rope until you were free. Out of reflex, you darted away, your tail swishing hard enough to send the man back a bit, making him loose his grip on the knife and you watched as it disappeared into the darkness. You glanced back at the four, before diving into the darkness, after the knife. Along with it, you found your dagger, which you put back in its place, before swimming back up, just to see the four still there, as if they hadn’t moved. Slowly, you swam up to the man who freed you and held out the knife with both hands, a small smile gracing your lips.

He took it from you, nodding in thanks. After one more glance over all of them, you turned around and swam back to your home, taking a few detours in case they were following you. But when you came to rest later that day, you mind stayed with the men. No matter what you did, you couldn’t stop thinking about them. And little did you know that they had the exact same problem.

Pt. 2 Pt. 3

A/N: Inspired by a post by @beloveds-embrace. Should I continue this?

[suppermariobroth]

In Super Mario 64 DS, normally only Mario can fight King Boo to obtain the key to unlock Luigi. When Mario enters the boss battle room, he sees that his reflection in a large mirror changes to look like Luigi. Internally, this is accomplished by mirroring the movement of the control points ("bones") of Mario's model and simply applying the bones to a Luigi model instead. Since the two are so similar in build, the result appears natural.

However, if glitches are used to bring Wario into the boss battle instead, it becomes apparent that this method was not designed to work with anyone except Mario. Since Wario's bones are arranged very differently from Mario's, Luigi's model becomes distorted and unnatural upon copying them, as seen in the screenshot.

Note that the screenshot was taken by increasing the internal resolution of the game and this could not be seen in such clarity on original hardware.

Main Blog | Patreon | Twitter | Bluesky | Small Findings | Source: fawfulthegreat64

[102ki]

most underrated devastating thing about losing all my laptop data was that i downloaded a load of games from various places to play later and now i have no idea where i got them from to get them back

[stars-obsession-pit]

“You have your father’s eyes”

Demon twins AU where Danny was created to be “spare parts” for Damian in case of any need for organ transplants.

Damian wasn’t aware of this at first; he thought they were regular siblings. Even once the first pieces were transplanted, he was lied to about their source.

And by the time he finally realized, it was far too late to change anything.

It should have been an innocuous comment—just a random Gotham socialite saying he had his father’s eyes. But then something clicked into place in his mind, and he sprinted for the bathroom before he emptied the contents of his stomach.

Because these weren’t his eyes. His original pair had been lost, replaced with new ones provided by the League. He’d never asked about the source, never let himself consider the truth that literally stared back at him every time he looked in the mirror.

He’d been given Danyal’s eyes.

[overthinkinglotr]

The Two Towers film is actually really impressive for how it feels like a cohesive story despite being about three groups of characters whose plotlines almost never intersect during the film’s runtime (Frodo/sam, Merry/Pippin, and Aragorn/Legolas/Gimli.)

Because the Fellowship almost never interacts with each other during the main plot, the filmmakers instead had to connect the plotlines thematically. Frodo/Sam never actually talk to Aragorn, but their plotlines mirror each other.

The Two Towers film is structured so that each splinter group of the Fellowship ultimately struggles with the same goal: they need to convince a despairing grief-stricken ally to aid in the war against Sauron. Theoden, Treebeard, and Faramir are all people who have suffered some great loss in the past wars. As a result, they are all set in their ways out of grief, and refuse to listen to the Fellowship’s advice or agree with their plans. (Until the very end.)

This is also where the films depart a lot from the source material. The two towers was probably the biggest adaptational challenge of the entire series, because the original book is split into two parts that focus on the POV of two different groups of characters (A Three Hunters book, and a Sam/Frodo book) — and then ends on a horrible cliffhanger. This works in the books but would not have worked on film at all.

The filmmakers’ attempts to build a Structured Film Story led to them emphasizing the idea of the Fellowship recruiting reluctant allies, and emphasizing the thematic idea of people being trapped within grief and stasis. Elrond predicts that the worst fate for Arwen would be to “linger on, in darkness and in doubt,” permanently frozen in grief; and this is the state we find most of the new characters in. Film!Theoden is portrayed as far more hesitant and grief-stricken than he was in the book, film!Treebeard is more reluctant and afraid of what war means for the Forest, and film!Faramir is more overwhelmed by the pressure to be like Boromir… and all three of them are overall far more heavily swayed by the Fellowship’s presence. (Though I still have beef with the way Faramir’s plotline was handled—XD) Because they needed to build out a structure that could work on film, they found this thematic throughline and really emphasized it.

Theoden’s grief over the death of his son makes him refuse the Fellowship’s advice to reach out to his allies or ride out against Saruman’s forces; Treebeard’s grief over the waning of the forest makes him decide that “he is on nobody’s side because nobody is on his side,” and Faramir’s grief over the death of Boromir makes him unwilling to try a solution that isn’t “what he believes Boromir would have done.”

These characters all start the film in a state of hopelessness and stasis and avoidance; then they’re ultimately forced to confront the source of their grief, and end the film by aiding the Fellowship.

This is also connected to the journey that all the Fellowship members need to go on. Frodo and Sam are forced to confront the grief at the idea that Frodo is being consumed by the Ring; Merry and Pippin have to face that “there won’t be a Shire” after Sauron’s victory; and Aragorn’s relationship with the people of Rohan forces him to confront his own fears about becoming a king and leading people to their death.

The plotlines are also really well connected through the use of music— like the Last March of the Ents leitmotif being used for Theoden’s choice to ride out against the Uruk-Hai, emphasizing the parallel between the way both characters have hesitated to “ride out and meet” the source of their grief.

And then Sam’s final speech, where a variation on the Shire leitmotif — (a version of the same variation that played in the end of Fellowship of the Ring)— becomes the final moment that ties all the disparate plot threads together. The film is centered on characters being overwhelmed by grief, and entering a state of numbness or stasis where they cut themselves off from the world. When this happens to Frodo, Sam encourages him to believes that there is still goodness in the world that’s worth fighting for— a culmination of all the ideas that have been built up throughout the past three hours.

Despite its flaws the film feels so cohesive, and the end of the film feels like such a satisfying resolution? Which is easy to take for granted because like, there were so many different moving pieces, and without a really clear thematic focus the film could’ve easily ended up falling apart.

[qinnyanimation]

“Ugliness”

Cw: Blood , eye horror (?) ,

Hephaestus comic! This is my own interpretation of his birth. And a little peek on Hera’s character.

I’ll be talking about my interpretation a bit right down here!

I’ve always had this interpretation of his birth for like almost 3 years now. His ugliness in the original source is actually him being disabled (not so sure about details due to a lot of different sources but it’s involved his legs) I still kept it in his design. But rather I think his so called ugliness has nothing with his physical condition but rather his very own existence. He’s not a child of Hera, he’s the personification or physical form of Hera’s spiraling emotions in her marriage.

All the things she ignored and refused to acknowledge about herself, desperately hiding it inside finally bursting out (Maybe it’s her having a meltdown one day about her suppressed emotions) and then there appeared this child. Made out of her tears and suffering. Mirror the very same thing she despise so much about herself. The ugliest part of her she desperately try to turn away. Led to her throwing him out of Mount Olympus.

And maybe his anger and attempt to get revenge on Hera is actually part of himself being Hera’s own self-hatred boiling deep inside him.

Hera used to love her role as the goddess. She used to be kind and gentle. Maybe she still is deep down, there are always the gentle mother left deep inside all the broken shells of what she used to be.

[hrrtshape]

the barbie doll theory of self-concept.

in other words, the doctrine of self-concept, an airtight business plan, a smoke-and-mirrors operation, a hostile takeover of the psyche. full control, leveraged buyout. you, ltd. you, inc. you, an entity so exquisitely tailored to its own mythos that it ceases to be a person and becomes a brand, a movement, a trick of the light. the body is a boardroom, the soul is a stock option. the self? an asset. undervalued. prime for acquisition.

you are customisable down to the last detail. skin-tone slider, eye-shape toggle, voice modulation settings set to low, warm, hypnotic. every version of you is a prototype, a limited edition, a one-of-one collector's item with a bespoke finish. beta tested, A/B split, finessed in post. no imperfections, only intentional design choices. you are plastic, you are fantastic, you are fully modular and infinitely iteratable. each trait a negotiable commodity, each flaw a brandable quirk. you don't just adapt to trends. you are the trend.

you are the blueprint, the architect, the first mover and the final word. your reality is not a negotiation; it is a decree. the world does not happen to you, you happen to the world. it shifts, bends, contorts under the sheer force of your self-concept. perception is reality, and perception is yours to command. this is not wishful thinking. this is physics. this is law. universal. immutable. undeniable.

you are not hoping. you are not wanting. you are deciding. and decision is creation. every thought a prototype, every belief an assembly line, every assumption a factory press stamping out the inevitable. you think it, therefore it is. nothing more, nothing less.

do you know what you are? you are the protagonist. this is not a delusion; this is a statement of fact. you are the name in the credits. you are the golden girl in the third act. everyone else is a plot device, a warm body in the wings, a well-placed reaction shot. it is so easy. so insultingly, absurdly easy. what you assume, you become. what you declare, materialises. these are the terms, this is the fine print. read it and weep. or don't. we don't do weeping here.

this is not self-improvement. self-improvement is a midrange racket, a scam for people who think they need fixing. you don't need fixing. you need better lighting. you need sharper dialogue. you need a rewrite on that third act monologue, the one where you say something so devastatingly final that even the audience forgets to breathe. you need to take the pen.

you are not waiting in the wings. you are not the understudy. you are not sending out résumés for the role of yourself. you are the icon, the main event, the limited-release collector's doll still in its original packaging, mint condition, impossible to replicate, already priceless.

the world will try to tell you otherwise. it will tell you that you are just another iteration, another mass-produced model rolling off the assembly line of existence. it will insist that you are interchangeable, dispensable, a supporting character in somebody else's three-act structure.

and that's where you can laugh.

because they don't get it. they've never gotten it.

you are not up for debate. you are not a hypothesis. you are the inevitable conclusion. you are the source code. you are malibu dream house with an ocean view, pink corvette with the custom interior, every accessory sold separately but still fully yours.

and if reality refuses to match your vision?

you don't shrink. you don't settle. you don't negotiate with a world that has the audacity to misunderstand you.

you simply restyle, reshoot, and rewrite until the universe falls in line.

because you are the protagonist.

and the protagonist always gets the final cut.