#tension is strong

[taeiris]

byler brainrot still going strong

i see ONE (1) byler edit to same old love and suddenly get inspo

these byler st5 made up screencaps of mine go crazyyy

edit: i love combining fandom theories with my own as little tiny easter eggs in these

[poorly-drawn-mdzs]

Must be a Sugondese joke.

[sinverse]

finally watching supernatural (yes, in the year 2024) and god you destiel girls weren’t lying huh

they really ARE that gay

[blorbologist]

Y'know, I think I figured out why the Hells still feel like a new low-level party to me, even though they're level 13 and almost 100 episodes in.

I don't quite think it's the lack of conversations, or the fact half the party's plot hooks are big ties to past campaigns - though that definitely plays a part.

... Bell's Hells still primarily rely on quest givers.

Most of their goals are given to them and do not feel organic to the party, and constantly remind us that the Hells are pretty much never the most powerful people in the room. Which is usually something you see with a low-level party.

NPCs offering jobs is not a bad thing; it's a very common plot hook. Matt has been extremely skilled with using NPC quest givers in those two campaigns. Not only do they provide an obvious plot thread, but they can put the party in the path of others (say, the Nein running into the Iron Shepherds while doing a job for the Gentleman and everything that came of that). And the Hells had a solid start with it too - Eshteross was an excellent quest giver!

The problem is that Bell's Hells have never really not had a quest giver.

Maybe it's a byproduct of the more plot-heavy structure of this campaign? But while prior parties have felt like they decided on their course of action and what they prioritized, Bell's Hells feels less like level 13 (13! Level 13!) experienced adventurers and more like an MMO group clicking on the exclamation point over an NPC's head. Where does the plot demand we go next? Who do we report back to?

They're level 13.

At level 13, Vox Machina had just defeated a necromantic city-state to clear their name and Percy's conscience. And, you know, the Conclave just destroyed Emon. No one was explicitly telling the group to gather Vestiges and save the world (though Matt guided them there), and they were usually among the most powerful people in the room. They chose which Vestiges to prioritize, which dragons to tackle when, even if the over-all plot was pretty clear.

At level 13, the Mighty Nein were celebrating Traveler Con (another PC goal, I'll note) after brokering peace between two nations, accidentally becoming pirates and heroes of the Dynasty. The Nein regularly chose what to do based on personal goals, not grand ones. Though definitely smaller fish than Vox Machina at this level, they were very independent and gaining solid political clout.

While we're at it: level 13 is one level lower than the Ring of Brass, who had a huge amount of sway over Avalir. They ended the world, and also saved it, while in the grand scheme of things being only a smidge more powerful than Bell's Hells are now.

Can you really see the Hells wielding that amount of influence, when they're constantly being told what to do next?

The god-eater might be unleashed, so Bell's Hells have no time to do anything but what is asked of them. No time for therapy unless stolen from Feywild time, no travel on foot and late-night watches. They haven't even had time to grieve FCG. Percy was grieved in the middle of the Conclave arc. Molly was grieved when half the party was still in irons.

Matt is in the very unfortunate spot of not being able to give the Hells the same agency as the other two parties. Not only because of the world-ending plot introduced so early on; they are surrounded by characters they know (and the cast knows) are stronger and wiser than them - the familiarity of the past PCs and NPCs is to their disadvantage.

Why would the party reasonably ignore Keyleth's task that will help save the world and go off on a romp? Why would the cast when they know well Keyleth has to be sensible and with the best intentions in mind? The stakes are just too high.

It means that the Hells still feel like they're running errands instead of pursuing their own destiny. Their accomplishments are diminished as just being parts of a to-do list, and any stakes feel padded by several level 20 PCs/NPCs standing 5 steps away ready to catch them.

This isn't Bell's Hell's fault, nor is it Matt's. It could be amended, I think, if the Hells are really left to their own devices for a long period of time without support and shortcuts (like during the party split)... which would be really tricky to pull off at this point in the campaign.

They're level 13. They're big fish, but they're stuck in a pond full of friendly sharks, so they don't feel big at all.

[keii]

Drew a nalu sketch bc for some reason my old ass art of them is making its rounds again on here lol

[tolicandco]

redrawing another screenshot because it's good practice and because I'm a merthur whore let's be honest

[jay-wasreblogging]

The eye fucking sex scene plus the Honda Odyssey Fucks Hard™ scene is what gave this movie it's R rating btw

[zoroshonkingbazonkadonkas]

'hm? oh yeah ofc my internal compass led us to u'

[greenqueenhightower]

Larys x Alicent Scene in 2x04—Analysis:

The scene opens with Alicent getting a hot stone to ease her abortion pains which were distracting enough that she forgot to hide the moon tea jar. She bids “come” to the visitor who knocks at her door. She’s suffering alone, having refused the maids and servants Larys sent her to tend to her every need. It's her attempt to loosen his grip on her.

Notice how she says “Lord Larys” and closes her eyes when she becomes aware of his presence. He has appeared at the worst possible moment.

Larys knows immediately that something is amiss for Alicent to skip the council meeting, and as per Matthew’s words, whenever something is going on, Larys seeks a way to benefit from it. So he enters the room and Alicent lies blatantly and in front of his face. He doesn’t like that. After all, they had a relationship of mutual trust. Or so he thought. Alicent now reveals that she could never trust him fully, and maybe he should have done the same. There is so much unsaid conversation happening.

Alicent is scared to finally expose herself so openly to Larys who can see right through her and her lies. Look at how Larys stares at Alicent when he says “that is a rich indulgence” referring to the moon tea. The tension is off the charts. He says “it is a sin to deny your appetites” and he means Alicent's natural sexual drives. He is basically telling her that she shouldn’t feel sorry or in need to hide the fact she is having sex; if only she were doing so more openly. Is that an invitation?

“They are what make us fully alive as mortal men.” Larys compares his foot fetish to Alicent's sexual lust. They are both appetites and he offers an excuse for both of them. Larys is already thinking about how he might use this situation to his advantage. 

Alicent is evidently afraid and disturbed. Her secret is exposed. She changes the subject to the council. She has to steady herself and grab a chair. She bends her back and looks more crippled during that scene than Larys who again towers over her. He further examines her surroundings for more information. What is going through the Queen’s mind these days? Has he completely lost his grip on her since she sent all the maids away?

“Ser Criston wins every challenge he faces there” and “you must worry for him”—he knows, he definitely knows, and tries to provoke a reaction. Her general response of only worrying for him because he is the Hand of the King, confirms it. Notice how he stands up to come closer to her and Alicent sighs and holds her forehead; she knows this interrogation is not over.

He tells her that she has not appeared herself as of late. It's him, Larys Strong, who knows the Queen so well that he can offer a comparison. Something is amiss; what has so altered her state? This time he is not fishing for Alicole confirmation, he is referring to her frame of mind. What has upset it? Her response is enlightening not because she lets him in on the toll these events have had on her, but because essentially, she tells him off. She implies that he should mind his place, and stop trying to invade her every thought, the same way he invades her space. That he should let her at least have her mind to herself. But he knows how to get her to talk, and she reveals that she started looking into the histories as a source of wisdom like Viserys did.

Notice how shocked she is when he proves that he can read her thoughts and say: “do you think this is why he changed his mind, in the end?” Damn it, damn him, how does he do it every time? He knows what she's thinking. He knows she's been musing over Viserys’ wish for Rhaenyra to be Queen.

“Do you now doubt his intentions?” Larys is a discerning creep. He manages to get what he wants out of Alicent: she responds in a way that matters so much to him and concerns how the war will be fought. Is his Queen going to chicken out now that she has discovered her misinterpretation of Viserys’ words? How is his Green side going to fare in this war? Should he be looking elsewhere, or do they still have the upper hand and go for the win? Alicent reassures him by saying that Viserys wishes have ceased to matter. They are going to pursue their goal nonetheless. And that is what Larys wants to see and hear: that they are still on the same page and she is ready and willing to play the game for herself. That they are still the cunning and scheming allies they have always been, despite Alicent's revelations.

Or, he starts to think, perhaps even more so now.

[sableeira]

rimlaine’s gay tension was too strong so they had to be separated into two different light novels. rimlaine’s gay tension was too strong so Rimbaud had to forget all his memories of Verlaine otherwise he would have continued his “I don’t need to fix him I can love him the way he is” campaign. rimlaine’s gay tension was too strong so by the time Verlaine realized his feelings, Rimbaud had to be dead because they would have been too powerful and insufferable together.

[iwritenarrativesandstuff]

See, I think Charles’ annoyance and frustration with the Cat King really was just pure protectiveness and not any kind of jealousy - it’s understandable, because Edwin is not telling him what happened even though something clearly did, which is not typical for them. Edwin doesn’t usually hide things like this! Of course he’s worried!

Charles’ reaction to Monty, on the other hand, is difficult to explain in a way that isn’t jealousy. You could say he’s being protective again, but Charles shows no sign of distrust in Monty, and had no idea of who Monty was or that he might betray them - he was actually very chill with him, except in a select few specific scenes. You could say he just doesn’t like him because he got brushed off during their first meeting, but not only does that not seem like Charles at all, it also doesn’t make sense, since, again, in most instances, Charles is genuinely friendly and is happy when Monty compliments him and seems to have come around to liking him (it completely flies over his head that this is a petty jab at Edwin on Monty’s part but oh well hahaha). You could say it changes up their status quo a bit and that bothers Charles. I do think this bothers him a bit, but I think, unlike Edwin, Charles’ fear and frustration here is directed more at situations (the Cat King whisking him away for several hours, as an example) than others. He’s sociable and likes being able to talk to new people. There’s absolutely no way he’d begrudge Edwin doing the same - and he doesn’t… with Niko. Edwin and Niko hit it off and become very close and that never bothers Charles at all. He’s incredibly endeared to her, just like the rest, and for the most part, he’s chill with Monty too, and smiles pretty knowingly when Edwin confesses to him having awakened some feelings. The only exceptions, where he shows definite annoyance, are when Monty first shows up and gets really in Edwin’s personal space to show him the astrology chart he made, and when Edwin is so sucked into the book Monty gave him that he doesn’t hear that Charles is talking to him, to which he annoyedly says that they seem to have been “spending a lot of time together”.

You could say he’s unused to having anyone get in Edwin’s personal space like that, but, again, Niko. She’s very tactile with him and he doesn’t seem to mind all that much; they spend time together watching things. If it was just someone getting close with Edwin in general, not only would that be weirdly possessive for the character, but it would also mean he would show discomfort with anyone getting close, I think. Does Charles see Monty as more of a potential threat than Niko, seeing as he knows her and her personality and doesn’t know Monty? Well, maybe, but again, Charles shows no sign of distrusting Monty at all.

Monty is a boy. Okay. So something about seeing Edwin so close to a boy that is not him, getting lost in thought over something this boy gave him, really rubs Charles the wrong way. Charles appears to catch on just as quickly as anyone else that there is something (or it looks like something) between Edwin and Monty. He is not surprised when Edwin comes out to him in episode 6, and in fact, seems to have just been waiting for him to verbalize it. He smiles and is not bothered at all by Edwin showing (what he thinks is) a romantic interest in Monty - he just doesn’t like it when Monty clearly shows a romantic interest in Edwin. Um. Well. Well.

Charles is jealous. I really don’t know what else to say.

Look, when I first watched this show, I actually didn’t want them to end up together romantically - I love the idea of one having fallen in love with another who does not reciprocate and the two of them still loving each other just as much. That Edwin’s confession made them closer instead of making things awkward is such a beautiful outcome to this build up and I absolutely love it. However. On my two rewatches, I caught a lot more little details, and I think it would be very strange if the show did not follow up on this. That, plus the deliberate quality of these “jealousy” moments where the camera focuses on him, Charles’ Orpheus coding throughout the show, the fact that Edwin’s arc was far more about realizing his feelings for Charles specifically than just coming to terms with his sexuality, and that even the actors admit that Charles’ response to the confession kind of left things open, it really seems to me like the path leads to a romantic endgame for them, or at the very least, that this possibility will be explored in more depth.

**This is just my reading of it. Please do not use this post as a gotcha for anyone who loves them as a platonic duo or people who really love Crystal and Charles together (because let’s face it, they’re super cute too). I’m just doing my rambles. As per usual.

[lovelikehunger]

cracks me tf up every time I see an aesthetic post or a pinterest board of some random pairing and there's That Picture™ of sam winchester's hand on his brother's thigh

[poorly-drawn-mdzs]

Normal Friend Behaviour.

[First] Prev <–-> Next

[drawnfamiliarfaces]

INTERRUPTED (Parts I & II)

A short two-part comic (total of 20 pages + 8 extras) by me! (for me lol)

Fandoms: Ninja Showdown (Randy Cunningham 9th Grade Ninja x Xiaolin Showdown)

Ship: My Immortal Soul (First Ninja x Chase Young)

A comic where nothing really happens! But it contains a lot of half-naked men. So like, kids avert your eyes and adults don’t open it at work or whatever. ¯\_( ͡° ͜ʖ ͡°)_/¯

thanks for checking it out <3

[starstruckodysseys]

sometimes a family is a child who keeps pieces of every shameful memory in order to keep himself from feeling happy, the aforementioned child’s best friend who is also a dog, and the very large man with a bunch of mildly uncomfortable fun facts ordered to murder the aforementioned child

(and also a detective who’s bad at his job and is trying to keep this child alive, a semi-kleptomaniac not-so-fatal femme fatale, the local bartender who fucking hates this child, and a reporter trying to find the biggest scoop she can even though she keeps getting overshadowed by unimportant stories. but i’m not so sure they’ve reached familial status yet.)

[saw-tistic]

reading the saw iv screenplay suddenly explains this reaction perfectly. hoffman's POV huh? that's what he's thinking about when he first sees strahm? his eyes and his physique and his perfect suit?