#BUT EMMA DESERVES IT

[adm-starblitzsteel-4305]

On this day May 31...

Happy 5th Anniversary to the film which has the lowest critics in MonsterVerse but more badass Kaiju fights: Godzilla: King of the Monsters!

I was 14 years old when I finally watch this movie and that goes my fanatic Mothzilla ship. I still couldn't move on the sacrifice of Mothra and Serizawa TBH, I was fucking crying the whole time. (Fuck you Emma Russell for being a bitch to your family, you're not a good mother, but you reformed for the sake of your jackass)

Anyway, Mothra is superbly beautiful and her designs are sleak and much more real-like moths. That was the reason why those lovely eye patterns I saw made me realized that she and Godzilla are both King and Queen and their symbiotic relationship is a harmonious aspect of why they are Alphas. I regret nothing about them.

Okay, Ghidorah here is an awesome badass kaiju and I like the canon divergence of three heads with different personalities (I have seen motion cap of the actors from behind-the-scene of the film, they're fun to act). Rodan, my spicy fire chicken, is also super cool...let's just say he got stabbed by Mothra's stinger and forcing himself to submit from Ghidorah as his beta before Godzilla in the final part yeeesh, he deserves it.

Human characters are more solely focused and why would anybody had to criticized it? Meh, it's just their opinion. I don't mind.

And now I'm watching KOTM today with my parents (I'm preparing a tissue RN).

Anyway...

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I STAN FOR MOTHZILLA NATION 🦖💖🦋

[slightlyartist]

Emma-May is God's strongest soldier </3

[sunfyredefender77]

“sadness is condition of motherhood”

[pureworlds]

these beautiful sisters, eternally doomed.

[nelsaqift]

shes way too fun to draw

[v-chase-art]

“I cannot believe that after driving your yellow coffin on wheels you are worried about your safety now”

“Look, Bug has no mind of its own and wouldn’t suddenly discover enough hatred towards me to throw me off!”

“…”

“Also Bug is not that tall…”

Canon s7, btw

This sketch is a “thank you” for @aurigabi for being the ✨mécène✨ of [my] art ❤️

[kokoasci]

doodles of some totally normal children

[ophelieverse]

whenever i see Daemon too close to Rhaenyra:

[regardsxo]

[august 8th, 2024] after work

[honeysucklethornsandalligtrhorns]

while they may have their downfalls, i will admit i am a HUGE fan of how i haven't seen any gravity falls fans being mad at emma may dixon for 'getting in the way of' or 'ruining' fiddauthor and, instead, most if not all gf fans are COMPLETELY on emma may's side and fully support her ditching/being mad at her husband.

[mccallhero]

favourite ouat scenes: 57/?

[nico-tines]

thinking about how paul matthews actively admits to never being happy and has been stuck floating through his entire life with no real goals or aspirations until he met Emma. Emma was really the absolute light of that man’s world and the moment he even has a chance of having her the entire world ends-

[s1lly-gh02tz]

Random stuff from today + my unfinished Fiddauthor snow men 👅

[torantuga]

idk theres something abt emmk that makes me so happy (maybe its bcs theyre both my fav reboot characters </3) + an emma redesign bcs i think short haired emma is so cool

[introvert-slushie]

Parallels of Stanford and Fiddleford

I just realized something, I think someone already stated this so this isn’t an original opinion.

The way Ford was obsessed with his muse: Bill parallels the way Fiddleford was obsessed with Ford.

Instead like it is unhealthy for both, because if you really think about it. Ford didn’t focus on Fiddleford much when he met Bill. Then Fiddleford either didn’t focus on his wife and kid when he was working with Ford. Fiddleford chose to work with Ford. People forget that both Ford and Fiddleford are technically selfish in way that they wanted to work on something else and ignore the other love that they deserve probably. Or already had.

Also you could say that Fiddleford was trying to impress Ford with intelligence and gifts and Ford was trying to impress Bill with his intelligence and the portal. Again I wouldn’t say Ford was as bad as Bill, of course. Bill manipulated Ford a ton and put him through torture.

It’s just neat to see the differences in how Fiddleford and Stanford’s choices affected their lives.

[crooked-wasteland]

Sir Pentious and the Importance of Narrative Structure

There are some aspects of Hazbin Hotel that leave me genuinely blind-sided. Like standing on the sidewalk when you suddenly witness a catastrophic car crash only for someone on the other side of the road to get distracted from rubbernecking and cause a second collision . That is the only way I can describe the feeling I get whenever I think about how the series handled Sir Pentious.

I have never seen a show fumble such a big plot point, not once, but twice and in the same exact way. First in the episode where the characters are engaging in “trust exercises”; the narrative entirely neglects the cast of Husk, Pentious, Angel, and Nifty for a very rudimentary plot that feels straight out of season one Steven Universe for Vaggie and Charlie. Instead it skips to them returning to the roof as a group and Angel Dust carrying Pentious and that is the end of the series attempting to show this bond until the second to last episode. Which also just does nothing with the first opportunity to watch that assumed relationship actually come together.

We never saw them actually help each other during the Turf War, but there was an opportunity that would have worked even with zero changes to the rest of the series to rectify that fact and it would have only cost at most 90 seconds of screen time:

Just have these characters talk to each other and treat it like it means something.

And it’s not hard to figure the reasoning of the writers was to have the reveal that the side characters didn’t leave be the big cherry on top this episode’s happily ever after. Instead, it's a completely forgotten plot point that only keeps the audience from ever believing these characters cared about each other enough to mourn one of them being killed off in the most abrupt way.

Sir Pentious’ death was pathetic. The heroic buildup to him buying the others time is undercut by his actual uselessness. And that compounds the problem with the fact his death is an intentional joke, but simultaneously supposed to be an impactful character moment? That isn’t how you get an audience to laugh while crying.

The art of achieving that dram-ody effect is fundamentally based on two grounded principles: familiarity to the character and pacing. Building up to sadness is a process, and trying to achieve something as primal as sadness requires some surprisingly complicated setup. In an undeveloped prefrontal cortex, the brain is still hardwired to mirror as a form of empathy. It’s why so many young fans can say without irony that Pentious dying is “Sad”, because they are caught off guard by his sudden passing to then be inundated with the named characters crying and being sad. They are sad because the characters are sad, but there was no one crying for Pentious like the characters are, not without a psychologically concerning degree of parasocial attachment. It’s “Sad” as in its “disappointing”, but the animators intentionally attempt to highjack the wave of disappointment to convince a child audience that they are feeling a different kind of grief.

And it didn’t need to be anything special, even a cookie cutter “Power of friendship” scene would have still fixed that gap enough to at least allow for a course correction later on and presenting the characters as more fleshed out. If time constraints were really that large of an issue, setting yourself up to succeed by laying the foundation to fix these narrative gaps is the only way to rectify it. Especially with announcing an already pre-approved second season that the crew would have been parallel planning for and thus had knowledge on where to save certain aspects for later.

To be frank, this is why people remember Helluva Boss’ first season so favorably, but it ultimately suffered the opposite issue. Season 1 of HB had a better grasp of setting up plot points early and giving themselves enough space to keep people theorizing and allowing them the opportunity to adapt the characters and narrative dynamically. The whole allure of the series originally was anticipating the payoff for these “mysteries”. It is just that the series had no intention of utilizing those mysteries for any meaningful narrative and quickly killed them off to focus on a predictable and uninteresting ship.

And I am sorry to snatch those rose-tinted glasses, but the first season wasn’t good, we just had clear narrative gaps that felt intentional and anticipated a story/arc/effort where there was no intention behind the scenes to really dedicate any resources to it. And alternatively HH is being handled far less skillfully from the jump, so it attracts the audience that will dedicate themselves to it (children) without any expectations in regards to quality.