#Is this different enough from the show?

[grimmbunny24]

I imagined a couple of OCs that are loosely based on Aziraphale and Crowley, primarily keeping the “angel and demon raise the Antichrist”. The demon, Levi, is the Antichrist’s nanny who ultimately loves children and confidently raises the demonic spawn. Sure, the kid is weird, but would any hell child be totally normal? Meanwhile, Angie also loves kids, but has only cared for them for limited amounts of time and from a distance for the past few hundred years. She was a very loving babysitter, many centuries ago… but…

Angie is, of course, a bit more nervous. Since she has never been in Hell and interacted with demon spawn children, she is uncertain as to whether or not she should be concerned about the child’s behaviors. Honestly, what would she do without Levi’s assurance?

Those are my ideas thus far, let me know what you think!

A Thought I Had. An Idea, Even.

I was thinking about Good Omens, as one does, and I realized that the handful of scenes in which Aziraphale and Crowley raise the Antichrist could be its own show. I am not saying it should have been expanded upon in the book or the TV series, I’m not even saying there should be a spin off about raising Warlock. All I am saying is, this would be a great concept for a show. Imagine, an entire comedy show about an angel and a demon raising the Antichrist.

[batcavescolony]

Katniss is such an unreliable narrator. She says "Then something unexpected happens. At least, I don't expect it because I don't think of District 12 as a place that cares about me" girl you deliver strawberries to the Mayor, you hunt and trade for the district, when you fell at Prim being chosen someone caught you, when you went to Prim people parted for you, when you volunteered EVERYONE stopped. Idk how to tell you but I think you're a pillar of the community.

[ronanlynchbf]

tshirt that says NO LIVE ORGANISM CAN CONTINUE FOR LONG TO EXIST SANELY UNDER CONDITIONS OF ABSOLUTE REALITY

[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.

[cinnamon-flame]

Starting off the new year with I think the most background heavy piece I've ever made! I think Rainwings and Nightwings would celebrate their traditional holidays together after the events of The brightest night. So this drawing is meant to show their cultures kind of blending together during a very joyful time. I remember talking about this concept with someone on tumblr a year ago but when I went back through my posts I couldn't for the life of me find it - so if your reading this, I remember you and this drawing stems from that conversation so thank you!

Close-ups:

[fruitageoforanges]

elia martell character of all time because she was playing the game of thrones AND WINNING — survived aerys, set up an alternate court on dragonstone, universally beloved even by most of robert’s anti-targ regime, was probably at least angling to get rid of aerys — but the literal song of ice and fire was being written around her and well. you can’t outrun your inevitable doom.

like. that’s elia’s tragedy, and what makes me so insane about her. she was in the wrong story. she was playing the game of court politics but ended up yoked to 300 years of targaryen collapse and dynastic rot instead. there’s nothing i love more than characters doing their best with the pieces they can see on the board, while the fact slowly dawns on them that the board is in the process of being swallowed by an eldritch monster.

[cozylittleartblog]

me omw to scare mormons out of a wendys!! 🍂🖤🍟

ootd from like 2 weeks ago and yes that really happened

[shitpostingkats]

Riz Gukgak and his bloody hands

SUCH a metal visual and motif. Kalina, Baron, they tease him for it, they twist it into one of his worst qualities, just as they belittle that he his heart, leverage his fear that he cannot love anyone enough.

Riz Gukgak loves. He will claw himself to shreds on love. He will dig through reality, lacerating himself on crystal, just to help his childhood friend. He will hiss at the devil, he will bite out eyes, he will do anything to help his friends feel safe. He will attempt to eat an entire dragon. Out of love for a father he barely knew.

"That’s you saying “I love you” to the people who matter to you the most."

[yuseirra]

been listening to her songs lately!! they're a blessing

[jojo-schmo]

I think it's fun when people give themselves titles like "CEO of insert ship name here," but then it makes me think there can be only one biggest fan.

To me it feels more like we are members of the Board of Directors for a ship. A team of stakeholders, if you will.

Perhaps the ship itself is the CEO and we are its member representatives, contributing to its success and outreach. But not in it for the money, just to spread the love!

[wolves-in-the-world]

the thing about eliot spencer as a character, right. the thing about him.

(and as always your mileage may vary on my analyses so if we disagree that's cool actually)

is that he is in fact a somewhat emotionally constipated idiot who is occasionally sensitive about his perceived masculinity and gets defensive about emotional intimacy around other men (largely hardison, who's much more comfortable expressing affection and embracing a softer kind of masculinity), but eliot displays enough emotional awareness and sensitivity and respect for women etc etc that anyone who's been subjected to that era of television will put on rose-tinted glasses without even looking twice.

(and he is, don't get me wrong, incredibly emotionally aware for a professionally punchy guy with enough trauma to sink the titanic. it still startles me to see.)

on top of which we have the layers and the accessories and the excellent hair with the secret braids and the way he barely has an ego and he's good with kids and protective of his team without taking it too far, and some of us never stood a fucking chance.

[rystiel]

would things have been different if stan told ford? will things be different since mabel told dipper?

[essektheylyss]

You know what's hilarious, if Ludinus was indeed a young man being traumatized by the end of the Calamity. Deirta Thelyss is almost certainly older than he is.

This is not relevant but I think Essek should bring this up, just to be a bitch about it.

[beebfreeb]

I got curious about the difference between the English dub and original Japanese voice acting...

[lesbianherald]

ugh. whatever. i deleted that post. i don't want to dwell on one negative when there's so much positive that I am genuinely so touched by. i don't think most people would ever need to be reminded of this - but will say it anyways - pls just remember I am a human being and not a chapter-churning machine and all writers, fic writers and otherwise, (honestly artists in general) should be allowed to explore what they would like to, even if its not to your taste or expectations <3

[1doesnotsimplyhavejust1fandam]

We moved on from Buck being the one to meet Kim at the station too fast. Way too fast.

Because hey, what would you do if the dead wife or a doppelgänger dead wife of your best friend-partner-almost love of your life showed up at your place of work with brownies? Would you ignore the date you scheduled in favor of driving over to your best friend’s place to knock urgently on his back door because you’re so afraid that something is happening to him. And you know that something is happening because the doppelgänger of his dead wife just showed up to the firehouse with brownies like it was just another Monday. You think you might have to push him to talk, but it feels more like your best friend was just waiting for someone to see him, and he is just as dumbfounded as you, and maybe even as scared for himself as you are for him. So you tell him that he needs to break it off with the doppelgänger of his dead wife, but you know that it’s more complicated than that, your best friend’s feelings, even though you trust him to do the right thing and end it with her. But you’re still not through the shock of seeing the doppelgänger of your best friend’s dead wife standing in the fire station, heart beating, lungs expanding, and so you think that maybe your best friend is still in shock too, and you don’t want to push too hard at his grief-wound. So you leave it for now, and you don’t come back to it until it blows up in your face, and your best friend’s face, and his son’s face too.

So yeah, I’d say that Buck probably has a lot of regrets too about the Kim situation. He’s a fixer, no matter how hard he tries, and they lost the kid both of them love more than anything over the situation. You can’t tell me that Buck hasn’t been screaming crying throwing up about it since May. Fuck that.

It doesn’t matter that we don’t get characters’ inner thoughts (usually) on this show. Buck met Kim, and he talked about it with Eddie twice. That’s crazy. That’s certifiably insane. It’s been six months. The midseason finale is tomorrow. There is no excuse for Eddie and Christopher still not speaking. This is no excuse for Buck and Eddie still never discussing Kim or at least Chris leaving. These characters are not meant to be this horrifically repressed. It is strange. It is out of character. Kim showed up for about four episodes and disappeared into the ether. I want to know what the hell is going on with this storyline.