#Retakes Control

[dailyworldecho]

[verysmallcyborg]

i reached lvl 100 mch last night and i gotta say......i'm predictably in love with all the new mch animations/abilities, ESPECIALLY full metal field ehehehe

[thefaeriefeatherdark]

I actually think Superboy and the Ravers is where the Emotional Entities peaked for me, and it predates the concept by like a decade.

Like Faust summons them and then immediately they refer to the Predator as magic and a demon.

And then the final arc is all about the main villain opening the gate to the Predator’s prison. And the Predator’s getting free is treated like, potentially the end of everything.

[theenemyod]

Magisterium post cannon AU where Alex survived and is just living in Aaron's head until he figured out what the fuck to do with himself.

He tried to stay hidden for a while but then Aaron had the weirdest, most fucked up, insane thought ever and Alex has to say something about it.

Also Alex getting fucking angry every time Aaron makes even a minor change to his body. Aaron tried to bleach his hair, Alex took control for about five seconds and tried to force Aaron to drink the bleach instead. Aaron got control back before he managed it.

And Alex just being angry or annoyed all the time then he sees just a random bit of Aaron's thoughts that Aaron tries to hide and gets worried.

[raeyhem]

is this anything

[jazzyinspace]

#JesseJanuary: Day 31 | "If it isn't my favorite Director..." 💜🔻

[dead-or-alive-images]

Costumes 1, 2, and 3

DLC Featured:

DOA6 Character: Nyotengu

[golvio]

This video about the set design for Phantom of the Opera has me thinking about design engineering, and how it contrasts with regular engineering, and how that demonstrates the contrast in design philosophies between the Sheikah/Princess Zelda and Ganondorf himself.

The Sheikah design philosophy revolves around their spiritual idea that destiny governs everything, that everything was created with a purpose. To that end, the things they designed tended to be very pragmatic and illustrative. The Shrines themselves were designed with this ethos, each building being built for a specific purpose first and foremost. The decorations of their buildings were mostly focused on reproducing the world and cosmos in microcosm, not as something that distracts from the building’s intended purpose, but in order to explain to viewers in the know how this particular structure fits into Hylia’s Grand Design. Zelda herself is very pragmatically minded, attempting to reverse-engineer this ancient technology, or at least understand how it works well enough to reproduce it. She can be a very passionate, emotional person, but she’s not so hung up on aesthetics or trying to figure out “what it all means,” just “how does this work?” No frills, no artifice, just straightforward and to the point.

Contrast that with Ganon. After hearing a bunch of theorists describe Calamity Ganon as something akin to Puppet Ganon from Wind Waker, it clicked into place for me. Ganon is a set design engineer, rather than just a guy working in a workshop to build machines like the Royal Research Lab. His creations weren’t just built to fulfill a purpose, but to communicate something. The purpose his creations serve, while important, is secondary to that desire to communicate a concept, to produce a specific effect in his audience, even if the only thing he wanted to communicate was his contempt for Hyrule and its people.

“The Calamity” is a coup de theatre: this great big spectacle designed to produce a specific impression in the people of Hyrule. In this case, the desired impression was mass panic. Ganon purposefully obfuscated his methods in order to give the impression that “Calamity Ganon” was this vast, incomprehensible force of nature that could not be predicted or countered. Once you start seeing what he’s working with, as you start making connections between the Malice and whatever that ectoplasmic substance the Ultrahand is working with actually is, the actual mechanisms he used turn out to be relatively simple. He just relies on optical illusions and hiding his tricks in order to make things seem more vast and terrifying than they actually are, like how Bjornson used foreshortening to make the chandelier look like this perfect reproduction of the Garnier opera house’s chandelier when it was actually just a flat oval that could fit in the tiny theater and wasn’t as much of a pain for the stagehands to transport, raise, and lower as a perfect 1:1 scale reproduction would’ve been.

And then with Ganon’s takeover of the Guardian tech, he injects this design philosophy into the stuff he’s working with. A lot of what makes the Possessed Guardians so scary is the musical/sound cues associated with them, as well as their body language that suggests a cold, driven, purposeful hostility. Without that, they’re just big goofy buckets with legs. Just compare the Guardian you see in the castle flashback that’s unaccompanied by the iconic, anxiety inducing heartbeat of the “Guardian” music, being gently prodded along in a certain direction by soldiers with the Guardians you’d see patrolling Central Hyrule 100 years later. Ganon doesn’t just want an ambulatory robot that shoots lasers. He wants his war machines to intimidate, to terrify, to make their targets so scared that they freeze in fear (and coincidentally become much easier to hit). The Blights, too, were designed with this aesthetic of fear in mind. They’re also designed to suggest Ganon’s present, even if the artist himself is technically absent.

The desired effect is to establish the omnipresence and frightfulness of Ganon himself, to terrorize his targets, and to communicate his general contempt. He is concerned with the aesthetics of power, as opposed to just having impressive weapon specs. The Guardians by themselves are already potentially dangerous and destructive, as all weapons of war are, but Ganon needs to take it further, injecting his personality into each one he touches to turn them into a tool of communicating his will in addition to just weapons he tries to use to destroy Link/Zelda.

In summary, their general philosophies are like this:

The Sheikah: This is the world, this is how it works. Everything was made to serve a purpose, and this building, too, has a purpose. It was built to fit into this grand cosmic design we depict on its walls.

Ganondorf: I Want These Cretins To Pee Themselves In Terror When They Gaze Upon My Works. Let Them Hate Me, So Long As They Fear Me.

[lezbianz]

truly truly despise the medical distinction between “anorexia” and “orthorexia”, as if anorexics haven’t used diet fads as a means to starve themselves for forever. like, who does this distinction serve? how will treatment meaningfully differ for anorexics and “orthorexics”? many thoughts on the topic, all of them negative.

[icecreambeach]

Just a reminder that it is perfectly normal to enjoy old books, old movies, old tv shows, old fanfics. These things are made with the understanding that they will be enjoyed for the rest of time.

It boggles my mind that anyone would think otherwise. Maybe this is a result of the "feed" experience of "content," where it all just flows like a constant river and we're all expected to not only keep up with it but never go downriver to see what's come before?

Please don't let old media (especially fan works, which are already labors of love and require audience support via comments and sharing in order for all of fandom to thrive) wash away with the current.

[surriessecrets]

She holds the power the way the moon powers the waves. Just as the moon disappears while the sun kisses the mountains, she too will return when it is her time to once again to regain control of that which needs her.

[sugarstarlights]

..Okay. I lost. The strings. I feel relatively normal now. Glad for the improvement.

[exculis]

?????

[relicsongmel]

POV: you're Dena and your favorite teacher is trying to cover up the fact she's fucking your mom

[cryptidcrone]

Alcina @ Mia

[mother-chorizo]

One aspect of the story of Dune that the movies don't make super clear is that, before Paul, the Fremen already had a central leader figure in Liet Kynes. In the book, Kynes has a generations-long plan to gather enough water to transform the environment of Dune (this is why the Fremen have those big pools, they never get super clear about that), then retake the planet for the Fremen and create paradise. Paul showing up and then leaning into the whole Lisan al-Gaib bit pretty much directly gets Kynes killed, creating a power vacuum into which he assumes himself with the aid of his previously-unheard-of levels of white privilege. While Kynes was an ecologist, however, Paul comes from a family of colonial military aristocrats. All Paul can offer the Fremen is all he understands: revenge. Bloody revenge for everything they've endured in centuries of oppression by the Imperium, temporarily in line with the revenge he craves for the Imperium's attempts to control him and his family, and spiritually in line with the resentment built up all across this socially stagnant feudal space empire.