#and sinister's face
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X-Factor (1986) #39
Walter Simonson, Allen Milgrom, Gregory Wright
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chloesimaginationthings · 2 months ago
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This is basically FNAF Ruin…
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skrankku · 6 months ago
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Morph going through it.
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goryhorroor · 1 year ago
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horror movies + favorite posters
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daddy-long-legssss · 13 days ago
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[x]
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cyanorhis · 29 days ago
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Open hand or closed fist would be fine
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poppyfamily · 17 days ago
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x
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dykedvonte · 12 days ago
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Something something perhaps the reason Curly lacks a truly undamaged ID where his face is visible is to represent how much damage Jimmy had already affected on him throughout their relationship and the way Curly obscured part of who he is and what he stood to unintentionally cater to this toxic influence in his life.
#I think there is something to say that most people draw post crash curly and may not have every drawn him pre crash#and I think it says something that we only really look at the characters substantially in relation to Jimmy and not their own merits#unless we are discussing how J I M M Y mischarcterizes them cause in this#since we don’t assign a face and identify to Curly’s actions outside of Jimmy until the end their is the question of how much we are viewing#them as separate entities rather than intertwined actions cause while the flipping#of who we play at shows them and parallels and in separable in terms of the story going down#they couldn’t be drastically more different in thinking and you only really realize that at the birthday scene where Curly felt the need to#take responsibility for something while Jimmy just felt the need to take#this is also more so me thinking about all the reason people think Curly and Jimmy could be friends but they are missing the point of Jimmy#and his dynamic there is nothing severely weird or sinister about Curly or his intentions it’s that he’s well meaning to a fault#he’s an average dude having a mid life crisis and Jimmy is a guy that takes advantage of good intentions like the idea#that curly has to be like Jimmy in some way personality humor morally is the exact sort of projection Jimmy wants#to happen and does like it’s the sad and real case that sometimes people just have friends like Jimmy that they can’t cut off for one reason#or another like it’s not highly philosophical people are friends with objective assholes but it’s less about them#and more about the person feeling some obligation to stay like I feel like crafting him into#being more morally grey is to just make it easier to be angrier or think someone with more of a backbone#could of done something but it’s not even that he was spineless he was just too distracted and sometimes that feel like cowardice like even#Swansea waited it’s just the sad truth of how people avoid people like Jimmy or setting them off#sometimes it just does more harm than good I just am so bored with all the takes#acting like there was a perfect man on that ship and that any one outside of Anya knew the exact type of guy Jimmy#was from the get go like the point is other men wouldn’t in rape culture but women and their victims already know#mouthwashing#mouthwashing game#curly mouthwashing#jimmy mouthwashing#throwing rocks at Jimmy
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vertigoartgore · 4 months ago
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1996's Amazing Spider-Man Vol.1 #417 cover by artist Ron Garney.
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the-great-horse-cocktail · 27 days ago
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squeezing this bitch like a fucking stress ball until their eyes pop out of their stupid potato body
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Millennials get a lot of flack but WE (yes I am opting to claim millennial for this one even though I go either way) accomplished and fought for a lot of civil rights shit. We saw a lot of progress 2008-2015. So much feminism, so much body positivity, so many LGBTQIA+ rights, so much social forward momentum as we all came of age. 2015 and 2000 are a night and day difference from before and after we all came of age. And yes, we did a lot of dumb things and cringe things, and had lots of mistakes along the way. I don’t deny that there were some very grave errors. But we were headed towards a net positive, and things were improving because of the millennial generation. We were arguing over specific progressive ideals, not “should people have rights? Or nah”. It was politically dangerous for democrats to not be outspoken about gay marriage and feminism and immigration a myriad of other things.
And Gen Z’s radicalization is tearing it all down. Misinformation and dying media literacy, right wing podcasts and propping up bigots without recourse, social media trends and speech patterns and memes upholding typical sexist standards etc etc etc need to be really, deeply, genuinely looked at and dismantled.
We thought you guys would be even better than us. We had so much hope for the younger generation. and it’s due to a lot of complex issues, and the pandemic and everything that came with it, but. The ball has been dropped so fucking hard.
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manthropology · 2 years ago
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front camera made some points
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bestworstcase · 4 months ago
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Your post re: Salem's attitudes towards magic got me thinking about "Why spend our lives trying to redeem these humans, when we can replace them with what they could never be?" from Lost Fable again. I'm finding it a little difficult to blame people for believing she thinks the current crop of humans are just inferior when the only subject on offer in that sentence is "these humans." Of course when you stop to think for two seconds why Salem says or does anything she does it makes total sense that her hangup is with the gods, but that just makes me wonder even more why write the script like that? How unreliable is the direct dialogue in Jinn's vision supposed to be taken vs. her narration? (The simplest read of that episode seems to be of course the narration is biased per the question asked, but otherwise it's a frame narrative for the flashbacks which may or may not be more objective portrayals of events. The fact that the characters are also physically witnessing these scenes means they can't be 100% objective I think, but still leaves open the question of what's skewed and by how much.)
Unreliable or not, it's just a surprisingly absolute statement to put in her mouth considering how often we're invited to question her motivations everywhere else.
i do take the dialogue in the lost fable to be accurate to what the characters said, perhaps with some smudginess if what we’re seeing is ozpin’s memories exactly – in which case the dialogue in scenes he wasn’t present for is suspect because it’s what he imagines was said based on what salem told him, and the rest is probably closely accurate paraphrase because no one could be expected to remember the exact wording of conversations from several thousand years ago! but even then i would expect the parts he was there for to be reliable enough. 
so much rides on the lost fable and specifically this one line that it would be beyond cheap for the resolution to be “she didn’t say that at all, actually.”
the first time i watched the lost fable, i did intuitively interpret that line as salem alluding to the gods – so i think there’s probably some degree of her statement reading as ambiguous or not ambiguous depending upon how one habitually uses the word “redeem.” specifically: how precise one is about the verb requiring an indirect object. 
to ‘redeem’ something means to take some action to settle a debt, or redress a wrongdoing, which—inherently—implies the presence of a creditor or wronged party. in some contexts, the implied creditor is only an abstraction (think “the city’s robust public transportation is its only redeeming quality”—redemption is used here in a figurative sense to mean that the one making the statement dislikes everything but the city’s transit system); and in casual speech it’s fairly common to leave off the indirect object if it isn’t necessary to identify the wronged party (think the common phrasing of “so-and-so redeems themself”).
but while it isn’t incorrect to drop the indirect object, necessarily, there always is an indirect object; it isn’t possible to redeem a debt or a wrong that doesn’t exist, nor to have a debt without a creditor or a wrong without someone wronged. (as an aside, this is why redemption arc discourse tends to always be arguments about forgiveness—redemption does, inherently, definitionally, necessitate forgiveness—and this is also why i’m pedantic about differentiating ‘redemption arc’ vs ‘atonement arc’ vs ‘villain-to-hero arc’ and dislike the popular usage of redemption arc as an umbrella term.)
anyway, in simpler terms: when salem says “redeem these humans,” the apparent meaning of the next clause depends on whether or not one is predisposed to hear that phrase as a clipping and mentally append the implied indirect object, which makes her complete statement “why spend our lives trying to redeem these humans [from my sin in the eyes of the gods] when we could replace them with what they could never be?”
<- and then the question becomes, which “them” is she referring to? “these humans” or the gods who will judge whether redemption has been earned? her elision of the gods is entirely within the realm of common vernacular, and salem is a character who regularly circumlocutes (and earlier in the lost fable itself we have ozma’s quizzical “what are you saying?” signaling that salem’s speech is cryptic or confusing – because ozma doesn’t understand her; this is an intended trait versus the writers fumbling), and she says this in a moment of emotional distress (which she mostly bottles up, but while ozma is explaining all of this to her she’s leaning on the desk with her arms folded, listening intently – this is the same posture she has when she’s huddled in the shadows making herself miserable with conjurations of her children in 8.4).
so there’s quite a bit of weight here on the side of, “salem just discovered that her partner has been manipulating her into serving the gods she abhors throughout their entire relationship, she’s deeply shaken, she isn’t awesome at clearly articulating her thoughts in general; is it really surprising that she might misspeak to the tune of saying ‘them’ in reference to an (elided but necessarily implied) antecedent of ‘the gods’”
it (clearly) isn’t going to occur to most viewers as an obvious interpretation of the line, but i think it’s well within the bounds of what is reasonable for the narrative to later reveal that salem really meant this, particularly given how deliberate and how clear the storytelling themes are. definitely a risk, because some section of the audience is undoubtedly going to feel lied to and cry retcon, but rwby takes creative risks all the time.
and then there’s the ‘fairyales of remnant’ piece of it – the anthology is very much in dialogue with the lost fable across the board (on this see also ‘the two brothers’ presaging the thematic treatment of the brothers in v9, and ozpin’s paired commentaries on ‘the infinite man’ + ‘the girl in the tower’ being discussions of truth, propaganda, and forgiveness). so why does ‘the shallow sea’ begin like this:
Long ago, before the fish had scales, before the birds had feathers, and before the turtles had shells, when our god still walked and crawled and slithered the earth, there were only Humans and animals. (And Grimm. There have always been Grimm. There will always be Grimm. But those creatures don’t figure in this story, so just put them out of your mind, if you can.)
and end like this, after a story about the god of animals leading their chosen people to transform by submersion in magical waters, to the horror of those humans who refuse to change: 
From that moment on, there have been animals, Humans, and Faunus. And the descendants of the Humans who turned away from our god’s great gift have always carried envy in their hearts. To this day, they resent us for reminding them of what they are not and what they never can be.
humans and animals (and grimm) -> animals and humans and faunus, and the last line – the mythic explanation for human hatred of faunus – is a nearly direct repetition of the last thing salem says in the lost fable?
now obviously not everyone can be expected to read ancillary material like the fairytale anthology, and that’s why the shell game with the implied indirect object matters; but it is interesting that ‘the shallow sea’ is stated to be a very old oral tradition (one which “contains deep truths,” no less) and that it repeats that line in a context that is quite plainly not about genocide – but rather cultural pride in the face of intense, often violent, persecution. 
this story also 1. explicitly belongs to a closed tradition, and 2. is (obviously) one ozma knows despite there being no indication that he’s ever reincarnated as a faunus. which – together with the story’s age – adds up to at least the implication that it is possible he heard this story from salem, because the reasons she might be conversant in ancient faunus oral traditions are. well. obvious. 
…and if that’s so, then ‘the shallow sea’ as written in the fairytale anthology completely recontextualizes salem’s last statement in the lost fable as salem quoting from a faunus creation myth both she and ozma knew in order to express her rejection of the brothers’ mandate, which would 1. neatly explain why ozma seems to have understood exactly what she meant even though none of the lost fable witnesses picked up on it, and 2. provide an elegant and very simple opportunity to ease the general audience into this revelation by having a character in vacuo retell this myth, using that same closing line. you don’t even need to mention salem directly – the turn of phrase is memorable enough that a lot of viewers will go “…why does that sound eerily familiar” and that plants a seed for later. (or if you’re going for more of a sudden record scratch moment, salem is the one declaiming.)
from a character standpoint, it also makes a lot of sense for salem to respond to ozma in this way – his liking for stories is, one presumes, not a new thing that developed after the ozlem kingdom’s collapsed, and he also clearly isn’t just cynically using fairytales to deceive and manipulate – else he wouldn’t have apologized to the kids by referencing ‘the girl who fell through the world’ and comparing himself to alyx. stories are just important to him and part of how he communicates.
so if salem heard everything his god told him and then said “no, none of that matters, why spend our lives trying to redeem these humans when we could [paraphrases the conclusion of a story where the hateful envious people who refuse to change are simply sent home and not allowed to live in the harsh but free new world with the people who chose to embrace change]” – she made an effort to say what she meant in his language, and what she meant was either 1. figuratively associating the brothers with the envious humans who were sent home and “these humans” with the faunus who were now free to determine their own fates, or 2. “okay yeah these humans aren’t great, have you considered more faunus as a solution” (<- this would be extremely funny if it turns out the shallow sea is a more literal story than i think it is, but i think it’s much less likely).
more broadly, to the question of why the line is written that way – i can only speculate based on what i would be thinking in the writer’s shoes, and the overall structure of the narrative around salem – but i imagine the absoluteness is sort of the point. it’s meant to be a really shocking and frightening thing to hear coming out of her mouth, while also being, if you pause to think very precisely about what she said, quite plausible as a verbal stumble – the alternative antecedent of “the gods” for “them” is implied and eliding the indirect object of “redeem” is common vernacular – and then there’s this other possibility hinted in an ancillary text that she might have actually been quoting a story as a verbal shorthand both she and ozma understood. 
there’s a narrative expectation that the viewer will be right there with the kids making the same snap judgment about what salem meant – because i think the kids all absolutely did take this at face value as a statement of genocidal intent. the story itself is structured like a nesting doll such that each new revelation appears at a glance to be the whole story, but isn’t and in fact has large gaps and details that don’t add up which become glaringly obvious as soon as you reach the next layer and look back, but if you’re paying careful attention as you go it’s also quite possible to piece together the missing pieces. 
delivering information this way trains the audience (…mostly) to expect that the information we’re given is incomplete and maybe not wholly accurate. the advantage here is that even if the vast majority of the audience is completely blindsided by a specific reveal, for most viewers that’s going to feel really exciting – this happened in v9 with the lore reveals about the brothers, massive overnight reversal in the mainstream fandom views of darkness with the general mood being that it was cool – as opposed to feeling tricked or lied to by a “retcon.”
and that builds up a certain kind of trust, that the story is a puzzle but it isn’t going to cheat. it’s also a bit of a challenge or an invitation for the audience to try to figure out what’s coming, like a mystery.
with salem, i’d bet that one line in the lost fable is supposed to seem weirder and weirder the more you think about it, because… why doesn’t it track with anything she says before that point in the lost fable? why does the story begin with salem waxing poetic about humanity’s virtues? why does the narrative make such a big deal out of nobody knowing what salem wants AFTER the main characters witnessed a seemingly open-and-shut declaration of her “true” intention?
at the same time, the amount of explanation required to argue for an alternate interpretation – even if it’s really not complex or a reach – compared to the ease of just taking the statement exactly at face value, in and of itself is both a misdirection (most of the audience will take the path of least resistance, and hopefully enjoy the journey the story takes them on while leading them to the eventual right answer) and sort of the thesis with respect to the storytelling themes. salem thinks coolsville sucks!
but i am also very willing to consider (because of my own intuitive reaction to the line) that the writers perhaps did not mean for it to seem quite as unambiguous as the general audience and most of the fandom ended up taking it, because if you’re spending a lot of time immersed in a specifically theological context regarding redemption (which the writers probably would’ve been, given the importance of the religious narrative in the lost fable and in relation to this line in particular) – and if you’re also in the habit of being very precise and careful about how you phrase things (which is true of how rwby is written in general) – and if you’re writing what might be the most critical episode in a complicated puzzle box story, whose fulcrum is a red herring that is also meant to provide a clue to anyone who thinks to look at it more closely and with an open mind — then yeah i can see a scenario where the writers may have felt that the specific wording of salem’s statement was more ambiguous than it actually is. in which case the echo in ‘the shallow sea’ might have been a bit of an effort to correct course by giving the subset of fans invested enough to read the fairytales (<- the cohort most likely to be keen to unravel the puzzle) an additional hint. who knows.
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goryhorroor · 1 year ago
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30 favorite horror movies + quotes
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year2000electronics · 5 months ago
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I WON'T TELL YOU HOW TO LIVE // EAT AND EAT 'TIL YOU GET SICK // I WON'T TELL YOU HOW TO LIVE // FEED THE HABIT LIKE A BLOATED TICK!
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milkbreadtoast · 2 years ago
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shady guy...
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