#anyway. insanity taking over

[nattensijus]

ethan hunt & buffy summers: my girlfriend is a murderer so what that doesn't make her a bad person!!

[trauma-bot]

sin eater

[lukazade]

Sleepover with two puny mortals that you're in love with (and everything can go right).

Lowkey based on a fanfic I was writing, but as usual I haven't the confidence to post it! Yeah~

Had this in the drafts for months,,,, figured I'd finish it up now so it's done. I like to kinda have some Finished art on the page hahahaha

[deltastorm101]

Alan Wake 2 — A Love Letter | Development Diary

[casualavocados]

Chen Yi + gentle hands in Ai Di's hair KISEKI: DEAR TO ME (2023)

[emloafs]

me leaving my bubble and seeing everyone hate on demetri for taking the last sekai taikai spot

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[joodles98]

we all trying to make sense of swsh story. no problem ☺️👍🏼

[crystalpallette]

ringo has never ever looked bad in an alt but my god she's hitting never before seen levels of Help Me lately

[mars-ipan]

so we all saw @dr2-hell's updated bunnymaeda design right. because i sure as hell did

[ravnervn]

Okay fuck it. I need to exorcise this from my brain. This has haunted me for 2 or 3 years since I saw this film by chance, so I am going to, as best I recall, recap the plot. And then at the end I will say what it is so you can understand why it haunts me. I will say off the bat that you might read this ramble and go "huh this sounds good actually" and it is not. It is not a good movie.

So the film is framed as a story being told to someone -- we're not quite sure whether it's meant to be taken literally or allegorically but the ending and some other details IMPLY it's actually true.

So there's our narrator, who is an average mortal guy living a happy life. And then there's our second protagonist and actual main character, a celestial bureaucrat whose order's numbers are drawn entirely from those who have been denied a chance at a normal happy life. Whilst they can forsake their status to become mortal, as far as the bureaucrat and his peers are concerned, they are happy and performing a valuable service to reality. Our MC has been sent to Earth to investigate a threat to his organisation, and to do so he has infiltrated the narrator's life, seemingly metaphysically convincing everyone that he is the narrator's brother -- except the narrator, who sees through him and ends up convinced to help our MC as it's mutually beneficial; once the mission is done, the narrator's life returns to normal and the MC returns to his role.

So what's happening is that a rival organisation to the MC's has started up and is diverting... Okay so you can see the obvious parallels here and "worship" would fit, but I'll use the film's term of "love" because it's thematically coherent. Anyway, this organisation has a big scheme they're going to hatch to divert all love away from the Rightful Celestial Bureaucracy, and it's up to our protagonists to stop them.

See, the thing going on here is that love is finite. If someone only has one thing to love, they'll love it wholly, but if they have two things to love, that divides the love in two and so on. If they find something they love more than the original object of affection, it could fully supplant it, and that's the crux of the villain's plan.

Because the villain is a fallen celestial bureaucrat who lost his ability to hold onto his celestial form and was forced to become mortal. His plan for revenge is to supplant the love people have for his former order with love for a false idol, thus destroying the whole celestial bureaucracy. The fact this is considered a legitimate and real threat by the celestial bureaucracy implies that this is, metaphysically, how this works. Even if we take this story allegorically, the allegory still has the basis "love is a finite resource and you learn to make do".

Obviously our heroes defeat him, and obviously during this time they've genuinely bonded and decided that maybe having this guy as a brother/maybe having a loving family as a mortal is okay actually. So our celestial bureaucrat becomes a mortal and this whole story becomes just a funny whimsical reframing of the brothers' childhood.

Yes, childhood. Because here is where I unbury the lede and reveal that the villain is the CEO of PuppyCorp, whose plan is to give everyone a free puppy so that they'll love babies less, because the celestial bureaucracy is BabyCorp.

The movie I have just described to you is Boss Baby. I am being deadly fucking serious.

[darkwings-and-horcruxes]

There’s this deep possessiveness at the center of Luffy’s chest whenever he looks at Sanji. 

Come with me. Be mine. I want you. 

But he can’t take him by force - no matter how much he wants him. Sanji has chained himself to the Baratie with ropes made of grief and guilt, and he’s hard-pressed to let go, even now.

People don’t stay for Luffy, but he’s hoping Sanji may stay with him for the sake of his Dream. That’ll be enough - to have Sanji by his side while they accomplish their dreams together. 

Or maybe, he’ll stay with him for the sake of Nami. Luffy knows the way the others have written Sanji’s flirtations off, but there’s a depth to Sanji’s feelings, visible in the way that he looks at Nami like she’s the prettiest thing he’s ever seen, like he’s blessed to have her near him. Maybe Luffy’s not worth staying for, but Nami is. It's why he’s going after her despite everything she says.

No matter the reason, he just needs Sanji to stay.

[chiquilines]

Its been ages,,, i missed them

[lambmotifz]

sam can control dean emotionally by pleading & using submissive puppy dog eyes while dean has physical control over sam. you understand

[vic-does-battlecats]

If Frostwhistle isn’t real why does the website keep referencing it

[wazzappp]

I love thinking about how this would go down with them