#its more the vibe than anything

[ink-wells-and-feathers]

GUYS I FINALLY FIGURED OUT WHAT ZIRK REMINDS ME OF!!!

Zirk Vervain reminds me of Seymour from specifically 1986 little shop of horrors!

[ariespetal]

They start talking like retired men on a golf course and it makes marcille overly aware of the passage of time

[cozylittleartblog]

Columbo and the Knight (1984)

put me in the universe where Columbo ran through the 1980s and had a crossover episode with Knight Rider. I think they deserved it, and I am not just saying that because they're my two favorite Old Shows. @telebeast wrote a little fanfic blurb about it and I HAD to visualize it into a comic (which is also the longest comic I have finished thus far at five pages...), so writing credit goes to them.

Autism W!

[candyapplemacchiato]

found out today that Weird Al was almost Lucifer's VA and promptly lost my mind. Hell's Greatest Dad was almost a polka and im so upset about the fact that i can genuinely still HEAR the polka inspiration in it

[bacchuschucklefuck]

space sweepers but they're delivery people and are at no point on screen through the entire movie

[hajihiko]

youre one of the few artists that actually make kazuichi pretty thank you for not being one of the "well ppl dont like them so obviously theyre not attractive to anyone" ppl

also sorry if i sound insane

funny bc i often see the MOST fanning over him lol

[natsmagi]

holding the world in her hands

[tequiilasunriise]

Possible nicknames Lenore called Annabel in life go:

"Anniebell": Sometimes the smallest changes are the cutest, okay? Anniebell Lee sounds adorable as hell and I'll stick by it. Imagine Annabel trying to admonish Lenore for saying some wild shit at a Rich Persons Gala™️ or smth but she keeps breaking out into giggles like, "You- you can't just say that pet!" and Lenore playfully replying, "Oh whatever do you mean, Anniebell Lee?" like UGH I hate them somebody throw hammers at em already 💥💥🔨🔨🔨

“My moon”: in relation to the Annabel Lee poem (‘for the moon never beams/Without bringing me dreams/Of the wonderful Annabel Lee’) and also there’s smth so flavorful of the character with a color palette more akin to the Sun (long shiny blonde hair, warm colored eyes, seemingly more outwardly personality, etc) being called the moon like I loveee contrasting design choices‼️‼️

“Angel”: Also a reference to the poem (but like, worse because it was the angels that separated em) and can be easily pulled from Annabel’s name

“Petal”: Or some other variation of a flower based nickname because imma sad, sad bisexual who loves ✨flower motifs✨ just a bit too much

Anything in Dutch: This can be like common ones like “liefje” (darling) or the previous entries but in Dutch idk go crazy go stupid

“Locket”: An unconventional pick pulled from Annabel’s last name Whitlock + lockets containing pieces of hair from your other half being T H E romantic gesture of the century back then, so, like. Idk. Hear me out like okay I think Lenore could be the unconventional route (I mean girly already faked her death via arson and pulled a Mulan to get the girl soooo you see what I’m putting down?) and like like LIKKEEE⁉️⁉️⁉️ Imagine with me Lenore telling her girl, “You’re the locket I keep nearest to my heart” (many necklaces back then had a chain just long enough for the locket to rest above the wearer’s heart) and it evolves to Lenore calling Annabel smth like “my dearest, my locket” LIKE YOU HAVE TO IMAGINE WITH ME!!! GUYS MY VISION IS VISIONING!!! 🦅🗣️🌈🗣️🗣️🦅🦅🌈🗣️🦅🦅

@incorrect-nevermore cmere and witness my madness

[youssefguedira]

I wish you would write a fic about irreconcilable artistic differences on a movie set between Joe and Nicky.

not really irreconciliable as in not solvable at all but you know i had fun with this

Joe squeezes his eyes shut, covering his face with both hands, and leans forward. His shoulders tremble uncontrollably. He takes a short, sharp breath, and another, and another, but he can’t quite seem to get enough into his lungs. There’s a lump in his throat and a weight in his stomach. He leans forward with a low, wounded sound and–

“Cut,” Nicky says softly. Then, because it takes Joe a second to hear him: “Joe, stop.”

Slowly, Joe raises his head. Wipes at his eyes and takes a few deep breaths to steady himself. Nicky’s already up, frowning ever so slightly as he looks at the camera. 

“What is it this time?” Joe manages. His voice is hoarse; he has to clear his throat once or twice. Nicky doesn’t look up. The clock on the nightstand reads 01.34, but Nicky’s changed it a few times over the course of the shoot. He has no clue what time it really is, only that it’s dark outside.

It’s just the two of them in the room. Nicky had wanted to keep this one small, just him and Joe and the camera. The apartment they’re in is nice, if a little empty, though Joe supposes that’s the point. They’re in the bedroom, Joe sitting cross-legged on the bed, shirtless, sheets bunched up over his lap, a phone lying on the nightstand behind him. One entire wall of the room is taken up by a floor-to-ceiling window which lets the moonlight in, though there’s a few low lights set up behind Nicky to send bars of silver light across the bed, because the natural light hadn’t quite been strong enough for the effect Nicky wanted. It’s otherworldly; it’s beautiful. 

Nicky still isn’t looking at him, so Joe says again, “What?” It comes out a little harsher than he means it to, but it gets Nicky’s attention.

Nicky runs one hand through his hair. Joe can’t see him well, not with the light behind him and the shadows in the room. “I don’t know,” Nicky says. “It’s missing something.”

Joe has worked with Nicky enough times before. It’s not that he doesn’t like working with him - they’re friends - but he can’t fucking read him, and so after the sixth take of the same scene he can’t help but take it a little personally. 

Joe reaches for the bottle of water hidden just under the bed and takes a long drink, mostly to keep himself from snapping. What time is it? “I can try again, but I can’t do this indefinitely, Nicky.”

“I know, I know,” Nicky says, fidgeting again with the camera, “it’s not you, it’s just–” 

“What else could it be?” Joe interrupts. He’s not stupid. This scene doesn’t work if he can’t get it right, which means the entire film doesn’t work if he can’t get it right. More than anything else, this one depends on him. No music, no camera movement, no dialogue, nothing but him and the camera. And he wants to do it right, he loves this project almost as much as Nicky does, but there’s a hollow feeling in his chest and he’s spent the last however-many-hours having a near-complete breakdown over and over again and it’s still not right. And Joe doesn’t know what it is he’s doing wrong.

“I don’t know,” Nicky says quietly. Now he is looking at Joe, and Joe can’t tell if he’s disappointed, or angry, or – or what. He’s perfectly expressionless, as always. 

Joe loves this job. And he wants to get this right. But it doesn’t mean it’s not one of the hardest things he’s ever had to do, and he’s tired.

“I don’t have much more left in me, Nicky,” he says, and this time he does snap. He wipes at his eyes again, can’t look at Nicky. He’s supposed to be making himself vulnerable, above all in this scene, but suddenly he can’t stand the way Nicky’s looking at him. “Pass me my hoodie.”

“Joe–”

“I can’t. I can’t keep doing this.” He kicks the sheets off and gets tangled trying to do it, grabs his hoodie when Nicky offers it, pulls it over his head in one fluid motion and gets out of there as soon as he can. Thankfully, there’s only Andy and Nile in the other room, Andy lying back on the couch with her feet up and Nile perched on the arm of it. They both look up at Joe as he enters, both look like they’re about to ask, and Joe can’t stand it, can’t be in here a second longer, can’t–

“We are done for the day, I think,” Nicky says behind him, startling Joe. He hadn’t realised Nicky was there.

Andy raises an eyebrow, but doesn’t argue. It’s already the second day of trying to shoot this scene: they’re running the risk of falling behind schedule. 

“We’ll find something else to do tomorrow,” Nicky says. “I’ll look over everything tonight. We will try this again on Monday.”

Andy and Nile look at each other. Nile shrugs. 

“Get some rest, Joe,” Nicky says. 

Joe shoves his hands in his pockets and doesn’t say a word.

–--------------------------------

He doesn’t get called in the next day at all, and he doesn’t interrogate it too closely. Takes the day off, pretty much, because they’ve only really got one scene left to film, and there’s not much more he can do for that. Nicky had wanted to leave it to the last, and Joe had agreed, at the time.

At about nine pm, someone knocks on his hotel room door, which is unusual on a day where they don’t have a night shoot to do. When he opens it, Nicky is on the other side. Joe lets him in without a word. 

“I wanted to apologise,” Nicky says, standing in the middle of the room and looking as uncomfortable as Joe’s ever seen him. “For last night. I was pushing you too hard, and I should not have done.”

Joe closes the door behind him. Nicky fidgets with the sleeve of his hoodie. 

“Sit down,” Joe says. 

Nicky does, settling himself on the edge of Joe’s bed, not quite looking him in the eye. Joe joins him, after a moment. 

“At the risk of sounding cliche,” Nicky says, “it’s not you, it’s me.”

Joe laughs, mostly because the phrase sounds so strange coming from Nicky and also because out of everything he’d thought Nicky might say, he hadn’t expected that. 

Nicky smiles slightly, too. Then he gets up and heads for the minibar. “Mind if I have a drink?”

Joe shakes his head. Nicky gets out a little bottle of wine, glances at the label, and takes a swig straight from the bottle without bothering to get a glass. 

“I can’t seem to get it right,” Nicky says. “You know I wrote almost fifteen different versions of that scene?”

The scene in the script itself is barely a page long. “No,” Joe says. 

Nicky nods. Rubs a hand over his face. “I wanted it to feel real. I thought if I could get it right, it would… help, somehow. I don’t know.”

It’s the exact same reason Joe said yes before he even read the script, when the whole thing was just an idea in Nicky’s head, when they were talking about it over drinks at Andy’s and Joe was in love with the idea almost immediately. He knew exactly why Nicky was writing it; he knows, now, exactly why it needs to be right. But at the same time – “I don’t know if that’s possible, Nicky.”

Nicky sighs. “I know.” He crosses back over to sit beside Joe again, takes another drink from the bottle. “But there is something missing, and I cannot seem to find it. And so it does not feel real. And I know this is not easy for you.”

“It’s not,” Joe says plainly. 

“But you know,” Nicky continues, “I could not have trusted anyone with this but you. If you had not said yes, I would not have done this.”

That, Joe didn’t know: he knows he’d been Nicky’s first choice, but he’d assumed that’s because they know each other well enough already. But it makes sense: the reason Nicky wrote the script is the same thing they’d bonded over. 

Even still, it’s a lot. “I don’t know if I can do it the way you want,” Joe says. 

Nicky looks up at him from where he’s been running his fingers over the label on the bottle absentmindedly. “If you want to stop, I can–”

“No,” Joe says quickly. “But I don’t think it’s ever going to be exactly the way you felt.”

Nicky looks away. “It is a lot to ask,” he says. “I know this.”

Joe doesn’t think; just reaches over and takes Nicky’s hand. “I know,” he says. “Trust me.”

Nicky takes a deep breath. Then he nods. "Okay."

[bad-as-me]

I think a key ingredient that a lot of soulslikes miss is how every fromsoft release is in a sort of continuous discussion with itself. They are very much a studio that is trying to improve on communicating the same ideas, which can be a lot and can be overwhelming to take on for the first time, but they work because they seem to be committed to spending however long it takes for you to understand them.

Like, it goes so much deeper than decayed empires and undead protagonists and Berserk references. Miyazaki and his team are deeply interested in sociology, occult philosophy, cycles of suffering and how we as humans take desperate measures to try and free ourselves from what we believe to be inescapable.

And a fun thing about picking up another fromsoft title after you start to understand one of them is that - just like learning the combat system - what you learned will carry over into the next series. Where you would expect the first flame, now there is blood communion, or coral in AC6. Where you expect Gwyn and the Age of Fire, there is Marika and the Golden Order. The descriptions are short because they trust you to eventually pick up that nothing is coincidence, and everything has a deeper meaning behind it if you are open to interpreting it yourself.

And sure, all these games have something at least a little bit different to say with these repeated patterns - but now you know what to look out for, and it is a whole lot easier to digest the new information that is thrown at you once you can recognize their base components.

There is no "formula" to a souls-like narrative - not from an aesthetic point of view anyway. It's an ongoing, possibly lifelong pursuit of perfecting what you are trying to say, in the hopes that one day it will all be strangely familiar to the people you are speaking to.

[ahalliance]

still thinking about antoine semi-rping on main during the qsmp meta talk with etoiles, florence and zerator last night . why did this dude scoff when étoiles started talking about the resistance . why did he start asking him why he’d possibly want to kill federation guards and disagree with étoiles calling them mean/bad people . you are currently discussing this while playing on the mc server that contains La Tour de Merde you can Nawt give me lore jitters like this…..

[apuff]

thinking about love in danger days

this is part of my conspiracy theory that that album is aroallo, but i've always gotten the sense that romance and romantic attatchment is much less important to danger days than any other mcr record. with bullets&revenge it's quite obvious as the demolition lovers take up like, everything, and the black parade has a heavy focus on a romantic relationship as well. 

while i do think there are lines in it that are romantically coded, there is a definitive lack of emphasis on it- like it's nowhere in the plot at all. 

i do think danger days represents a very familial type of love though. while other albums visit a sense of "i want you, i need you, i miss you, i hate you,", this is more like…"i love you, i want to protect you, i'm sorry"

i find this especially strongly in s/c/a/r/e/c/r/o/w:

"Nevermind about the shape i'm in, I'll keep you safe tonight"

"love, love, love won't stop this bomb"

"run, run, bunny, run"

and other songs: 

"i'll find you when the sun goes black"

"just save yourself and i'll hold them back tonight"

"how long until we find our way in the dark and out of harm"

relevant things i can't cover with just quotes are planetary go, oft-theorized to be about party poison and kobra kid, as brothers, leaving battery city together; sing, about the killjoys' last message to the girl while saving her; goodnite dr. death, phrased as him saying goodnight to children; and summertime, which i can't discern the meaning of but seems more like a family type of love. 

i think it makes sense that danger days is like this, seeing as it features main characters that take care of a child main character as opposed to main characters that love other main characters of the same age/ability. 

another thing i noticed while re-listening to the more sentimental songs for this essay is that there's just a distinctly different vibe to it. So much of it is focused around wanting to protect people, keep them safe and out of danger (<- ha that's the name of the album) and loved. i think this also makes sense, because the killjoys live a very, well, dangerous life without much security, and they'd want to provide what they lack the most. another semi-related thing i noticed is just how much of an emphasis there is on childhood in this album. i feel like there's a vibe of youth or teen-hood throughout the earlier ones, but this is just VERY strongly about kids. again this makes sense cause not only are the killjoys teenagers (a type of kid!) they also have a proper little kid to watch. 

also, i wonder how much of this stuff was due to gerard becoming a parent. just something to think about 

[weirdmageddon]

sorry for liking davejade in 2023 btw its in a cool way though

[lollytea]

I really love hope is a thing with feathers and I also really LOVE the hope as a sewer rat poem too but I wish it was not explicity written as "well actually" against Dickinson asgvsjnk. The imagery is SO GOOD but this whole vibe of "my metaphor is better than your metaphor" kinda sours it for me

[vaguely-concerned]

it really is hilarious how little objective quality has to do with how much I'll love an RPG. larian makes games that are objectively very good, but don't really resonate with me personally when I play them, for whatever reason. bioware makes games of wildly erratic levels of quality that cause my soul to vibrate at pitches heard only by dolphins and god.

[batfambrainrotbeloved]

can i suggest one for the may bonfire (aka majbrasa ((swedish tradition)))/j

OOOHHH FUCK YEAH BONFIRE PFP TO BE MADE!!!