#soundtrack showdown

[soundtrackshowdown]

[vg-soundtrack-showdown]

Check out song recommendations here!

[tournamentdirectory]

What soundtrack is the best? Head to @soundtrackshowdown to find out.

[varim64]

Soundtrack showdown is for sure gonna come down to wii sports and undertale, doom and ocarina of time will be up there too

[k-i-l-l-e-r-b-e-e-6-9]

𝔗𝔢𝔫𝔞𝔠𝔦𝔬𝔲𝔰 𝔇 - 𝔅𝔢𝔢𝔩𝔷𝔢𝔟𝔬𝔰𝔰 (𝔗𝔥𝔢 𝔉𝔦𝔫𝔞𝔩 𝔖𝔥𝔬𝔴𝔡𝔬𝔴𝔫)

[longhands-the-second]

Listen I know people have already talked about this dynamic at length but I’m never shutting the fuck up about this scene.

This shit rewired my brain in middle school. This is, no contest, the flattest version of Knives, but the tension is delicious. “I’m scared, hold my hand, you’re the only one alive who could possibly understand You don’t understand at all, and I have to deal with you and your bullshit and all of the people you’ve hurt.” They’re nothing like each other and they are exactly the fucking same. They’re both so deeply fucked up that this is the only vulnerability they’ll allow themselves- there’s no way other people could understand it. A century is a long time. I have a lot of incoherent thoughts about it.

[mostredactedbracket]

VIDEOGAME SOUNDTRACK SHOWDOWN BRACKET ROUND 1

Persona 5 suggested songs: Life Will Change || Beneath the Mask (rain) || Rivers In the Desert

Xenoblade 1 suggested songs: Engage The Enemy || You Will Know Our Names || Mechanical Rhythm

[joslincox]

Vanessa Carlton - A Thousand Miles (Xiaolin Showdown)

Duh, the song's title is BASICALLY a reference to the show's pilot episode.

[orfisheus]

RIP Ulyana Mescheryakova, they would have loved Guardians of the Galaxy Vol. 3. <3

BUT SHE'S STILL TECHNCALLY IN IT! AP Lang is over, so I can finally draw stuff for her. Ended up changing a bunch of plot points during studying, so her description's inaccurate. Whoops.

Want to see more of her? Vote for Ulyana in the redemption poll! Here's the link: https://www.tumblr.com/horrendous-bisexual-showdown/716852784367091712/revival-round-part-2?source=share

@horrendous-bisexual-showdown

[classicsonic]

3 because it is long as hell but i think i may have a theme with my icons. featuring spark

[soundtrackshowdown]

[vg-soundtrack-showdown]

Song recs from nomination form below the cut

Professor Layton: Main Layton theme, About Town, The Unwound Future, The Veil of Night, London Streets Remapped, Folsense, The Gilded 7, The Scorpion, The Golden Garden, The Norwell Wall, The Great Don Paolo, Descole's theme, Theme for Targent

OFF: O Rosto De Um Assassino, Minuit fond la caisse, Silencio, Peppersteak, Desperately Safe, Pepper Steak, Windows Licking, Avatar Beat, Unreasonable Behavior..., Brain Plague (Rewind/Reverse), Soft Breeze, Flesh Maze Tango, Fake Orchestra, Fourteen Residents, Race of a Thousand Ants

[wonderwoman6199]

Omi and Jack are ready for the Olympics!!!😂🤣

the monks + jack going ice skating

kimikos a decent skater but gets legit upstaged by jack (for once) whos showing off like no other. omis IN HIS ELEMENT so he and jack are able to pull of skating moves (until jacks core strength gives out) plus omis so low to the ground and covered with so much coat padding it doesn’t even matter if he falls over. clay SUCKS this cow was not meant to be off of land he literally hugs the wall the whole time. rai gets the hang of it but tries to pull of hockey moves/over ambitious stunts and just crashes into everything

[sneezypeasy]

The Lightning Scene, How Azula Targeted Katara (of All People), and the Doylist Reason Why That Matters

Mention Zuko's sacrifice for Katara in Sozin's Comet Part 3 as part of a pro-Zutara talking point, and invariably you'll get a Pavlovian response of:

"But Zuko would have taken the lightning for anyone."

(Not to be confused with the similar-sounding Pavlovan response, which is "Zuko's sacrifice ain't shit compared to a mouth-watering, strawberry-topped meringue dessert"*, which is actually the only valid counter-argument to how the lightning scene is a bona fide Zutara treasure, but I digress.)

Now, I've talked in depth about how the lightning scene is framed far more romantically than it had any right to be, regardless of how you might interpret the subject on paper; this is an argument which I still stand by 100%. That Zuko would have gotten barbecued for anyone, and that he was at the stage of his arc where his royal kebab-ness represented his final act of redemption, doesn't change the fact that the animators/soundtrack artists decided to pull out all the stops with making this scene hit romantic film tropes bingo by the time it played out on screen.

(I mean, we stan.)

There's also a deeper level to this conundrum, a layer which creeps up on you when you're standing in your kitchen at night, the fridge door open in front of you, your hungry, sleep-deprived brain trying to decide on what to grab for a midnight snack, and quite inexcusably you're struck with the question: Okay, Zuko may indeed have taken the lightning for just anyone, but would Azula have shot the lightning at just anyone?

But there's yet a deeper layer to this question, that I don't recall ever seeing anyone discuss (though if somebody has, mea culpa). And that is: would you have written Zuko taking the lightning for anyone else?

Or in other words, who Zuko would have taken the lightning for is the wrong question to be asking; the question we ought to be asking is who Zuko should have taken the lightning for, instead.

Get your pens out, your Doylist hats on, and turn to page 394. It's time to think like an author for a hot minute.

(If you don't know what I mean by Watsonian vs. Doylist analyses, and/or if you need a refresher course, go have a skim of the first section of this 'ere post and then scoot your ass back to this one.)

So. You're the author. You've written almost the entirety of an animated series (look at you!!) and now you're at the climax, which you've decided is going to be an epic, hero-villain showdown. Classic. Unlike previous battles between these two characters, your hero is going to have a significant advantage in this fight - partly due to his own development as a hero at the height of his strength and moral conviction, and partly because your villain has gone through a bit of a Britney Spears 2007 fiasco, and isn't quite at the top of her game here. If things keep going at this pace, your hero is going to win the fight fairly easily - actually, maybe even too easily. That's okay though, you're a talented writer and you know just what will raise the stakes and give the audience a well-timed "oh shit" moment: you're going to have the villain suddenly switch targets and aim for somebody else. The hero will be thrown off his groove, the villain will gain the upper hand, the turns will have indubitably tabled. Villains playing dirty is the number 1 rule in every villain handbook after all, and each of the last two times your hero's braved this sort of fight he's faced an opponent who ended up fighting dishonourably, so you've got a lovely Rule of Three perfectly lined up for the taking. Impeccable. The warm glow of triumph shines upon you, cherubs sing, your English teachers clap and shed tears of pride. (Except for that one teacher you had in year 8 who hated everybody, but she's a right bitch and we're not talking about her today.)

Now here's the thing: your hero is a hero. Maybe he wasn't always a hero, but he certainly is one now. If the villain goes after an innocent third party, there's basically no-one your hero wouldn't sacrifice himself for. He's a hero! Heroes do be like that, it's kind of their thing. The villain could shoot a bolt of lightning at Bildad the Shuhite, and the only thing that'd stop our boy Redeemed Paladin Bravesoul McGee from shielding his foxy ass is the fact that Bildad the Shuhite has the audacity to exist in a totally different show (disgusten.)

But. You're holding the writer's pen. Minus crossover shenanigans you don't have the licensing or time-travel technology to achieve, you have full control over how this scene plays out. You get to decide which character to target to deliver the greatest emotional impact, the juiciest angst, the most powerful cinematic suspense. You get to decide whose life you'll put at risk, to make this scene the most intense spine-chilling heart-stopper it can possibly be.

This is the climax we're talking about, after all - now is not the time to go easy on the drama.

So.

Do you make the villain target just anyone?

Or do you make the villain target someone the hero cares about?

Perhaps, someone he cares about... a lot?

Maybe even, someone he cares about... more than anybody else?

You are the author. You are the God of this universe. You get to choose.

What would deliver the strongest punch?

If you happen to make the inadvisable decision of browsing through these tropes on TV tropes, aside from wasting the rest of your afternoon (you're welcome), you'll find that the examples listed are littered with threatened and dead love interests, and, well, there's a reason for that. For better or worse, romantic love is often portrayed by authors, and perceived by audiences, as a "true" form of love (often even, "the" true form of love). Which is responsible for the other is a chicken/egg situation, one I'm not going to go into for this post - and while I'm certainly not here to defend this perspective as objectively good, I do think it's worth acknowledging that it not only exists but is culturally rather ubiquitous. (If you're playing the love interest in a story with a hero v. a villain, you might wanna watch your back, is what I'm saying.)

Regardless of whether the vibe you're aiming for is romantic or platonic however, one thing is for certain: if you want maximum oomph, the way to achieve that is by making the villain go after the player whose death would hit the hero the hardest.

And like I said, this doesn't have to be played romantically (although it so often is). There are platonic examples in those trope pages, though it's also important to note that many of the platonic ones do show up in stories where a love interest isn't depicted/available/there's a strong "bromance" element/the hero is low-key ace - and keep in mind too that going that route sometimes runs a related risk of falling into queer-bait territory *coughJohnLockcough*

That said, if there is a canon love-interest available, one who's confessed her love for the hero, one who has since been imprisoned by the villain, one who can easily be written as being at the villain's disposal, and who could quite conveniently be whipped out for a mid-battle surprise round - you might find you have some explaining to do if you choose to wield your authorly powers to have the villain go after... idk, some other sheila instead.

(The fact that this ends up taking the hero out of the fight, and the person he sacrifices himself for subsequently throws herself into the arena risking life and limb to defeat the villain and rescue her saviour, also means the most satisfying way this plays out, narratively speaking, is if both of these characters happen to be the most important person in each other's lives - at least, as of that moment, anyway - but I think this post has gone on long enough, lol)

This is, by and large, a rebuttal post more than anything else, but the tl;dr here is - regardless of whether you want to read the scene as shippy or not, to downplay Zuko's sacrifice for Katara specifically as "not that deep™" because "Zuko would have taken the lightning for anyone anyway", suggests either that a) nobody should be reading into the implications of Katara being chosen as the person nearest and dearest to Zuko, so that putting her life in jeopardy can deliver the most powerful impact possible for an audience you'd bloody well hope are on the edge of their seats during the climax of your story or b) the writers made the inexplicable decision of having the villain threaten the life of... literally who the fuck ever, and ultimately landed on someone who's actually not all that important to the hero in the grand scheme of things - which is a cardinal writing sin if I ever saw one (even disregarding the Choice to then season it with mood lighting and sad violin music, on top of it all), and altogether something I'd be legitimately pissed about if my Zuko-OTP ship paired him with Mai, Sokka, or just about anybody else 😂

Most importantly c) I'm hungry, and I want snacks.

*The Aussies in the fandom will get this one. Everyone else can suffer in united confusion.

[nat0rii]

mario party jamboree ^-^🎉✨🎲 Peach's Showdown Minigame – Peach's Day Off

[sofiascripts]

striking a chord!

quirkless band au w/ lemonade mouth elements! (ongoing)

bakugou x reader!

in their final year of high school, six unlikely friends—jirou, Kaminari, bakugou, momo, shinsou, and the y/n—find themselves in detention for various reasons. there, they discover an unexpected musical chemistry and decide to form a band, each driven by different motivations but united by one goal: to outshine the popular neito monoma.

as they navigate internal conflicts and the pressures of competition, their commitment to the band is put to the test. the relationship between y/n and bakugou deepens, marked by tension and miscommunications that both strengthen their bond and create new challenges.

their journey leads to a high-stakes contest hosted by the renowned producer present mic, pushing their musical talents and personal dynamics to the limit. as they uncover hidden truths and grapple with their evolving feelings, the group must confront their true priorities. will they achieve success and harmony, or will their ambitions and relationships unravel in the final showdown?

(0) meet the band

(1) detentions secret soundtrack

(3) coming tonight! xoxo OK TONIGHT FR (8/22)

let me cook...

ill try and pump out a chapter every other day since its the summer!

warnings: swearing, characters may be ooc (especially at the start </3), reader uses she/her pronouns

msg to be added to the tagslist!

a/n: very very new to the uploading on tumblr scene, ive always just been a reader so im sorry if this is disorganized! pretty sure i was supposed to upload this before i started posting chapters... im still trying to figure out the ropes here </3