#tale: betrayal

[amuelia]

small drawing as im looking forward to watching tales of the empire tomorrow

[soapywankenopy]

What the actual hell Rick

[fabuloustrash05]

I strangely love this moment between Raph and Mona from When Worlds Collide.

For context/a reminder: Mona Lisa just saw Sal Commander get captured by Lord Dregg’s bug army, who have just arrived on Earth to invade.

In this short moment we see Mona wanting to go back to save her commander/possibly her father figure (my HC) but Raph takes her hand, pulling her back, telling her that they have to retreat. Raph knows she’s heart broken from losing her commander (he can relate to losing a father figure after all), but at the same time he knows there’s nothing she can do to save him at that moment, so if Raph lets her go after Sal, she’ll be captured too or worse, killed.

Raph has let Mona go off into battle alone once before and that resulted in him almost losing her. He’s not gonna take that chance and lose her again.

[konfizry]

no because you see actually the fact that zelos hates kratos' guts is by far my favorite aspect of zelos. like like the whole betrayal thing and whatnot, honestly, can't relate man, sorry about what happened to you i guess buddy but personally i dont care i just dont

but then back when i found out through finally playing his route + watching tof2 tls that the guy will diss kratos at any given occasion i was taken with renewed appreciation for him. its just too good. (and actually, there are signs of it even before that. like when you run into kratos in sybak and supposedly zelos doesnt know him at all but he still takes a moment to loudly go "omg fuck this guyyyyy" once kratos has left the scene and it's just ertghrteguhireg. zelos actually makes a couple more efforts to have lloyd trust kratos as little as possible. meanwhile theres that character skit in the flanoir area where kratos warns lloyd that there may be "someone in his group with ill intentions be careful no i won't elaborate bye" or whatever. all while k and z are presumably routinely in voice chat arguing over kratos' ridiculous grocery list. what a mess. both of them.) i unironically love it fr. i think it both makes perfect sense from a character perspective, and is hilarious. also it's nice to have one dude be openly hostile towards kratos. what can i say, i live for drama.

so anyway im glad we can all agree that the iselia ranch is a missed opportunity for an absolute train wreck of a skit that should have have happened but didnt.

[the-indie-owl]

Sequel to This.

I'm completely devasted that we haven't got that kind of 4 Horsemen where we would've had 4 Obscure Animated Movies that are also based on Old Obscure Shows (most of which are Cartoons but The Magic Roundabout is Stop-Motion sooo..).

Though on the OTHER Hand, if you'd be one of the People who'd consider "Happily N'Ever After" to be an Adaptation of Simsala Grimm, (then I guess you'd at least consider to be a Fourth One completed) I still believe we would've gotten an Pentalogy of Obscure Adaptational Movies (considering we all know the Tragic Backstory behind the Space Goofs movie).

[averagepsychouser]

David Bowie’s “The Man Who Sold The World” is so Arcade Gannon and Legion alligned courier

[whowhatifs]

I don't think I've ever wished so hard that a Choices character was an RO (or even better, some sort of queerplatonic equivalent, but I'm getting ahead of myself)... they walk into the room and I'm just trembling and collapse in a corner. the more I learn about them the worse it gets. send help.

[elegantsplendour]

Swan Lake Tragedy Aesthetic

My interpretation of different versions of Swan Lake:

Royal Ballet: classical core + contemporary touches, tragedy, expressive, power in play in addition to the traditional romance, Odette is fragile but with strong dignity, freedom in death

American Ballet Theatre: Classical core, more dramatic, more fairy tale like, very passionate Odette, freedom or death, all consuming love, love defeats evil even in death. Very heroic, very American.

Mariinski: Classical to the core… least expressive even in Russian standards. Impeccable technique. Almost no storytelling, only choreography. But impeccable technique. Happy ending, of course…

Bolshoi: Impeccable technique, somewhat more expressive than Marrinski. Tragic and depressive ending… Odette condemned in a body of a swan for all eternity.

Paris Opera Ballet: My personal least fav, the technique… ok maybe I’m just not into French ballet. But the PORT DE BRAS is just unbearable to me. Why do the sorcerer and the Prince have more chemistry??!!

[divorcedfiddleford]

I AM NOT A MORON. COULD A MORON PUSH YOU INTO THIS PORTAL? HUH? COULD A MORON DO THAT

[landfilloftrash]

If I told you there was a series of games created before I was born, developed by Capcom, and that I was obsessed with a pairing of middle aged men within; The pairing being comprised of a someone around a decade or so older than the younger, lighter colored hair, stern and serious with a very deadpan sense of humor, along with “this is my job. I shall do it perfectly” demeanor about his work— very cat-coded in general, if you can think it, it will most probably apply— and the younger being very a determined brunette with firm morals who goes toe to toe with the older man and is frequently one of the only ones who can do so with their hell-bent insistence to do good and defend those who cannot, no matter the cost, who is quite dog-coded in reverse. They spend a few years in each other’s company, learning about each other (even if it’s at a distance and professionally) and then. Something happens. The older one of the pair betrays the brunette — his strings being pulled by a higher power, but it does not excuse him— and in the process reveals a cowardly and vengeful side after the event, causing the entirety of the franchise we play to happen. And then only a bit later in the storyline, one murdered the other, in cold but passioned blood, because destiny deemed it this way and they only heed the call of it. And whether or not it was intentional, leaving said murdered man’s child an orphan completely alone in the world as a side effect. For years after the event, they are satisfied with what happened, if burdened by guilt. But they were right to do so, weren’t they? They proceed to be metaphorically haunted by the man they killed for the rest of their life, however. And that will come to a head for them.

Now… am I talking about Chrisker (Chris Redfield/Albert Wesker), or Shingou (Mitsurugi Shin/Karuma Gou) ?

[themanwhomadeamonster]

oh my GOD i deleted my rant by accident im gonna cry lemme try to remember what i wrote but tl;dr not really a theory but me trying to arrange my understanding of albrecht and tmitw

i title this: wallbrecht is everything everywhere all at once

also i wrote this at 5-6am and didnt sleep so shit's probably messy

ok so a major theme in warframe that recurrs in warframe is the loss of identity or sense of self. natah/lotus/margulis, erra becoming pazuul, teshin being controlled by the worm queens, the operator dissociating and believing they're our warframe, then the operator losing themselves to the worm queen and the operator (+rell) confusing ourselves with tmitw himself , the drifter in duviri, warframes themselves losing their sense of self (umbra at some point, and potentially arthur and aoi down the line), albrecht worrying who really left the void dimension, the remaining entrati family themselves!. we're also told many times that the void gives but it also takes, and that it's heavily influenced by strong emotions

in cosmic horror stories usually the horror is a representation of something else. in lovecraft's works it's often his disgust with people of colour, viewing them as something completely alien. in bloodborne part of it is the fears of pregnancy and dealing with offspring. i haven't played darkest dungeon but i've heard that it's about trauma and how the overwhelming traumatic events become too much to bear that people go mad. in the lighthouse, part of the horror is that people will fight and kill just to know the truth, or what they believe to be salvation

so i think albrecht's horror was his fear of losing his identity. we knew from the clock's archives that his experiments hadn't been going well prior to the bell incident. he was losing respect as an archimedian, maybe he lost respect as a father and husband too. i think a lot of us theorise already that albrecht IS the man in the wall, not a doppelganger like tmitw literally was with the operator. but tmitw being omnipresent means that they can freely simultaneously be and not be other people, the paradox of eternalism. albrecht is now the void, he knows every timeline and every outcome and potentially every person (except operator/drifter because they're already void in multiple senses of the word) but he is also still one human. the human mind can't reconcile knowing everything, that's just madness. lucky that kids aren't as self aware as adults!

the void isn't evil nor good. it gives and takes merely because that's the way the universe works, very vaguely dare i say the law of conservation in (a very sci-fi way) action. the void is in the grand scheme of things is just a natural phenomenon of the universe. but the overwhelming emotion present during the 10-0 accident (if that even was an accident) and albrecht's own experiment just happened to be fear, so the void literally embodied the concept of fear and became a person, vecause that's just what the void does. it became an unknowable being behind a veil just beyond our perceptive reality that understands the plights of humanity a little too well. it could have manifested into something friendly and offered us and albrecht a deal in a polite way if the circumstances were right but it wasn't. tmitw is a manifestation of the void so whether the man - albrecht - wanted to or not, he had to approach our operator in their greatest moment of fear. what he did have a choice in, though, was to offer a deal. and what better way to secure a time loop, multiple ones even, that will guarantee your becoming wally than to be a time-space hopping entity who can exploit a bunch of scared kids who didn't know any better.

i don't know what we'll be using the vessel for but i don't think we'll be using it to fight a giant wall (and if we are it won't be the climactic final fight). i don't think we'll ever overcome the void, and we don't need to. the void just is. but the man in the wall literally is just a man. and i know people dunk on bad cosmic horror when the spooky thing is actually just a person or has sympathetic motivations but i think here warframe may be able to pull it off well. it's a cosmic horror that's made life miserable over multiple lifetimes, but the horror simultaneously is just a victim partially of his own doing because the cosmic horror never was alien, it's just a person who's scared of losing himself, just like the lotus was and just like our operator was. the cosmic horror IS the person in the stories who faced the horrors, who faced themselves in the seriglass bell - all it took to differentiate us and albrecht was an *accident* (though at this point it was probably intentional)

we need to confront albrecht/the man in the wall and try to stop his madness. but like many cosmic horror stories go, i think he's trapped no matter what. he'll either overcome his fear of losing himself and become one with the void, leaving us for good, or he'll try to return to gomaitru. but the fact that he's not the same as he was before and neither is gomaitru, with what he's seen and experienced as tmitw will be so maddening that he'll have to leave for the void once again in a suicide mission if he still can't reconcile with *what he is* now. in true cosmic horror fashion we will probably never fully know his motivations till the end, being a greater being than our scope of thinking - and with eternalism in place, maybe albrecht reconciling with himself was what already happened back in the seriglass bell

[roughentumble]

WAIT ive seen a lot of selkie!jaskier, but what about selkie!geralt?

[captainkurosolaire]

[Insight]: 冠 Judas "The First" Caesar 🎼

Wind against your back, lips to neck, whispers ushered to ears... and a bite you won't ever forget.

[see-arcane]

I like the atmosphere and tension in Psycho so much. Could never fully enjoy it since the core horror here is trans people.

Oh absolutely, it broke a ton of ground for cinema. The sets, the shots, the build-up, the bait-and-switch protagonist. All extremely cool! But also...yeah. Kind of set the tone for a Certain Trope.

Need an edgy*** serial killer? Easy! Just have this GUY be LADY and do murders about it!!

Psycho: 'Man dresses like his mom and kills people! Scary!'

The Silence of the Lambs: 'Man kills women so he can BE a woman! Scary!'

Sleepaway Camp: 'Boy forced to pretend he was his SISTER! Girl life! Killed about it! Scary!'

Insidious 2: 'Serial killer did serial killing because his mom made him dress like girl and have girl name! Scary!'

Behind Her Eyes and Suitable Flesh: 'Man possess lady body? On purpose?? FOR EVIL AND MURDERS AND STEAL UR MAN??? Scary!'

[therighthandofvengeance]

Sheridan: happy Hannukah, Commander.

Ivanova: thank you.

Sheridan: are you going to-

Ivanova: yes, I will have leftover fried foods. yes, you can come over and eat them. you’re such an American, you know that?

Sheridan: yee and haw, Ivanova.

[avirxy]

Hi! In the First Frost AU, how did Strickler and Barabra wind up meeting?

They originally met at the hospital, Strickler was visiting someone, who he claims was his cousin but had actually been attacked by Bular and he was checking to see if they recalled anything particular that wouldn’t be in line with an animal attack or the gnarly wounds they received.

He caught Barbara in the hall, asked her a few more questions about his ‘cousin’ out of concern, said cousin unfortunately passes away some weeks later out of the public eye.

They bumped into each-other again at a bookshop while Barbara was attempting to find good cook books for Jim, because this would be around early sixth grade and he’s really start to show his interest in cooking more complex meals and Barbara’s at a complete loss. Strickler offers to help, having a little experience in worldwide cuisine, this is where she learns he travels around in the winter months.

They spend an hour finding the best and most unique ones.

It becomes a bit of a pattern, bumping into one another in-town, the grocery store, the cafe, things that spiral into a coffee date, then two, three. Barbara hesitates of course, because Jim is her priority, her family, and she didn’t want to openly trust someone again just to be hurt.

Strickler is adamant that they’ll go at her pace, or even break it off if she wants to. They don’t and it takes a little more time before Barbara invites him over for dinner, to meet Jim, things go so smoothly it almost feels unreal.

That is until sophomore year, when her son and his friends start really getting into trouble, sneaking out, their basement has been rearranged several times and lightbulbs are starting to go missing from lamps in the house. Ophelia’s daughter even has some strange amulet with her, the weird glow it casts gives Barbara the indication something’s truly amiss. Wasn’t that the amulet Walter and Nomura recovered some time ago? Supposed to be in the museum.

And then it comes to a head, one final dinner between her, Jim and Strickler breaks it all.