#terror in resonance lisa

[hellopainapple]

"Do you wanna destroy it?" 🏍️

[bl-astoise]

【 ʟɪsᴀ x ᴛᴡᴇʟᴠᴇ 】ᴛᴇʀʀᴏʀ ɪɴ ʀᴇsᴏɴᴀɴᴄᴇ

[szczurherbacany]

the kids :)

[journal1]

mishima lisa

[tolfta]

zankyou no terror - episode 9: highs & lows language comparison i created for a portion of lisa's dialogue during the ferris wheel scene.

[tokonami]

[jinchuriki-hunter]

"That smile was like the sun on a hot summer day... with eyes like ice."

[ghostunderthestairs]

[ ☆ ] Lisa Mishima - Zankyou No Terror

"One of my favourite and most underrated characters. Honestly I barely ever see any good pfps of her unless you do a deep dive which I hate sometimes 😞. Feel free to use these for whatever you need without credit (the anime isn’t mine lol)."

- ☆

"also this is my first post here and I don’t 100% understand tumblr but I will try my best, please be patient <3"

"Thank you for reading my blog and I hope you have a nice day/night kind stranger"

[wispisstillverybored67]

Mishimas.

[tailsmode]

This is an old one and a bit off topic from my usual art posts but I felt the need to post it because it's one my favs of last year!

[nepenthe-moved]

⋆.˚ ☾ .⭒˚ WELCOME TO YOUR NEW ETERNITY

Nepenthe is a mun aged 20+ server that allows characters across varying fictional media (drawn, animated, live action, literary, etc).

The setting is the afterlife, set in a city split into two halves. The North District, which is fashioned after a larger city and allows the usage of powers and abilities, and the South District, which is fashioned after a smaller, cozier town, and bans all powers. There is a subway that runs continuously between them.

☾ Muns must be at least 20 years old. Characters must be at least 18 years old.

☆ Semi-literate to literate.

☾ Canon characters only, with exceptions for MC / player character OCs.

JOIN | MASTERLIST | PREMISE | RULES

[goldenharmony]

tumblr user goldenharmony im. head in hands. i am losing it over click link or whatever that show was called surely i dont remember. im fine (hello) please tell me you experienec with this show i neend to talk owiwiuwewiwijedhwejd.

LOL OK 😭

Idk how you discovered Link Click (or mentioned it in your reblogs), but I use MAL a lot and noticed that s1 was pretty high on the rankings during its airing.

Then later that year, I watched Gigguk's vid on Link Click since he's an anituber I like. I do laugh at the fact that I read the title and was like "Nah, it's not better than Steins;Gate :) " since that's MY favourite anime (and a time-travel one), and he basically implied that it wasn't as great as Steins;Gate when handling certain aspects LOL (although still is praising the series throughout this review). Fun Fact - his vid on Oshi no Ko is the whole reason I checked out the OnK manga eventually since I read Aka Akasaka's Kaguya-sama and wanted more but the premise of "simp doctor reincarnated as his idol's child" sounded rlly sus LOL.

It's why I was also kinda confused when later on MAL, I saw that Link Click had a s2 but didn't hear any hype for it despite hearing a bit for s1. I guess that was cause of Gigguk's influence on the anime community since I don't think he watched s2 so there was no big anime influencer hyping it up sadly.

Eventually late last November, someone in the AquaKana server was being very vocal on wanting to push the Link Click agenda soo I decided why not - its been a long time since I watched a time-loop series. She was also a huge fan of Steins;Gate so I trusted her judgement.

Watched ep 1 in original before having to switch to Eng Dub after cause I was not clicking with the show due to being distracted by a new language that I wasn't used to hearing yet 😭But after that, I watched a few eps per day, binged s1 ep 7-11 in one sitting, and then binged s2 in one sitting as well LOL. I was also was waiting for CFE results to see if I passed - my major career-defining exam and watching Link Click actively helped me not stress on the days leading up to it because my thoughts were preoccupied by it.

S1 gave me a Vivy/Violet Evergarden feel with its short stories, and S2 reminded me more of Death Note with it being a suspenseful murder mystery involving supernatural powers. One thing I loved is finding some stuff that Link Click does unique compared to other time-loop series. For example - actively trying to NOT change the past, and instead using the looping to understand how to resolve issues in the present. I also like it leaning into the thriller aspect more compared to other time-loop series I've seen.

CXS and LG also fall into the 2 looper categories that most loopers do. CXS being the impulsive and emotional type and LG being the stoic and serious type who has gotten jaded from all their looping.

Also I am pretty fine with how QL has been handled so far, since its not a "female character" thing to me in how she isn't as prominent as CXS and LG but more of a "character who isn't CXS and LG" thing considering the series has a lot of characters but we don't dive too deeply in most of them. Plus she's been handled much better compared to other anime series that have the set-up of "2 male leads in a suspenseful thriller show, with a girl as an almost secondary character". Thinking of Misa from Death Note and Lisa from Terror in Resonance, who are disappointing in their roles.

I also like how the fight scenes are actually well-animated since most non-action anime included fight scenes are....not great LOL.

[bl-astoise]

[kotelok16]

The ending of "Terror in Resonance" brought me to tears. And the line of the Twelfth and Lisa reminded me very much of Komamiki, so I couldn't restrain myself and redrawn this scene. These drawings are a little more than a month old, but I still wanted to share…

[journal1]

i know someone is missing.

[nitrateglow]

Halloween 2023 marathon: 22-23

Wait Until Dark (dir. Terence Young, 1967)

Blinded a year ago in an accident, housewife Susy Hendrix (Audrey Hepburn) is still adjusting to her new reality and struggling with trauma from the event. When her photographer husband has to leave for an evening assignment, at worst she expects an annoying few hours getting her bratty kid neighbor Gloria (Julie Herrod) to actually go the damn grocery for her and not play pranks. Instead she's targeted by a trio of criminals who believe a shipment of heroin ended up in her husband's possession. Led by the psychopathic Mr. Roat (Alan Arkin), the criminals are only supposed to trick and terrorize Susy psychologically without resorting to physical violence. When Susy proves sharper than they expected, it does not stay that way for long.

After watching a terrible 1967 home invasion thriller based on a stage play, I needed to watch a good variation of the same and what better choice than Wait Until Dark, a movie I consider one of the greatest thrillers ever made.

If you've been on my blog for years, you'll know I'm obsessed with I love this movie. Only a handful of movies ever actually scared me on first watch and this is one of them. It's perfectly paced and exquisitely crafted, with a strong eerie atmosphere and great acting from everyone involved, especially Hepburn and Arkin. It's one of those movies where I usually notice new little details in the background every time I see it.

This is the first time I've rewatched this movie since Alan Arkin died, so it was a little bittersweet. Aside from Samantha Jones (who plays Roat's ill-fated accomplice Lisa), the entire adult cast of this movie is no longer with us. An era is slowly vanishing.

I've always seen Wait Until Dark as a transitional movie between Classic Hollywood and the New Hollywood of the late 60s and 70s. A lot of the behind the scenes crew were old-timers with careers going back to the 1930s, and of course Audrey Hepburn was one of the greatest Classic Hollywood stars, but you have more contemporary influences creeping in, mainly with the bad guys being "criminal hipsters" (to steal a line from critic Tim Brayton) and the lack of Hollywood glamor in the costuming and setting. This isn't the fairytale New York City of Sabrina and Breakfast at Tiffany's, but a far more dangerous one.

The other thing I want to mention is just how amazing Hepburn is in this movie and how her performance bowls me over every time. It's a generally acclaimed performance, but I feel like people don't always discuss the psychological nuances of it. While The Nun's Story is Hepburn's best hour as an actress, her work in Wait Until Dark will always be my favorite because her character seems so relatable in her vulnerability. Susy isn't just adjusting to a recent impairment-- she also suffers from PTSD (fire and smoke are literal triggers for her) and deep insecurity regarding her self-image and relationships.

There's one line which stuck out to me this time. At the end of their first conversation, Mike tells Susy, "You're very lovely. Sam's lucky." Susy frowns as though she doesn't believe it and says quietly, "So's Susy." This woman's self-confidence is so low that she can't even take a compliment. She fears that on her own without Sam, she can't possibly be competent or strong. It's also why she latches onto Mike (Richard Crenna) so much: he's a surrogate for her absent husband and he's superficially helpful in a way Sam isn't.

All this adds to the stakes: even if the men don't get violent, their charade will have a psychological toll on Susy, who is so terrified that no one could possibly love her as she is, and that she's really helpless. When she realizes Mike isn't going to be her savior-- and in fact, might kill her-- she realizes she can only rely on herself to get out of this bad situation and she's more than up to the task.

That emotional arc is a major part of why this film resonates with me so much, even more than the suspense or horror elements.

The Invisible Man (dir. James Whale, 1933)

When Dr. Jack Griffin (Claude Rains) finds a way to turn himself invisible, he initially has mixed feelings. On one hand, he doesn't know how to turn himself back. On the other, you can run around naked and no one will ever know. Oh and you can commit murders easily and possibly rule the world. Unable to find a reversal, Griffin embraces the power invisibility gives him and starts a reign of terror on the local population. Will he be caught? Can he be brought back to sanity? And will the screechy innkeeper played by Una O'Connor ever shut the hell up?

With each of his subsequent horror films, James Whale injected more and more camp humor into the proceedings. Some people dislike this, but I don't, especially in the case of The Invisible Man. I always forget how much I enjoy this movie-- I check it out from the library every year to watch around spooky season, but I need to buckle down and just buy the bluray already. This is peak 1930s horror.

This movie is such a delight with its great special effects and fast-moving story, but Claude Rains as the title character is definitely the shining star of the whole thing. He's brilliant. He's hilarious. He's menacing. Dracula is sinister and remote, the Monster is tragic and vulnerable, but Dr. Griffin is just so damned gleeful once he embraces being invisible and all the power that comes with it. While the film's logic for his behavior is that the solution he uses to turn invisible also makes one insane, Griffin's backstory as a lower-class, impoverished young man hoping to make a name for himself and a rich life for the woman he loves strongly suggests this power madness was latent inside him. It's his shadow, to use Jungian terminology.

On this rewatch, I was most struck by the film's similarities to Whale's Frankenstein. Tonally, they're unalike of course: Frankenstein has moments of humor but is generally serious, while black comedy is dominant throughout The Invisible Man. Griffin himself comes off like a prankster, getting childlike joy out of bamboozling and freaking out passerby. He makes great pre-kill quips (he asks one of his victims if they have insurance before murdering them in a car wreck). The townspeople are hilarious too. I LOVE the deadpan delivery of this line from the constable after he realizes Griffin's condition: "He's invisible. That's what's the matter with him."

But back to Frankenstein. Structurally, the two films are similar, much like Dracula and The Mummy are. We have a mad scientist who tampers with nature, creates a "monster" (in Griffin's case, he unleashes a monster within himself), that "monster" terrorizes the locals, the locals form a search party, there's a love interest who represents the ordinary and unambitious world that the scientist ignores, and the film ends with the "monster"'s destruction.

(At least Griffin wasn't stuck with the unprofessional, bastardly Fritz as an assistant. Imagine how THAT would have turned out! Actually, now I want a crossover between Griffin and Henry Frankenstein. That would be a mad scientist team up made in hell.)

Overall, this is a fantastic film: well-paced, funny, creepy, beautifully shot in black-and-white, and psychologically richer than it would appear on the surface. It's a good example of why the 1930s are my favorite period for horror.