#that was a great scene

[marlynnofmany]

One delightful thing about being a writer is when you get to make references to your own stuff.

The new space shanty sung by one character turns out to be based on something that happened to the other recently. And the same song will probably be years-ago history in the thing I'm going to write next week.

I always loved that sort of thing in the books I grew up reading. "OMG the ghost in this one scene is the main character from that other trilogy! And these other characters are reading a history about the stuff that happened in the first books! I am going to read this very carefully."

It's pretty awesome to be able to do bits of that same thing in my own writing. Even if I'm the only one who ever gets some of the more obscure references, I'm having a great time with them.

[char7]

Then said tall brother drags you for the filth you were and no one could argue because every single word he said was true and they know it.

imagine you are a short cunt with four failchildren and you just died on a plane toilet only for your impossibly tall brother to turn up to your funeral absolutely swagged out in a tasteful blazer and turtleneck combo

[clarisimart]

be careful what you wish for, Fordsy

commission info here

[bixels]

It's crazy how Dungeon Meshi's manga can feel more cinematic and emotional than the anime to me, even when they're practically the same. Compared to the anime, this moment is such a heartbreaking gut-drop. The way Kui uses negative space and flat compositions to create a sense of horrific stillness is so key.

The way the text (Senshi's monologue) is sequestered to an empty corner of a panel or huddled away from the edge of its text box is not only a great way of showing Senshi's headspace (fearful, isolated, dissociating), but creates a visual representation of pause, as if you hold your breathe after each line. The first panel puts us directly in Senshi's perspective too (compared to in the anime, which puts us as an outside observer over Senshi's shoulder). The detail of the door and bricks so effectively implies that he stared at it for so long, waiting and hoping, that its image is burned in his memory. The wood grain, the brick arch, the number of rivets. The lack of dialogue in the second panel shows a moment of realization too –– "he's dead" (also a great example of the Kuleshov effect). And it's that pause that creates a beat and sets a great rhythm to his headspace, like a music rest: "He never came back." (oh god.) "I'm all alone." Finally, the third panel's negative space, cropping Senshi, shows how truly alone he feels. Without his family, the world ceases to exists. Under shock, he traps himself in a 1-foot radius, too scared to even perceive a world outside its boundaries; a world that can hurt him, kill him, make him disappear with it. There is only his body, the stone beneath his feet and against his back, his thoughts, and that awful bowl of soup.

Even though they're a series of flat images, there's an implicit reading of silence in Senshi's realization and horror. Kui influences your experience to slow down and take your time.

Compare this to the anime, which fills every shot with dialogue. The pacing is fast; we never get to sit in silence like we do with the manga. The horizontal frame allowed the boarders to add Senshi, turning the composition into an over-the-shoulder shot, which takes us out of Senshi's POV. They also added a zoom-out in shot one, which adds unnecessary energy to a very somber scene. The tightening on Senshi as a close-up reaction shot also dulls the moment. In the original panel, Senshi stares ahead at the empty space to his left as a shadow surrounds his mind. It not only shows how Senshi's senses are dulling and his world is shrinking (setting up panel three), but shows how terrified Senshi is of what's in front of him, how the air itself becomes pitch black and opaque, how Senshi is surrendering himself to fear. The pacing is understandable and necessary; this episode packed a lot of story content together. It's just a shame because it really (imo) deflated one of the most nauseating moments in Dungeon Meshi.

[jadeluz-official]

Betelgeuse and Lydia's Wedding - Beetlejuice Beetlejuice (2024)

[adventures-in-poor-planning]

On Saturday I hung out with my 84-year-old ecologist great uncle and he stopped in mid-conversation (abt the return of the whooping crane) and very seriously told me that "you can go one of two ways, as a naturalist"; either you keep sight of the hopeful possibilities, or you don't. I'm one of nature's wretched little pessimists but when an old ecologist literally holds your hands in his and tells you, "don't despair," you have to try, I feel.

[jimmysea]

4 MINUTES (2024) - Episode 4

[milkhorns]

Quality bro time 🌱💅

[nosnexus]

I love Kristen Applebees.

[divineandmajesticinone]

4 MINUTES (2024) I 1.02 "It's pretty deep. All the doctors in the ER are busy. I'll stitch it up for you."

[poorly-drawn-mdzs]

This wine tastes like pigs blood!

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[twilight-zoned-out]

The Ken dance is so magnificent because it’s reminiscent of the Golden Age of Musicals when there would just be artful dance sequences for no reason other than the director wanted to have one.

[soosoosoup]

treasure planet au, last of the batch (Poppy & Floyd)

[karynslee]

christine, christine. c h r i s t i n e . . . 

instagram / twitter

[spicyvampire]

He was balls deep in an emergency meeting [insp.]

4MINUTES (2024) EP. 5

[asyourshadowfalls]

holy fuck, orlo