#these aren’t amazing

[bearlytolerant]

fen harel

[pasukiyo]

the change from tess being killed by soldiers in the game to the mob of infected coming to the capitol building and her blowing the place up while simultaneously sacrificing herself… like yes she sacrificed herself in the game but her sacrifice in the show just seems so much more meaningful now. it may just be the second episode but the show has yet again proven just how much care and heart has been put into this series. this really is a love letter to the ones who played the game and have connected with the story for all these years like myself. i’m so in love and am just so in awe of this show, it’s like i’m playing the game again for the very first time.

[bananafire11]

DTIYS entree for @rorydrawsandwrites !! CONGRATS!!! You deserve all your followers and more

[scalefeathers]

So I was rewatching the first episode of Blue Eye Samurai and I noticed this time that near the end we get these three moments back to back to back:

First, Mizu letting down their hair

Then Akemi putting up her hair

And then there's Taigen.

[rotomartsblog]

I like this jester

No effects and regular colours under cut

[huiyi07]

Kaeya who is the most two faced character in the game. Kaeya who has the aura of a great king but shuns it out of his unending love for the nation he’s supposed to betray. Kaeya who loves the people around him so deeply despite barely having any kind of close relationship with his own family. Kaeya whose seemingly over-the-top grandeur is actually a product of his royal heritage and a part of himself he can’t help but claim. Kaeya who wears Khaenri’ahn symbolism boldly whenever he finds he has the freedom to, right alongside his celestia- given vision. Kaeya who fights for the valor and freedom of Mondstadt with a forsaken nation’s long-lost ceremonial bladework. Kaeya who laughs in the traveler’s face at the idea of being associated with Khaenri’ah but keeps a record of the Alberich family’s motto right alongside his childhood objects with Diluc. Kaeya who yearns for his home Khaenri’ah, his forgotten nation, and at the same time yearns for a home in Mondstadt as well despite living there. Kaeya who has not once slept peacefully at night and wake up without guilt. Kaeya who will never truly be able to pick an outcome where he can save everyone he loves. Kaeya who was doomed from the start.

[harryzroze]

HES HERE HES HERE AAAA

[likealittleheartbeat]

I try to generally be constructive and engaged with the show I love on here, so on this day, I’ll just say that one of the most thematically important aspects for me from the original ATLA is Aang’s emotional core of real shame for running away when he was hurt by the monk’s decision to send him away. People who feel the kind of deep-seated shame that Aang feels from this decision can understand how that kind of all-encompassing shame is not built around a simple failure or a lie they tell themselves; it’s constructed from real misbehaviors and transgressions of their own sense of ethics—lashing out, telling lies, attempting to hurt others intentionally—that then have consequences (abuses, abandonments, or deaths) which seem to far exceed their expectations or even basic logic.

The combination of the misbehavior with exaggerated existential punishments (along with a lack of support and amend-making in the immediate wake of the events) is what transforms a sense of guilt (I fucked up) into shame (I am a forever fuck-up). Then shame, that sense of being a secret monster ‘no matter what I do or how good everyone thinks I am,’ invites all the avoidance strategies (Aang puts on big smiles, makes lots of jokes, constantly tries to make everyone happy, hops from town to town without building deeper connections). One doesn’t want to acknowledge one’s true feelings or let others in to see those feelings and experiences because it’s too painful to face the grief at the same time that you have to look at yourself for being responsible—even when you recognize it wasn’t totally your fault. It’s just that if you had just been good, less emotional, less human, then maybe the world wouldn’t be so messed up. Of course, in a zen view of things, the world will always be messed up in the same way it will always be beautiful. These are constant facts that always coexist in balance, and this is the truth that Aang learns and that undergirds the whole series.

So I always loved that Aang ran away. It was his sin and his salvation. And it becomes this constant tension for the series—he gets hurt in Bato of the Water Tribe and starts to run away from Katara and Sokka, he runs away to the Guru in the Crossroads of Destiny and his best friend is attacked, he and the gaang retreat after the Day of the Black Sun failure, he runs away to meditation in Sozin’s Comet when everyone wants him preparing for war. Aang’s reluctance to be a hero and the attachments and petulance for which he gets criticized are what metamorphasize to become his most noble attributes. They allow him to empathize with others shame and, ultimately, wield the kind of compassion that can deconstruct the power and perfectionism of imperialism.

So yes, Aang ran away from his temple 100 years ago. It wasn’t the mentally healthy choice. It wasn’t the ethical choice. It wasn’t the wise choice. It was human and emotional and shameful and real. Aang is a better character for it. ATLA is a better show because of it. And we are better people when we understand these kind of tragic emotional experiences that people are trying so hard to grow through.

[kitabearuwu]

Hey, here from the sketch request post :D

This may not be within reason and I understand if not but: Dankash (Daniel Kon x Kash) being toxic. Maybe working on the mind control devices together in a gay way 🏳️‍🌈

But my liege, our love is forbidden!

[yesssssss-anime]

I seriously hope that Hollywood media just fails for a while so companies will finally realise how important their actors and writers are. I hope they come to see that ai can’t be used for everything. Also I find it funny how these companies think that we’re not going to support the strikers just because we won’t get some new Hollywood media for a while. I think they forgot that Hollywood isn’t the only place in the world creating amazing tv shows and movies. We have k-dramas, Thai-drama, anime, Tollywood and Bollywood movies. This isn’t the end of entertainment for us. If we don’t want to watch foreign media we still have old shows and movies that are great. I mean I can finally start watching those old Hollywood movies I’ve been planning to watch. So sure threaten us with the lack of media…we still having everything we need. The only person who’s in trouble because of the strikes is the goddamn companies. So screw you and have fun not making any money.

[antiquepearlss]

I’m too tired to post an essay but my girl was just a victim of bad writing and a lack of critical thinking from the audience okay I love her.

[tempesttamers]

Ok but Anthony Ramos in Godzilla: King of Monsters (2019) makes for decent imagery of Javi in the military…

[thatsbelievable]

[tommystummy]

Ugh we’re gonna hear Tommy tell Buck he looks great aren’t weeeeee?!

[phulge]

the thing is phil acts like a logged off absent father like 99 percent of the time so that when he pulls shit like this it feels like a betrayal

[sittinginsunflowers]

Okay, maybe this is just me, but the fucking whiplash from the way Sandra Lynn and Jawbone are with Adaine over Fig or Kristen is so crazy to me. It's gotten to such a point that Emily called it out in this last episode. Like, you're telling me that Sandra Lynn can acknowledge that the bad kids have helped raise each other and fulfill emotional needs their parents haven't, but can't put together that there might be a fucking reason Fig is protecting Kristen and Adaine created a simulacrum? Jawbone, as both a guardian and counselor, just let it go that a highly competent rouge capable of finding the rouge teacher straight up admitted (1) she wanted to murder Kristen and (2) she is upset at Fig for keeping her from getting close? All this after years of being obsessed with the bad kids?

Meanwhile, they see Adaine as this competent, low-maintenance, emotionally mature adult instead of recognizing that she was taught from an early age that adults would not meet her emotional needs?