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#FOUR GREAT GAMES
retrocgads · 1 month
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UK 1987
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mychapel-004 · 8 months
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FNAF SPOILERS! SCROLL! TALKING ABOUT THE SPRINGLOCK SCENE!
i’ve seen so many people discussing the springlock scene in both negative and positive ways and i think it brings up really cool points about how matthew played that scene and balanced fan expectations with his own characterisation.
i think the discussions around this movie have rlly exposed the disconnect between fanon and canon in fnaf, especially talking abt the core games in isolation, bc frankly in the game universe (ignoring the books) we get Very Little characterisation for William other than the obvious, but Matthew managed to add so much in the way he talks and his body language.
in the reveal scene, we see afton at arguably his peak. in his first scene, he comes off as somewhat demeaning and judgemental until he recognises mike’s name, at which point he seems to have this nervous energy, rushing to cover it up but stumbling slightly, his reaction to the tables being turned even slightly is massive.
this is a man who committed multiple mrdrs in essentially broad daylight, hid the bodies in the most obvious place, and still got away with it, and then kept the crime scene as a trophy of his actions, and an ongoing prison sentence for his victims. he has been in complete control for decades, and is confident that he can deal with any kind of threat quickly. his confidence in his reveal is palpable
it changes when vanessa shoots him. the whole parallel with vanessa and the animatronics is hugely interesting too- how william refers to the animatronics almost endearingly as “kids” when he wants them to obey, how both vanny and the animatronics have an unearned loyalty to him, almost a pseudo-adoption through what he did to them, taking them from their parents and keeping them under his thumb, forever stuck as naive, forgiving, obedient children. vanessa breaking from that control shakes him, but the mask slips back into place almost immediately.
then, he’s outsmarted by the brother of one of his victims, and the child he planned to end next. his pseudo-children turn on him and he can no longer manipulate his appearance or shed his skin to escape. he explodes on them, and his language is incredibly telling that he is being dishonest.
he calls them small, trying to belittle them into submission, even though they are ten feet tall metal animatronics powered by rage. he is grasping at straws to regain control, and failing miserably.
finally, the springlocks go off. the locks in the movie look more like a ribcage, so the first two likely puncture his lungs. they’re slow, and painful, but he doesn’t scream or beg or sob. he grunts and groans, gritting his teeth and only letting out sounds of pain that sound almost involuntary. there is no way in hell he would visibly let himself show weakness or pain in front of these creatures that he believes he has control over. he isn’t brought to his knees until there are eight metal spikes embedded in his abdomen. he doesn’t let the mask fall for even a second, until he literally PUTS THE ACTUAL MASK ON and finally collapses. even then, he’s fighting for consciousness, twitching and writhing with no control over his body. william afton thrives on control, and his soul will not rest until he gets it back.
it’s why he keeps the pizzeria- he always comes back. he can’t help but return to the scene of the crime, putting on his old costume, continuing his killings. he revels in being a constant threat on the horizon. and now, he knows he is going to die, and he knows the suit will bring him back, and noone will be able to get rid of him then. so he puts the mask back on, and waits.
in terms of the sfx- they’re pretty accurate. with stab wounds, you need to leave the knife in the wound as long as possible for best chance of survival, as it stops the blood from escaping. in terms of the springlocks, there wouldn’t be copious amounts of blood as the locks are keeping the wounds filled- which is good because it means a slower, more painful death.
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1caru · 11 months
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Earthbound sprites for the squad <3
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luckiestplartt · 1 year
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i have been playing ace attorney and really liking it. smile :)
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digi-lov · 6 months
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Megidramon EX3-064 Alternative Art by Hisashi Fujiwara from EX-03 Theme Booster Draconic Roar
This card references this part to part of Megidramon's Digimon Reference Book entry!
According to one theory, Megidramon and Chaos Dukemon are the same being, and it is said that whether that wave of terror is projected as a dark knight or as a dark dragon depends on the observer.
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duthea · 1 year
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been playing the funny fire emblem game
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larsnicklas · 7 days
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game twelve puck ➡️ vladi
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owlarchivist · 1 year
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omg happy pride month
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goldensunset · 6 months
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ayyyyy it's the art year in review post with my best work from each month
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mel-addams · 1 year
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Disco Harmony
[Image ID: a digital watercolor illustration, fanart for the game Disco Elysium. The image feels somewhat isolating, the majority of it filled only with a blue sky, nearly empty save for some sparse clouds, plus musical notes floating around two lines, swirling downward together to visually imply whistled tunes. The thicker line is a simple, swaying dark green trail—the other, a dark orange that loops around it in a thin, twisting melody. The lines end above Harry and Kim, who are sitting on an old, rusted swingset, staring out at a car half-sunk into the icy sea before them. They are viewed from behind, near a sparsely-leafed tree in the blurry foreground. The colors around the edges of the image all fade into a soft, Pale grey, which in turn becomes wispy and transparent.]
DRAMA - The tune on your lips forms a strange, yet undeniably beautiful contrast with the surrounding bleakness. KIM KITSURAGI - The lieutenant gives you a quick glance. Then, still looking straight ahead, he joins you with a higher-pitched and slightly more melodic trill. CONCEPTUALIZATION - Two birds on a wire, whistling by the seaside. Looking at the water. And a sunken car.
🎵 Want to be free Burn, baby, burn 🎶 And the trees are green and overhanging Feather-light, free, and everlasting
Doing a bit more watercolor experimentation in Rebelle, trying to wrangle water physics. The description of this scene stuck in my brain—because unless they both knew the song, you don't "just" casually, spontaneously harmonize with someone. They're either both very good with musical improv, and/or so ~in tune~ (hehe) with each other that it Just Works. (Which, yes, it's a symbolic story element of how Kim is perfect good at being adaptably exactly what's needed, a parallel to that one trust exercise idle they do.)
Either way, this struck my brain with the idea of using swirling lines (as ya do) to visualize the song as being the most solid and "real" thing, in what would mostly be isolating, empty sky. Everything else is watercolor (with ink lineart and airbrushed fog)—transient, transparent, and taking on the texture of the canvas—but the "song" was done in solid, opaque pencil.
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retrocgads · 1 month
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UK 1987
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videogamedogbracket · 11 months
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elavoria · 2 months
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Evelynne, Tywin’s longtime chambermaid, navigates her life with and feelings for both her master and his son, Tyrion, starting with the end of Aerys II’s reign and ending two years post-canon.
Or rather, I tried writing a Tywin fic, and somewhere along the way it turned into a Tyrion fic.
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digi-lov · 3 months
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Goldramon EX3-035 by GOSSAN from EX-03 Theme Booster Draconic Roar
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skyloftian-nutcase · 6 months
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Oh! I forgot to tell y’all, I finished TotK during my hiatus! My reactions are as follows:
AAAAAAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHHH
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just-an-enby-lemon · 2 months
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Carter: As Oscar once said: "everything is about sex, except sex, sex is about power."
Wilde: I never said that!
Carter: Yes, you did!
Barnes: Well that sounds like something you would say.
Wilde: Last time you agreed with Carter that "You don't love someone for their looks, or their clothes, or for their fancy car, but because they sing a song only you can hear" was something I would say. Your opinion does not count.
Barnes: Wait, you didn't say that?
Carter: Nah. I did got that one wrong it was Campbell actually.
Zolf: *who was listening from the side room and entered invoked by Campbell's name* No it wasn't. Campbell isn't a hack.
Carter: Ohoho, Oscar, he called you a hack? Are you gonna let him?
Wilde: Not he didn't! Because I never wrote that. I never spoke that. And I resent anyone thinking I did.
Barnes: Okay, so who said it?
Carter: I still think it was Oscar.
Wilde: *doing calming breathing exercises*
Barnes: Don't be like that Oscar, Carter is just being himself. In fact, didn't you once said "be yourself, everyone else is already taken"?
Zolf: *who knows that Wilde never said any of this things* *breaks laughing*
Carter: Yeah, it was right after "never love anybody who treats you like you’re ordinary".
Wilde: I hate all of you.
Zolf: Why? Wasn't you the one going "there is only one thing in life worse than being talked about" well we are talking about you.
Wilde: I never... wait... no...I actually did say that one.
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