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#please Harlan
hydrus101 · 5 months
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Thinking again about how John and his counterparts are just fully and completely in love with art.
The awed and breathless way he says “You’re a composer!” when Arthur tells him what he used to do. The way he lingers almost unnecessarily, lovingly, on descriptions of the things he sees, the beauty of colors and lights in the dreamlands. The way he focuses his attention on the sculptures and carvings and paintings they pass, like the woman’s portrait and the fine things in Larson’s home. His insistence on going to the cinema, to see the moving pictures humans make, another facet of their creativity. His interest in Arthur’s dreams in the pit, which are arguably the art of the unconscious mind. The way he lingers on the snippets of poetry Arthur gives to him, mulling on them and dwelling on their deeper meanings for hours and days.
Yellow does the same with Larson, from even the few fragile minutes we had with them. He takes an interest in Larson’s poetry of revenge. Yellow, who at his root is cut from the same cloth as John, even with his limited time exposed to Arthur, found some sort of appreciation for the dances performed at the Red Right Hand.
The way the cities of the King all have amphitheaters, places for plays and productions. The one in the Sleeping city, the one in the city Kayne slaughtered, there is a place for art even there. It’s so subtle but it’s there.
In Chambers’ book, the book of poetry that drives men mad is attracted to sculptors and artists and writers and in that way it is a form of love. The King is drawn to them, to the art they create, and he is fascinated in the way you would be fascinated with a mouse that suddenly stands and speaks and sings and dances. Humans are ants beneath his feet, yes, but when ants construct patterns that seem thoughtful and orchestrated, it becomes a novelty.
And novelties are fragile.
And the King is destructive by nature. He destroys them with the force his of attention, that fleeting moment of love, and their minds scatter. Lost to love and madness.
But John has no powers. He doesn’t inspire madness, he can’t destroy the art he loves in that way, and the longer he lingers with Arthur, the harder it is to remember why the thing that he was wanted to destroy it in the first place.
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samglyph · 2 years
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clawing at the walls of my prison (the malevolent website) begging for scraps (malevolent part 26 transcript)
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potato-lord-but-not · 2 months
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assorted wtnv doodles because I’m only a liiiiitttle bit obsessed
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izel-scribbles · 26 days
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it's 10:50 pm and i should be sleeping bc i have an algebra test tomorrow but do i care!?! no!!!
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ghostlyarchaeologist · 7 months
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John Rogers: "[The different eye colours were] a reference to each of the characters' sins.  Using references from classical sources, we matched colors to: Stone was Lust, Cassandra = Wrath, Baird = Envy and Flynn = Pride."
The Librarians S01E05 and the Apple of Discord.
Bonus Zeke:
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John gained a habit of smacking Arthur in the face to distract him from passing out or to wake him up but now he just does it whenever Arthur isn’t focusing on what he wants or whenever Arthur pisses him off (even a little bit)
Yeah I'll incorporate that into my belief system
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arthurtaylorlester · 3 months
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malevolent season 4 was... something, that's for sure
i want to preface this by saying i LOVE malevolent as a show and this is no means an attack on the creator or anything like that, i don't think i'll ever stop listening halfway, no matter how i feel about it. i'm not saying season 4 is all bad either.
it is a deviation for malevolent, though i found it VERY well written up until part 31 (and part 31 is my favourite malevolent episode ever)
s4 started off really strong for me, part 29 set the tone really well, much lighter after s3's emotional lows. the butcher was an interesting enough new villain to put yarson aside for now. part 30 had some charming moments, but the real star of the early season was part 31, a truly incredibly written and directed look into arthur's psychology. it truly gave us everything, from lore to highly comedic moments (to me)(no because why was arthur dreaming of waking up next to a shirtless man who tried to kill him)
parts 32 through 34 i'm not sure about, but i can write them off as awkward mid season points. part 34 was an interesting shift in perspective, but here is where my doubt's about the season's villains started rising
but the oscar & scratch arcs.... guys i'm gonna be honest, i might be oscar's #1 hater
scratch and oscar in this season were functionally useless filler. it's not unusual for arthur and john get sidetracked during their missions, but it usually ends up leading them right where they need to be by the season finale. this felt like a parenthesis that killed any tension created by the butcher.
this season had, quite unnecessarily, 3 antagonists. now this wouldn't be a terrible idea, had they been established before. but no. for some reason it was chosen to leave the only villain we could genuinely be afraid of alone, in favour of introducing not one but two antagonists yet to be established. neither because of this have the adequate fear factor (the butcher is better about this) and both get the most abysmal ends i could've imagines. what do you mean scratch is just gone like that after causing some emotional conflict with his deal. what do you mean the butcher was KOed by the fucking priest with a bedpan? what? that's it? you expect me to be scared or even care about the butcher now?
speaking of the priest. i want to like oscar i really do but. he's a terribly written character. we get to know him while arthur is teaching john intimidation tactics so out of gate our initial impression of him is as someone meek. and then in part 36 after "sorting out" the butcher, oscar just dumps out his trauma point blank to someone he's spoken to a handful of times in the past 3? 4? days.
malevolent in general has a bit of an exposition problem, but it usually works out if it's john expositing because. that's literally all he can do. but when a character with more agency do it, it makes them flat. oscar didn't have to tell us all that, he didn't have a reason. arthur confessing to 7 murders isn't a prompt to make himself vulnerable like that. i did not start caring for him, just because he had a tragic backstory. that's... not how you get someone to care about a character. oscar could be defined as a static character, and while it's not too unusual for a static character to be the focal point of an arc, i don't think it works the way most authors think it does.
also the worms in the farm only happened because of him messing with the stove so like. that's not helping his case.
the completely unnecessary farm arc concluded, we return oscar to the hospital, with arthur caving very quickly to john's demands if he truly cared about oscar so much. and so, a single episode before the finale, we get properly acquainted our main ally for the showdown. a choice definitely, but i feel like this one worked out pretty well considering noel had time to simmer before we got know of his past + he had interesting conflict with john and arthur.
and then there's the big one, the thing that appalls me entirely. leaving larson and yellow, the main villains of the finale COMPLETELY alone until the very end. why? why would you choose to not use them earlier? we spent so much time away from larson, so we weren't really as scared of him as we were at the end of part 28 (i literally was listening to the last 15 minutes of this ep on my toes because i thought he might do something) and we had had no CHANCE to even fear yellow, since we knew nothing of his power?
and what, the butcher is on our side now because noel granted his release? just like that? i know he's a contract killer but arthur insulted him to his face, he can believe they understand each other but did he feel no anger?
the finale did well, considering the context it was given to work with, though i did not understand the point of the memory thing... that didn't go anywhere? because not arthur nor noel actually lost anything. we don't know what the box was for, we only know some guy wrote "the birth of my son" on slip of paper and put it in. arthur assumed it was a memory, when it just as well could've been a literal offering, arthur assumed it would involve losing said memory, and they assumed it was related. initially i thought it would only go through if the ritual took place, which, it didn't. but reading back here is no further clarification on it. hold your angst horses, blindfaith enjoyers
i feel like john physically manifesting, if now an established power of his, was very cheap. unless it was a one-off, or some sort of power up, it just literally took away the main premise of the show. an all-powerful god rendered powerless by being stuck in some guy's mind and being forced to confront the troubles of someone infinitesimal to him. if you let him astral project and save people, then what's the point?
but i do actually think it was a one-off, so we'll see how it goes
simply put, john saving arthur when he jumped in s3 had more impact than this because he did it with a single, human, hand. no magic.
it was pleasant to have kayne and his expected chaos back, jarring as always. john's deal was exactly what we all thought it was going to be, maybe more about himself than arthur, but i don't think anyone can fault him for that.
one things though, and this questions may just be me not remembering, is arthur supposed to know that yellow is a separate entity from john when they realise larson has him in his head? because i remember arthur just assuming that 'yellow' just had all of his memories returned in part 23, and therefore not knowing that he's a separate guy from john.
just in general, i feel like s4 had a LOT of good ideas that weren't given enough room to breathe and therefore weren't written very well that really weighed down my enjoyment of the season. that's not to say there weren't things i liked. the emotional moments hit just as hard, like reconciling with daniel, the comedy was on point (genuinely this season was so funny) and even the most out of pocket thing arthur has ever said, calling john a child, no matter how much discourse it caused, was actually sort of in character for him? i mean arthur is an asshole so like i get why his immediate reaction to his severely emotionally unintelligent friend being possessive is babying him. they're awful people. they deserve each other. it made somewhat sense in retrospect.
all this to say, while i didn't hate s4, i think it had a lot of writing issues, especially when comparing it to the other 3, and it could've been done WAYY better but hey we all have our moments.
i await anxiously intermezzo's public release and the rest of season 5 👀
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ashes-in-a-jar · 2 months
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snakeunderyourboot · 14 days
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okay okay, so if we are talking about Darkthur universe and so on, and we do know that Kellin never got a chance to sent Darkthur into coma, therefore the Entity didn't become John BUT
I have a little hc, that in the Darkthur Universe, Entity picks up a new name every week or so. Darkthur doesn't care about Entity in general, so he doesn't really care what name it decided to call itself today
Or basically
-- Andrew- --Actually, Steve today --I do not care, Steve. Now, help me hide this body
@ joke from my friend, thank you so much
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pierre-mobilex · 20 days
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I don’t actually know that kind of emotions I need to use after “I have no mouth and I must scream” got viral on tt.
P.S.: Despair mostly
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eamons-redguitar · 5 months
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i made a silly spoon edit what do yall think
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I need recommendations on new shows to watch! Help!
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dizzyizzystiddies · 13 days
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Absolutely insane to me that IHNMAIMS is mainstream/popular/trending on tiktok rn. I fully don't understand why but i'm here for it.
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ghostlyarchaeologist · 8 months
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You're telling me that we could have had a slumber party scene, with all the Librarians in their pyjamas in And The Disenchanted Forest, and yet we didn't!?
We were robbed! Robbed, I tell you!
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exchangell · 15 days
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do you think you could run fortnite on the allied mastercomputer or nah
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