Summary:
Reality gets a little funky.
Excerpt:
Reigen ducked under the desk before the book could hit him, and it instead soared above his head and embedded itself in the wall. Behind Serizawa, Reigen jumped and looked around wildly for the person that had thrown the book.
“Hey, woah!” said the Reigen cringing behind the desk. “Careful! Are you trying to kill me?!”
“How did you get in,” Serizawa asked.
“I just unlocked the door!” A hand waved a set of ķ̴̙͛e̵̯̫̝̅y̵̺͈͔͆s̴̡̹̏̈ like a white flag.
Serizawa squinted. T̸̞̂h̸̪͘o̷̩̎s̸̡̒ĕ̸̤ looked like the right keys, but that was impossible. Reigen’s keys should have been buried somewhere in his apartment. Unless someone dug through the rubble while everybody was busy…? But no, the longer he stared, the more he was sure that there was something…wrong with ṫ̷͚h̴͈́e̵̎͜m̶̳̃. And, now that he was watching out for it, the same wrongness applied to the h̴̘͊̍̍̎à̷̰̣͕͌n̷̯̰̘͒̕ď̵͈͑̊͝ holding t̷̟͈̍̚h̴̢̰̲̆ë̸̱̦̻m̵̧͔̘̋͂̂ too.
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So while I've seen a thousand jokes about this scene and Noé slapping a snapchat filter over the rat bastard in his memories, I do think it's worth analyzing what goes on here, because it's just a really well-executed example of how memories change with time and fondness.
Most of the posts I've seen have contrasted this shot of Vanitas to this one from chapter 1:
and that makes sense! They're both similar shots of him standing at the top of the steps in front of the windows, and they're also the faces that make for the biggest contrast between the two versions of the scene.
However! If you look at the actual dialogue, this super-romanticized shot of Vani isn't entirely from Noé's memory of Vanitas's speech on the podium. It's more complicated than that. Just like what often happens with real memories, when Noé recollects Vanitas's request to use his strength, he blends it with other memories of the same scene.
In the original version of this conversation, the "lend me your strength" line comes while Vanitas and Noé are still standing on the same level. This is the moment that the dialogue from the romanticized memory comes from,
and you can see immediately before and after this moment that Noé and Vanitas are still together on the lower church floor.
Vanitas only heads up the stairs to the windows/podium once he's well into his final "I will save you whether you like it or not" speech, which is what he's saying in that especially manic/bloody panel that I posted above.
When this moment flashes through Noé's mind at the start of chapter 52, he blurs the whole thing together rather than pulling any accurate memory. He puts Vanitas on top of the stairs by the window, the most dramatic and memorable staging from that scene, and has him say his "be my shield" line, the part where he's reaching out to Noé personally. Beyond the romanticized snapchat filter aesthetic of the memory, the very basics of the words and staging of the scene betray how Noé misremembers that moment.
In chapter 1, Noé reacts to "lend me your strength" with flat disinterest and "I will save you without fail" with borderline horror. In 52, however, memory Noé reacts to the blended mix of those two moments with tender admiration, showing how he's now come to view Vanitas.
Every single thing about those two pages of flashback works to show how Noé's view of Vanitas has changed. (And also to provide a contrast to the violence that immediately follows it, lol).
It's just a really well-executed example of how romanticized memories actually work in people's heads. Everything blurs together until only the best and grandest parts of the moment are left, and only then does it get the fluffy beautiful filter. And this treatment tells us so much about Noé's feelings on Vanitas at the time.
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scenecore poodle furry adopt! :-) more info below cut
i'll comment if this has sold! will comment as main (latte-hattes)
dm to claim!
first come first serve. unfortunately i will not hold
i accept money thru paypal and paypal only. i will also not offer refunds x_x
buyer will get the ref w/o the center text (ref comes with a second/less complex outfit and then the design)
buyer is free to make any changes to the design after purchase. but do not edit my art
please keep my signature on the original ref and please credit me as the designer :-)
design can be traded/gifted. can be resold but please keep the value the same/similar
personal use only
not for use as an nft/anything ai related
bonus - some other unsold adopts x x x
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ÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆÆ
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clayne crawford in lethal weapon 1.1 “pilot”, so you don’t have to watch it.
(image descriptions below the cut)
~
1— A view of the front of a bank building with a man's head in the foreground, out of focus and facing away, to where Clayne Crawford as Martin Riggs is approaching the bank in the background. Riggs has three pizza boxes balanced on one hand, his other arm swinging loosely at his side. His hair is short, curly, and warm in the sunlight, and his shirt sleeves are rolled messily up to his elbows.
2— A close-up of Riggs kneeling on the floor, utterly unconcerned by the tip of a rifle pointing at him. His head is tilted back, eyes closed, and he's combing his hair back with one hand, like a moment in a shampoo commercial. He has a moustache, and he hasn't shaved for a few days.
3— A view of a door to an office, Riggs just stepping inside with one hand on the doorframe and his jacket in his other. His shirt is only tucked in in one place, the top few buttons undone and exposing an undershirt. His expression is polite enough, and it looks like he's talking to someone inside.
4— A close-up of Riggs' partner Murtaugh in the foreground, wearing a blue brimmed hat and facing away, and Riggs in the background looking to one side with a frustrated expression. His eyes are tight, his forehead creased, his tongue just visible like he's licking his lips. His hair's quite short at the sides, and only a little messy at the top.
5— A close-up of Riggs sitting with a fork in his hand, looking to the side and smiling so he gets creases around his eyes and his forehead, one eyebrow barely raised. It's mischievous, but there's something insincere about it.
6— Riggs standing in the doorway of a softly-lit room with pale pink walls. His posture is quiet, and there's something soft and open and a little sad about his expression.
7— A close-up of Riggs standing in the same pale pink room, someone off-screen handing him a baby in a patterned onesie. Riggs is looking down at the baby, mouth open like he's protesting, and he looks very caught off guard. There's a curl of hair sticking out at the back of his head.
8— A close-up of Riggs and the baby, who is adorable, looking almost directly at the camera with dark eyes. Riggs is holding her comfortably now, looking down at where she's holding his thumb. His expression is difficult to read: it's not entirely sad, though he does look tired. From this angle, the little bumps on his cheek and the odd dents in the skin of his jaw show clearly.
9— A close-up of Riggs against a pale, blurry background, showing the back of his collar and his face in profile, chin obscured, features half in shadow. His hair is really rather neat.
10— A view of a dimly-lit kitchen with a woman sitting with her back against the fridge, hands on the floor by her sides, and Riggs crouched in front of her. The woman looks distressed, probably telling him something. It's an odd angle for Riggs' face, but he's clearly attentive, and his hands are close like he wants to be able to act or reassure her at short notice. His 'rumpled home intruder' vibes are through the roof, but his wedding ring is visible on his left hand.
11— A close-up of Riggs in his trailer, with a backdrop of ugly curtains and various bits of paper on the wall, including an image of a skull and crossbones. He's talking, arms crossed but one hand raised to gesture, his eyes down, the whole thing a bit defensive.
12— A close-up of Riggs in the foreground, facing us but looking to one side as though listening to the person in the blurry background, who's pointing at him with what might be a gun. Riggs' face is half in shadow, eyebrows raised, eyelashes visible, a messy curl of hair sticking out at the back of his head.
13— A view of Riggs crouching in a warmly-lit warehouse holding a rifle tilted towards the floor, face in profile as he looks towards the car a short distance behind him. The car door is open, Murtaugh beginning to climb out. The line down the side of Riggs' neck is showing, and he looks alert and capable, like a soldier.
14— A view of Riggs and Murtaugh sitting side by side behind a crate. Murtaugh is a little out of focus, but he looks wiped out, eyes cast upwards and catching his breath. Riggs, nearer the camera, has a bloody bullet wound in his shoulder that doesn't seem to be bothering him much. He's looking to the side, mouth open and teeth visible, already planning their next move. Some of his hair falls down the side of his face, reaching his cheekbone.
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your current ones for the blorbo/babygirl: ankh and asakura
Oh this is a good one! 👀
This got a bit long, I love to gush about my blorbos/babygirls at any given chance! So I'm putting my reasonings under a cut:
For Ankh: He is definitely in majority of the kind of unethical, kind of a bastard camp. Ankh is very selfish and self serving. Focusing on his desires above all else and often not really caring what other people want.
Having done many things, and willing to do anything to get his core medals. He is not afraid to betray, and take what he feels is so rightfully his– Regardless of the method and the ethics behind it. Or more accurately, the lack thereof.
Ankh has: Thrown Eiji off a building, attempted murder, stated his (at one point) very real intent to kill Eiji once he feels he's gotten his way, the entire betrayal in the third act. Unethcial actions are not foreign to Ankh, far from it.
However Ankh is capable of not being a entire bastard and doing good. Such as risking himself and throwing himself in front of Eiji going berserk to prevent him from killing Kitamura as one prime example. Because Ankh knows if Eiji did actually kill him he'd be distraught. Earlier on in the show Ankh would have never done something like this, let alone entertain the concept.
So it's why I don't put him entirely in that square.
And his arc where he gradually becomes more human, a bit less selfish, and realizing he actually does care about those he's come to met in his life (even though it's now too late and he's going to die) is just one of the reasons he is still my favorite Kamen Rider character full stop. The Birblo (Bird Blorbo) of all time.
Now for Asakura: This man is irredeemable, and I love him dearly. He loves to kill and commit senseless violence on a whim. He doesn't even have much of a wish for the rider war, except to make the battle go on forever so he can continue to enjoy the thrill of the kill and the battle that the rider war gives him.
The thing about Asakura that makes me so obsessed about him is not so much that he is a unapologetically a villain, with no deep reason for why he does what he does. (Though don't get me wrong here, I enjoy unapologetic bastard as much as the next guy!)
It's the fact he knows he has no tragic backstory. That nothing that happened to him during his life that made him how he is. There is no "good reason", or even any reason Asakura is how he is and does what he does. More than once it's brought up that "there must be a reason for this".
Reiko asking him about why he has such hatred. She just cannot believe there is just this guy who is murdering people just because he's pissed off. There has to be a reason! And Asakura just saying how everyone wants to give a reason to things to make themselves feel better.
And then going on to talk about eating dirt.
Or after Asakura kills his brother, Shinji goes "a person like you can't exist" and he just says "and yet I do." and then just moving on without a care and asking if Shinji wants to go at it and fight.
Or even in the brave let's survive special, which while just a special I feel it showcases the nature of his character very well. Where one of Hiiro's nurses asks why he's attacking her, and he just says "Would giving you a reason make you feel better?"
There isn't a reason why he does what he does. Why he loves to fight, to hit, to kill. Asakura just is like this. And he revels in that. Using it as a salt to rub into the wounds of others. Multiple times too.
So off into the deeply unethical square he goes!!
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