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#with the specific image
bestworstcase · 2 years
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I saw your post on the V7 intro and YEAH. IT BOTHERS ME TOO.
I’m an avid listener of the rwby soundtracks. And it was just so weird to have Trust Love, something so up beat and fun be the opening to the volume that tail spins into oblivion.
The lyrics are clear tho.
“Trust love and open up your eyes. The truth is there but sometimes in disguise.”
“When we trust in love an open up our eyes.”
“Instead your counting on that second sight”
ITS ABOUT THE EYES. ITS ALWAYS ABOUT THE EYES with Rwby. And while the opening is significant to some degree for V7. It actually feels more like it’s Foreshadowing v9.
Maybe it’s too much of a stretch. But if you really pay attention to the lyrics. Trust love is about believing and trusting yourself. Trusting your gut. In order to do the right thing. There’s a lot of self reflection involved. Which is supposed to be 9s core theme. And sure maybe it’s coincidently but. There’s something about that song that’s just a little too whimsical. And little too on the nose for kids who were dragged into a seemingly endless war and want to be whisked away or written into a fairy tail so all their problems could disappear. And v9 comes in and subverts that
hgjfjbd i promise u i PROMISE “trust love is foreshadowing for team rwby v9 arcs that hasn’t come due yet” is far less of a stretch than mine (and also tbh, i think probably the take i would buy most out of the thoughts that have been shared so far on the grounds of it providing a reason for the tonal dissonance that makes sense to me). song abt rejecting fantasy and embracing, trusting what’s real being the only way forward followed by a volume where the kids get chucked into a literal fairytale world and have to escape is also, very rwby and the v8 opening sequence also pretty overtly gestures at v9 fairytale stuff (happy ever after/happy? never again) so like. . . yeah.
the thing is like?? i didn’t blink twice at trust love at first, because a) it was building from a pretty strong trend of openers getting more and more hopeful and upbeat from v4 onwards, and b) it came right on the heels of v6 ending on this triumphant beat of ruby intentionally activating her eyes for the first time by thinking about her loved ones, past and present. plus, as @habitual-shrimp summarized nicely in her rb, there’s a lot of “trust in love or give in to fear” arcs happening in v7, making trust love and fear logical bookends for the volume despite the…weird… tone thing.
BUT THEN
i made the mistake of paying attention to the lyrics a while back and my horrible gremlin brain zeroed in on this verse like a fucking shark detecting blood in the water: “if you could only open up a door/spread your wings and fly away from here/write yourself into a fairytale/all your problems would just disappear” and went oh that’s very specific imagery that evokes a very specific pair of characters doesn’t it AND THEN i was like wait a minute this is a song exhorting its subject to open their eyes, stop hiding, stop pretending, stop retreating into fantasy to cope with utter despair because no matter how dark it seems and no matter how many lies might obscure it the plain truth is that what they truly want is right in front of them staring them in the face if only they could stop burying themselves in fairytales and SEE CLEARLY for once—(at this point i went Oh No because this was a whole train wreck of a thought and yet)—it is. in short. a song in which the speaker urges the subject to let go of a metaphorical blindness so they can save themself by seeing their love aaand that is how i accidentally slammed myself face first into “turn love is a salem song playing conceptually with the blinding of rapunzel’s prince and eventual restoration of his sight by her tears” and now i CAN’T UNHEAR IT
it’s got coherent lyrical parallels to both sacrifice and until the end literally just kill me
it’s the opener for the volume in which ozpin is absent for 95% of the runtime because he’s sunk into the absolute depths of utter despair only to drag himself back up at the very end for a pensive, introspective, emotionally honest monologue on the subject of fear with until the end played under it in the exact moment of salem’s arrival in atlas!!!
hfghfns and like objectively this is Not What The Song Is (right?? it can’t be?) and if trust love weren’t so tonally perpendicular to its volume i probably wouldn’t be like “…UNLESS??” but it is and i am because it’s already weird why not?? read it as a deliberately discordant commentary on ozpin’s critical failures wrt salem and how the consequences of those failures have metastasized into retreating so far into denial and lies, insulating himself so thoroughly in the comforting simplicity of fairytales, that even he can’t really tell what’s true and what isn’t anymore, about her or about himself?? it’s NOT like his terrified refusal to engage with salem as a person which he passed down to the current generation as an inability to even conceive of brokering peace with the unbeatable enemy as a possibility at all is their biggest obstacle or anything except OH WAIT IT IS!!
😵‍💫
anyway when i’m not preoccupied with being completely out of my mind about this song i figure it’s probably? maybe?? meant as a complement to for every life—the thematic and emotional fulcrum of the atlas arc is the realization of the ideological struggle between hope and fear, so trust love exemplifies pure hope just as for every life exemplifies pure, bleak despair? which in fairness, i guess, to my deranged brain, WOULD make sense of salem and oz having this presence in them akin to the presence they have in this will be the day and when it falls; in that v1/v3 they were the narrators and in v7/v8 they are the symbolic harbingers of hope (ozpin’s return in 7.13 marks an abrupt emotional about-face towards courage in the face of dire circumstances) and fear (salem’s arrival—well, you know). but hhhhhhhhhHHHHH
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falseficus · 5 months
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everybody’s always on writing prompts like “what if there was a world where everyone had a timer ticking down to their death… but you met someone whose timer said infinity!” or “what if everyone had their cause of death tattooed across their forehead… but you met someone whose forehead said THE CREATURE!” Enough -
enough. stop with the shock value. there is no need to insert THE CREATURE; the benign concept of such a world is horrifying enough. not even in urgency, but just in banal, everyday interaction. imagine you meet someone and their timer says two years. not tomorrow, not urgently soon, but two years. enough to do quite a lot. they could fall in love in that time - could they get engaged? have a baby? you might otherwise get to know them, befriend them, but perhaps you opt not to, make a conscious choice not to invest in your own grief. what balancing act would every individual person have to participate in - I have ten years, is that long enough to be a good mother to children? is that long enough to secure a caretaker for my own mother? my wife will die a few months before me. my newborn’s timer reads nineteen years.
and cause of death. you interview for a job and emblazoned across the healthy, smiling face of the HR lady is MALNUTRITION. your country is prospering, safe, but every person you meet on the street from the babies to the old women read BOMB. BOMB. what kind of havoc would fate wreak on the world? what about the loss of privacy? how would that shape our notions of hope? idk man I think a lot of those ancient poems were right, and the fates are monsters. I’m interested by the framing of these ideas as trite horror tales when the premises themselves are so much more disturbing if simply taken to their logical ends
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breaddo · 1 year
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thinkign about characters i like being sweet and tender with each other
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batshaped · 1 month
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the continued adventures of an internet user who was frozen in 2004 and defrosted in 2021: some things are just the way you left them
previous 2004 internet user comics are here: one, two, three, four, five; or just in my 2004 tag
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vesperosy · 6 months
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these two spend so much time running around investigating in the dead of winter that i'm afraid they'll both get colds
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agnesandhilda · 1 year
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judith slaying holofernes by artemisia gentileschi c. 1620 - edited by me using online image editor
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dreamer-hammerspace · 3 months
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fungi-maestro · 1 month
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Happy tdov to fat trans people. 🏳️‍⚧️ Biggest thing that helped me as a trans kid was seeing older fat trans people. There were a lot of really irritating "advice" posts going around early in my time on the internet with a lot of misinformation in them, but one that I constantly saw (in addition to people claiming you should wear your pants rediculously low or only wear button ups) were posts saying you had to lose weight to transition. Can confidently confirm that is completely untrue. 👍
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horang-07 · 6 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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uncanny-tranny · 5 months
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Not a day goes by where I do not think about the advent of medicine like PrEP and wonder just what the people - especially queer people - who passed from HIV/AIDs during the AIDs crisis would think
And then, I read this survivor's testimony and it just makes me emotional. I think this is the closest answer we have. HIV has changed, and we must always remember the people who didn't see that change before it happened.
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the-king-of-lemons · 1 year
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“im new to tumblr from mcyttwt what do i need to do :(”
HERES ALL YOU NEED:
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seriously dont fucking crosstag its a whole separate community
>>> THIS POST IS SPECIFICALLY ABOUT MCYT FANS MOVING FROM TWITTER TO TUMBLR. <<<
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cherrirui-official · 2 months
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I hope u guys don't mind me posting these au doodles while I work on things ahaha
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I also gave JD slightly longer hair in these doodles as a funny haha but I don't think it's funny anymore he looks genuinely good with his hair like that ahahaha I hope you're not mad at me for changing his au design a bit
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taxinealkaloids · 7 months
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two b-list sons of God and a second-rate resurrection
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bluetea-00 · 2 months
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Hello Spamton nation
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flowerygarrland · 7 months
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Hot devils (that you know) in your area
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in honour of today's beautiful gift
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