also....parallel

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New promo, not much to analyze, the usual things: Eclipsa doesn’t look evil but we don’t know about her past, Star and Moon having different opinions on her, she knows a lot about magic and Glossaryck, apparently… the most important thing is that she truly likes candies, and that it wasn’t just an isolated gag in Moon The Undaunted. She truly is a granny who always has some sweets in her pockets. 
But I don’t think she’s going to share.

Also super likely parallelisms with Star, for a multitude of reasons, from apparently having poor impulse control to… well, having falled in love with someone from outside the kingdom. Oh boy it’s going to be fun.

Resting Demon Face

Oh Rhino.

I love you. You’re a lovely dog. Very intelligent. Want affection. But most people aren’t interested in you. You see, Rhino, you have resting demon face. Your near-white ‘zombie’ eye doesn’t help of course, but you see you had some sort of injury as a very tiny pup and it made your upper jaw malformed. Your upper canine teeth never erupted, but they’re still there in your skull. One is parallel to your hard palate, and the other is parallel… but also at a 45* angle across the hard palate and we think it might be in your sinuses. Your nose is crooked and snubbed and you… well…

But I love you and your demonic derpy face. We’ll find you a good home, we swear.

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‘Best buds talking about the universe with their soulmatesparallels.

i just love the idea that after they thawed cap out they used him for their own benefit by making him do those weird informational videos for high schools cause thats so realistic like the rest of the movie and also parallels how he was used in the first avenger

Fairy Tail 545 Analysis

I disagree with most of the posts I’ve been seeing about the nalu interaction at the end of this final chapter. That is, I don’t think it was Lucy that “wasn’t ready” like a lot of people have been saying. I know the “blushing virgin” trope (quote a la @not-just-any-fangirl) is a popular one, and I don’t want to get into that because it’s not my cup of tea,but my point is that I don’t think Lucy wasn’t ready. 

I think it was Natsu that was scared.

In my opinion, this doesn’t seem like a “wait, I’m not ready for this” it seems more like a “wait, is this really happening?” Natsu and Lucy have been through… a lot, as we all know, and at this point I don’t really see Lucy being afraid of anything that has to do with Natsu (except maybe him leaving again, which we never got a discussion about, thanks Mashima). The close up on Lucy’s face is clearly more comedic and surprised, rather than nervous

Now, we know that Natsu isn’t good with confrontation, at least, not when it comes to Lucy. Natsu is a lot of things, but he’s kind of a coward when it comes to talking about his emotions or having any kind of a conversation that could reveal what he’s actually feeling. Mashima has been very clear about that in the past.

In chapter 416 Natsu left without saying goodbye to Lucy (this is also a wonderful parallel to the Phantom Lord arc, but that’s not what this is about). Natsu, as we’ve seen, doesn’t like seeing Lucy upset, especially not because of him. 

419. Lucy mentions the fact that he left for a year and Natsu clams up.

424. Again, Natsu kind of… lowkey freaks out/shuts down about being confronted.

Natsu has never dealt with change well. At least, it doesn’t seem that way. He can’t handle any type of confrontation that could potentially dig up emotions he’s buried. He doesn’t like it and often opts to joke his way out of situations because he gets scared. It’s his natural fight or flight reflex coming into play. Natsu is almost always “fight”, but when it comes to Lucy and whether or not he’s “in love” with her, he seems to go for flight.

In the manga, Natsu is only 19/20. He hasn’t matured enough to deal with what he’s feeling, but he knows he wants to stay by Lucy’s side forever, even if he does need some extra time to figure it out.

TL/DR: Lucy isn’t the one that got nervous about Natsu trying to kiss her, Natsu is just a big coward when it comes to emotions and needs a little extra time to figure it out.

I googled the cabbie’s number

Image from here.

771126 looked like a date to me, but backwards.

77/11/26 or 26th November 1977. I googled it and the very first hit was something called the Southern Television Broadcast Interruption that happened on that date. This is it:

This video is titled “alien broadcast” or something, but it’s actually real footage of a real thing that happened on 26th November 1977 (a real hoax, done by people, not aliens). It was a broadcast interruption through the Hannington transmitter of the Independent Broadcasting Authority in the UK on 26th Nov, 1977. The interruption is generally considered to be a hoax, and the hijaker remains unknown. The interruption lasted 6 minutes, and took over the sound, leaving the video signal unaltered aside from some picture distortion. The speaker claimed to be a representative of the “Intergalactic Association”. It interrupted the news, then transmission returned to normal shortly after. Southern Television later apologised for a “breakthrough in sound”.

An explanation is given for how this security breach could have happened:  “At that time, the Hannington UHF television transmitter was unusual in being one of the few transmitters which rebroadcast an off-air signal received from another transmitter (Southern Television’s Rowridge transmitter on the Isle of Wight), rather than being fed directly by a landline. As a consequence it was open to this kind of signal intrusion, as even a relatively low-powered transmission very close to the receiver could overwhelm its reception of the intended signal, resulting in the unauthorised transmission being amplified and rebroadcast across a far wider area. The IBA stated that to carry out a hoax would take “a considerable amount of technical know-how" and a spokesman for Southern Television confirmed that "A hoaxer jammed our transmitter in the wilds of North Hampshire by taking another transmitter very close to it.” However, like the Max Headroom broadcast signal intrusion a decade later, the identity of the intruder was never confirmed.



** Which means they had planned the HLV broadcast signal interruption story line before they even made the props for ASiP **


After all that I went on to casually start reading about Max Headroom (a weird thing I actually watched on TV in the 80s when I was little and the satire and subtext of it were beyond me) and found the British made pilot, titled “20 minutes into the future”. Weirdly, it’s very very relevant, and I don’t know if this cabbie number clue was meant to point me towards this, but it did anyway. I pointed out shortly after TLD aired that “20 minutes” had been said quite a few times in TLD, and that it was probably important (also see this and this). Also, mentions of 20 minutes in TLD and elsewhere are almost without fail a reference to something that’s going to happen in 20 minutes time, that is, 20 minutes in the future, as if it’s a countdown to something. Culverton’s life will change in exactly 20 minutes. John asks Sherlock if he will be okay by himself for 20 minutes.

To tell you the short version for now… the movie “Max Headroom: 20 minutes into the future” is about an evil television network hiding a dangerous truth from it’s viewers. People are dying because of this secret, in a most violent and terrifying way. A journalist is working to uncover the truth, and while doing so has an accident and is “brain dead” at one point before resurrecting himself from a morgue and coming back to complete his mission - *spoiler* the hero (the journalist) finally uncovers the truth! And reveals it to all via a live television transmission. 

I also like this parallel …The evil television network had taken the face of a dead man (the journalist) and used circa 1985 computer technology to animate his face so that he could continue to appear on camera in order to convince the public that he was still alive. Essentially, they turned him into a puppet.

The fact that we only see Moriarty’s head, and the unusual choice of backdrop for this shot of dummy!Jim which looks like it might possibly have been inspired by the amazing Max Headroom animation grid background..

…is all hopefully just a reference to the fact that someone was using Jim’s image to trick the public into thinking he was still alive when he wasn’t (even though in the movie he was actually still alive). Basically, the movie is about the media as a villain, hiding truths from viewers and brainwashing them, and a small band of rebel journalists (from within the evil media) who go on a mission to reveal this truth to the public. And they do reveal it, and the rebels win :) You can watch the movie here.

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“…..Well…. toothless and I got her out of a tree….”

“Who put her there?”

“Uhhhh….. haha…well… crazy thing is… I’m… actually… the one…. who… put her there….”

“…..”

-How a talking Fishbone managed to get the girl of his dreams.

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CS wedding / Snowing Wedding

Requested by @cat-sophia

Although the CS wedding was also paralleled to Snowing’s by the rude interruption, it didn’t end up ruining it as I feared it would (for them and us as shippers). Because unlike Snowing, Emma and Hook knew what was coming, but they chose to celebrate their love all the same. 

And not only that, in their wedding there wasn’t words of ends, and cherishing the moment while it lasts. They KNEW that whatever is coming, they are gonna win it, and what they were celebrating is a beginning and not an end. I think that’s what the legacy of Snowing gave them, not only the hope, but the certainty that whatever comes, they will end up together in a happy beginning.

Snow and Charming didn’t have that same certainty on their own wedding, and this is why Charming ended up saying it was also the worst day of his life, but their actions since that day to make their daughter a believer, made it sure that this day wouldn’t be ruined to her by anything.      

“Lost and found” - 13 thoughts on symbolism

So, I rewatched the first episode of season 13 and found fascinating symbolism. Some of this has already been talked about, but I think I found a couple of new symbols/imagery, too. Let’s start!

(Screenshots are all mine, please like or reblog if you want to save or use.)

1. Title card:

Many of you have already pointed out the reversed cross, which imo stands for Lucifer. The eye of the nephilim is the central piece here and it severely reminds me of the sun. The outline looks as if there are little sunflares. So the call sign sort of unites Lucifer, Jack and the sun=hope (and of course other meanings concerning the whole sun symbolism going on since forever on the show).

2. Dawn:

When Sam and Dean walk out of the house the sun has just come up over the mountain tops, illuminating the whole scenery and thereby providing hope. They could have shot this scene on a rainy day, to emphasise the desperate situation the brothers are in right now, but no: the sun is shining, not everything is lost. I also like the single ray of sunlight in the first picture. There’s hope, but the boys don’t see it yet.

Fun note: You can see a crew member’s reflection in one of the windows :-)

3. Jack and the rift:

I noticed an orange line on Jack’s chest, which seems to have the exact shape as the rift that led into apocalypse world. Maybe the key to thiat world (and the key to find Mary) can still be found within Jack. At least there appears to be some kind of connection.

4. Reflections during the car ride:

Not only are our boys reflecting about what just happened, you can notice reflections of the sun on Baby or in the camera during this scene. The reflection in the picture above struck me as special, because it’s when Sam asks Dean: “What about Cass?” and at that exact moment the sun’s reflection appears across and in front of Dean in rainbow colours (or mostly purple and blue as can be seen in the screenshot). Well, if that ain’t symbolic… or the luckiest coincidence ever ;-)

5. Sam the anchor:

During the whole scene in the fast food restaurant you can see the anchors from the label in the window (either directly or reflected) above Sam’s shoulders. Imo this means that Sam is everyone’s anchor this season. He’s Dean’s anchor during his grief, someone Dean can rely on and he’s also Jack’s anchor to this world, teaching him and having faith in him. I hope this kind of symbolism will come up in some future episodes, too!

6. Jack is light:

In this scene Jack is highlighted several times by the light coming from the two lamps and the barred window in the cell. I think this illustrates that Jack isn’t per se evil and can bring light into the darkness. Actually just like Lucifer “light bringer” (translation from Latin) was supposed to do at the beginning of time. In contrast to his father, I think Jack could actually achieve bringing the light to our world and humanity.

7. Jack’s t-shirt:

The shirt was the sheriff’s choice and she accidentally picked the right one (yeah, accidents don’t happen accidentally ;-) ). I was able to decipher the writing: “Don’t mess with the bull or you get the horns”. Meaning: Don’t mess with Jack, he can’t control his powers yet and you will regret being at the recieving end of those powers…

8. Light and shadow:

Jack is sitting on a bench completely illuminated by light. He represents the sun, light, hope and positivity. The boys in contrast are sitting in shadow. They don’t see the light yet, they are still in a dark place because of all the recent losses they had to suffer. There is also a distance between them and Jack that has yet to be crossed in order for light to come to the brothers.

9. The prayer:

In the prayer scene Dean walks behind the restaurant seeking privacy. The sun is clearly up in the sky, higlighting almost everything, but not Dean. The world has light and hope again (Lucifer is currently gone), but there’s no such thing for Dean after losing Cass, his mother and even Crowley.

And another interesting reflection of light appears: when Dean prays to get everyone back (especially Cass) we see a rainbow coloured reflection appearing next to him… ;-)

10. The picture in Kelly’s bedrom:

In this picture we can see a ship (standing for Destiel or the brothers or Team Free Will is open to interpretation) on a stormy sea. But there’s also light: some sunrays are breaking through the dark clouds, promising better weather after the storm. Apparently another hint that there’s still hope, even though it doesn’t really look like that for the Winchesters right now.

11. Cass’s deathbed:

Again the sun is shining brightly outside, but the inside of the house, especially the room with Cass’s corpse is dark in comparison. Imo this stands for Dean giving up any hope of seeing Cass again, there’s no silver lining for him to see.

12. The funeral:

This is literally the darkest hour for the Winchesters. They have to burn the bodies, one of them is Cass’s. It’s also sad for Jack, who has to watch his mother and chosen father burn on the funeral pyre. The day comes to a close, the sun goes down and darkness surrounds them all. Is there no hope now that they burn the bodies? No hope that Cass could return? Well, there’s always a new dawn the next day.

I also really liked the shot of Dean’s lighter, the flame has a halo which also reminded me of the sun.

13. Apocalypse world:

Isn’t that the curch from 8x23 “Sacrifice”?!!! Nice parallel. I also noticed that in this world, where Sam and Dean were never born, there is no sunshine. The sky is clouded and you can hear lightning strike all the time. There never was any hope for that world. But maybe Mary can bring some light into it, or even Sam and Dean, who knows?

Okay, that was a long post! Lots and lots of light/sun symbolism! Please share your own thoughts and ideas! :-)

anonymous asked:

What do think about people saying that someone on the panel said that "lance is keiths stability"? Do you think this is fake, a poor choice of words, or a misinterpretation? Something else entirely? Id love to see what you think

you know, I was pretty confused until someone else pointed me to the transcript, but now I think I get it:

Fan: My question is, last year at this same panel I asked about Lance and the Black Lion. Now that we’ve seen how much Keith does not want to be a leader, or is cut out for it, will we continue to see Lance in being Keith’s right hand man…come into his own as a leader himself as he’s proven that he’s capable? Does this have any mirroring or juxtaposition to Zarkon and Alfor’s relationship?
Lauren: I think you’re kinda dead on where you see the relationships between these lions and the paladins that are in those lions. It’s a very specific type of person that these lions respond to and you see there is the leader and the right hand man, and Lance has absolutely come into his own with Keith and kind of being his stability. 

And, I mean, I’ve talked a lot about how I see sheith mirroring zaggar. But also, I’ve gone into meta about how I see Lance and Keith’s dynamic revolving into a mirror image of Zarkon and Alfor. And I’m really happy that it seems like they’ve confirmed that’s the case! A lot of Allura’s moments with Lance in season 3 stress just how much of Alfor she sees in him. And she says that’s why Red picked him

The fact that Allura sees Alfor in Lance is especially interesting when talking about these comparisons. Because, we already know from season 2 that she also saw Zarkon in Keith. 

I also think it’s very purposeful that Lauren and Joaquim kind of ignored that first part about Lance becoming black paladin or taking over Keith’s position as leader. This idea that Keith isn’t “cut out for it” or that Lance would make for the better leader–seems weird to me when supporting Keith’s role as black paladin is what got him his seat with Red in the first place. The “stability” bit is something I think refers to two things. 1, how Lance put his own ego aside and encouraged Keith to be the leader 

And 2, how Lance helps to kind of advise Keith in season 3. We see Alfor trying to call back Zarkon when he goes out of line. And similarly, Lance is there to try and talk Keith down when he gets too caught up in his emotions. It’s very much a purposeful parallel. 

Joaquim also confirmed at this same con that “Keith and Shiro have the closest relationship.” So, you know. It’s not as if Lance has “replaced” Shiro or has invalidated the fact that Shiro is the most important person in Keith’s life and the one that he desperately wants to see. Joaquim has also said in the past that, “He latches onto Shiro at times because Shiro’s sort of the only thing that can really calm him down and keep him in check.”

So Shiro is still the only one that really has that kind of sway over Keith and provides that level of comfort. Seeing people try to use this line to act like Lance is going to replace Shiro in his life is weird to me, because we know for a fact that’s not the case. It just means Keith and Lance are getting closer–and that’s great! Keith is learning to reach out more and connect with people. Likewise, Lance is learning to reign in his own ego and personal grudge instead of trying to knock Keith down a peg every chance he gets. It’s good for both of them 

Dungeon Design: Guiding Player Movement Part I

This is a guide to influencing your players to go where you want them to go. It’s like railroading, but more calculated and nearly invisible during a game. Here in Part 1 I am talking about purely visual properties and composition of a dungeon map. Throughout this post I am using a map from a previous dungeon my players went through. For context, it’s an ice cavern made into a lair for a clan of frost giants. Hidden somewhere within is a secret entrance to the lost tomb of a hero, which is their goal to find for this floor. Check out Part II here.


Leading the Players

Leading lines are lines that lead the players from one point of the map to another, much like in the composition of a photo or painting. Use them to less-than-subtly direct players in the direction you wish. Strong leading lines start from a large shape and end at a small shape, subconsciously simulating depth. Imagine someone pointing at a faraway object. You start at the person’s body, then arm, then finger, and finally at the direction they are pointing.

In the above image I’ve drawn out the leading lines. They are formed by the lines denoting elevated areas in the northwest room, the barrels in the northern room, the stone pillars in the eastern room, and miscellaneous objects in the southern room.

The stars on the map indicate the end goals that lead to the next level (there were two possible places in case they found one area before the other). The leading lines try to funnel players towards these goals.

Ways to create leading lines:

Actual lines: walls, barriers, elevation changes (marked by a line), floor tiling, rugs, long tables, etc.

Repeating Pattern: repeated objects that form a sequence can create a leading line.

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