and this is my favorite poe reference

PoE Companion Encumbrance Complaints
  • Aloth: "I'm not going anywhere like this."
  • Durance: "Carrying too much of your shit to move."
  • Edér: "You give me any more gifts and people will start to think you're playing favorites."
  • Grieving Mother: "Physical burdens anchor me."
  • Hiravias: "Sorry, I don't call forth the stelgaer just to haul your garbage."
  • Kana: "I'd gladly shoulder the load, but the pack won't hold any more."
  • Pallegina: "The term 'godlike' doesn't refer to my ability to carry unlimited quantities of war spoils."
  • Sagani: "Wish we'd brought a sled."

i finished asoue and HOO BOY

  • it’s just so well done
  • the theme song is so HAUNTING
  • the final song was equally as good
  • lemony snicket Himself makes a cameo in the wide window
  • patrick warburton as lemony snicket is perfect. i want him to narrate my entire life
  • the wide window and miserable mill were probably my least favorite, but still good
  • nph really captures count olaf’s evilness as well as his ridiculousness and canon poor acting
  • mr poe you are the most incompetent banker ever TAKE IT OFF
  • sometimes i feel like violet is a little too monotone and expressionless, but overall she’s just the like book violet
  • i lost track of how many literary references + sly remarks there are
  • “a boy your age shouldn’t be using the word ‘titular’”
  • definitely some references to moby dick in the wide window
  • the optometrist was georgina orwell. george orwell. 1984. 
  • the anxious clown
  • really like jacqueline
  • snicket pulls no punches criticizing people who abuse children/look after them badly
  • he also makes the excellent point that bad intentions are not necessary to do harm. ignorance and a lack of understanding can be enough. in this case, also not believing children when they tell you about their experiences

Your Vice is a Locked Room and Only I Have the Key is directed by giallo master Sergio Martino (The Case of the Scorpion’s Tail) and it’s about a has-been writer called Oliviero (Luigi Pistilli) who is a real dork. He spends most of his time being a prick, getting drunk and cheating on his super-hot wife (Anita Strindberg). Anyhoo, he becomes the prime suspect when one of his mistresses is found with her throat slashed. Then comes the day when Oliviero is visited by his slutty niece (Edwige Fenech) and it comes as no surprise that the horny bastard ends up in bed with her too. But what does come as a bit of a surprise is that the niece and the submissive wife become more and more sexually attracted to each other. And the plot thickens when even more people drop dead, while a fat cat named Satan lurks in the background. This is a very sensual film, well-made and it has a creepy atmosphere, a bizarre sing-along, clever twists, gory murder scenes and probably one of the strongest casts assembled for a giallo, including Ivan “Man From Deep River” Rassimov (in a silver wig) and two of my favorite actresses; Anita Strindberg and Edwige Fenech. The film is influenced by the writings of Edgar Allan Poe, and the cool title is a reference to Sergio Martino’s earlier giallo The Strange Vice of Mrs. Wardh (also with Fenech) in which the same phrase appears in a note sent by a killer.

Your Vice is a Locked Room and Only I Have the Key (“Il tuo vizio è una stanza chiusa e solo io ne ho la chiave”)
Release year: 1972
Country: Italy
Director: Sergio Martino

Happy Poeversary (Ch 4)!

One year ago today,  Edgar Allan Poe’s Murder Mystery Dinner Party Chapter 4: A Descent Into the Maelström was posted. It’s very difficult for me to pick favorites in this show because the whole thing is so spectacular, but I’m pretty sure Chapter 4 is my favorite episode in the first half. It was certainly my favorite chapter so far at the time. The Clue references are ON. POINT. I don’t know how many of them were intentional, but they’re so perfect that at least some of them had to be. I feel like around this time Mary Kate Wiles said something about how they were editing her favorite part of the show, and I was like, “There’s no way it gets better than this.” But I was wrong. I think every episode in the second half is my favorite. But anyway, back to Chapter 4.

Apart from being a lot like Clue, the splitting up portion, which is pretty much the whole episode, gives us some of the most delightful character pairings possible. Perhaps the most beautiful is the budding Wellenore romance, but don’t overlook the Oscar/George bromance, #PoorEmily and the soup, the Charlotte/Fyodor verbal sparring, or the way Ernest tries and epically fails to get in between Edgar and Annabel. The characters and the way they interact are so brilliantly written and portrayed in this show that, even though the deaths were still a little silly at this point, I was starting to wonder whether I’d be able to handle seven more episodes of my faves dying off. (Spoiler alert: I wasn’t.)

I had what I thought was a pretty solid theory after this episode, which, once again, was close but also wrong. Clearly the elevator from the cellar vault to the kitchen was important, since why else would they have George and Oscar discover it? This seemed to confirm my theory that Eddie was not only still alive, but also the murderer. The thing is, I couldn’t help but notice that Charlotte made a point of calling the room in which Dostoevsky was ultimately murdered a “study”. I was sure that this was another Clue reference. If, like in the board game and the movie, there was a secret passageway between the kitchen and study, this would explain how Eddie could have killed Fyodor. I really hope this was an intentional red herring on the part of the Persauds, and I also hope they were happy that at least one person 100% fell for it. I don’t recall anyone else posting about this theory, but there were enough people speculating at this point that I might have just missed it.

In my defense, however, I still don’t entirely understand how Charlotte was able to kill Fyodor like that. He was so much bigger than she was. I find it morbidly amusing to imagine him so absorbed in a book (looking for inspiration of course) that he didn’t notice Charlotte standing on a chair behind him with an ax. But I don’t really care that it doesn’t completely make sense because I’m still so impressed, as I was a year ago, with the way they managed to make it so everyone had the opportunity to kill him.

The Scavenger- Star Wars. Digital 2016

I had this one in progress since #StarWars opening week ! But I really wanted to take my time and go for a children illustrated book feeling, and had to draw from various references ( both artistically and from the movie !) 

I’m not a SW die-hard fan, but Rey is from far my favorite female character ( or character to be honest) and I had to draw her with BB8. What a cutie ! I think every artist NEEDS to draw Rey. I love her outfit too ( especially the second version at the end so true to the character). 

There are some plans for me to do Finn, Poe ( smexyness) pieces in the same kind of composition/render , and hopefully three other reversed for the dark side. I am not sure I’ll keep motivated enough to do them all.. wait n see !

One of my favorite lines in TFA was Han’s line.

“Yeah…I knew Luke.”

Up until that point, everyone referred to Luke as “Luke Skywalker” and the way they said his name, they were talking about him as a powerful Jedi master. Rey thought he was a fascinating myth, Poe thought he would be their savior, and you could hear it in the way they said his name.

But when Han said his name, he doesn’t call him “Luke Skywalker” he just calls him “Luke.” Their was familiarity in the way he said his name. Luke was not a legend or a savior in Han’s mind. Luke was Han’s friend, and it was obvious in something so simple as saying his name.

Originally posted by ohmyreactionsgifs


Clue references in Poe Party (24/?): Of course the police can look around! It’s not like we’re hiding anything…