appearance theme

“I was a fool addicted to your sweetness.

I didn’t want to let go of the devil’s hand…

Too bad but it’s too sweet, It’s too evil.“ x 


Aqui esta la imagen para Caranthir (y Haleth!): apariencia.

En mi mente, Caranthir siempre viste con ropas oscuras, pero tambien tengo como headcannon la idea de Haleth regalandole cosas a Caranthir, como esta bonita chalina verde!

Y quizás esta chalina no combina para nada con el resto de la ropa de Caranthir, y tal vez el material es mucho más sencillo que las ropas de seda y bordado detallado de los elfos, pero rapidamente esta chalina de color verde y con caballos amarillos en el borde se volvió la pieza favorita de Caranthir.

…y solo me quitarán este OTP de mis manos frias y muertas.


So this is Carantir’s (and Haleth’s!) image. The theme: appearance.

In my mind, Caranthir always wears dark clothes, but I also have this headcanon that Haleth gave him a cute green scarf!

And sure, mayeb that scarf doesn’t match anything Caranthir wears, and maybe the materials are much simpler than the silks and fine embrodiery Caranthir uses, but I like to think this simple scarf with yellow horses quickly becomes Caranthir’s favourite item!

And you’ll take this ship from my cold dead hands.

i want to like

make a fan project that archives all the plotlines in wtnv, as well as other things (i.e. character appearances, reoccuring themes) but idk how long i would keep up with it

but i’m gonna try

keep an eye out for it

Lucid Dreaming Techniques

For those of you who would like to learn to lucid dream, or who have achieved lucidity but would like to be capable of doing it more often, the following techniques are those that I have used and have had good results with:

First of all, before you begin your practice, you’ll need to discover your own personal dreamsigns. These are recurring themes/objects/people in your dreams that you can use as signposts to help you recognise that you’re dreaming.

For instance, in my dreams there are a few themes that pop up at least weekly, and they are: strange appearances of the Sun & Moon (either more Suns in the sky than is normal, holes or markings on the Moon, luminaries that grow or shrink as I walk towards them, etc.), pine trees moving or growing in strange formations, my late father, and certain celebrities that frequent my dreams on a weekly basis.
It’s important to choose themes that recur frequently, as these are likely to pop up in your dreams in the future. Having a dream journal can greatly aid you in this practice, so if you do keep a journal, sit down with it, read through your dreams from the past few months, and make notes of the items/people/themes that appear more than once in your dreaming reality. Themes that are absurd or impossible in real life work best, as they are less likely to slip past your watchful eye.

Once you have made a list of your personal dreamsigns, copy them into your notes on your phone and read them often, if not once a day (before bed works best) but anytime that you remember. Before you sleep, say out loud “I will recognise any dreamsigns in my dreams tonight, and thus recognise that I am dreaming.” That is really the key here, to recognise in your dreams that you are dreaming and that you have control over your dream. Planting that intention in your mind before you sleep will help you to achieve this.

Once you achieve lucidity, you are free to use it in innumerable ways: to seek answers about your life, to understand the cause of your nightmares and thus ascend them, even to commune with your Gods or meditate/scry. I’ve had some intense scrying sessions in my dreams, where I’ve predicted all kinds of things that came to pass in my waking life. Because here’s the thing: in your lucid dreams, you are the omnipresent, omnipotent God of your own reality; you have unlimited power and potential, and can exact powerful changes in your waking reality and in your consciousness.

The technique is as follows: throughout the day, whenever you encounter your dreamsigns, or the mundane versions of same (for me those would be pine trees, the sun and moon [in the sky or elsewhere, such as art or on tv], photos of my dad, etc. – see how they are mundane versions of the above list I gave? That’s what you should be looking out for), do a reality check. And by this I mean, stop what your doing, look around you and ask yourself “am I dreaming?” Look for a clock or for writing in the space around you (paperwork, notes, posters, etc.), read them, look away, and then read them again. Did the text change? Is it still the same time or have the digits become garbled? Even though you know you’re awake, this is a fantastic habit to get into, because as I’m sure you all know, if you do/encounter something enough in your waking life, it will eventually show up in your dreams. So if you conduct reality checks enough (at least 5-10 times a day – I know this seems daunting but it just became a habit for me after only two days of doing it, and now I do it every few hours just out of habit) eventually you’ll do it in your dreams, and since the nature of dream reality is that it is fluid, and constantly changing, you’ll see a dreamsign, look for any discrepancies in the realism of the world around you, see that it is unstable and dreamlike, and realise that you’re dreaming. After this the (dream)world is your oyster!

So, to recap:

- Make a list of your personal dreamsigns.
- Look for their themes in your waking reality.
- Once you’ve spotted a dreamsign, or anytime you remember, conduct a reality check.

Hope this is helpful. Happy dreaming!

- Brigitte

“We Make Our Own Fate” - A Swendgame Meta

Ok y’all, I’m really excited about this revelation because I think it could be the key to understanding and predicting the plot for what could potentially be the final season of OUAT. I was thinking about the episode title “I’ll Be Your Mirror” and it sort of punched me in the face:

Emma’s story is mirroring Regina’s, and vice versa.

And it’s occurring in three very obvious ways this season: their identities, their search for true loves, and their pursuit of happy endings.

1. Their identities

Though it may not seem like it at times, OUAT is a character-driven show. Character growth is really what the story revolves around. We have watched these 2 women fight loneliness, fear, self-deprivation, and their own evil impulses. We watched them grow into strong and loving heroes. But we have yet to witness the true culmination of each character’s story: self-actualization. For Emma and Regina, this means their quest of “beating fate”–conquering the identities that fate has thrust upon them. For Regina, it’s the Evil Queen. For Emma, it’s the Savior. So let’s talk a bit about season 6 and compare them.

Regina is currently learning about who she is without her Evil Queen identity. 

When those mysterious “shears of destiny” or whatever come back into play (forget about those? yeah, me too), Emma may very well be forced to come to terms with who she is without her Savior identity. This is what the whole season has been setting up–her suppressing the temptation to use the shears, and now the threat that they’re going to be used on her anyway. 

I see only two ways that this can play out in the finale (and it really depends on what kind of story the writers are planning. Try as I may, I can’t pin it down since this show is so allegorical).

Either 1) both Regina and Emma will finally be able to accept and mentally conquer these parts of themselves, or 2) having experienced life apart from these identities, both women will choose to move on in life without them. 

The former would be a beautiful display of how they represent yin and yang. Regina finally accepting and forgiving herself for her past. Emma realizing that it’s not magic that makes her a savior–it’s her own will power and her love for her family. In this way, both women would be “beating fate” by accepting it… the fate of being the Evil Queen, and the fate of being the Savior. 

The latter would still be a representation of them beating fate, just in a more concrete way. It goes along with the theme of this Dark Swan quote: “There are no good or bad versions of ourselves. It is just me.”

Essentially, Emma was saying that they are not and never have been “the Evil Queen and the Savior”… they’re just Regina and Emma. Two people trying to navigate a morally-gray world, who had these unwelcome fates and identities thrust upon them. This is a theme that has really been pushed on this show, and perhaps beating fate simply means reclaiming their true identities. Interestingly, I feel that this idea aligns with Swen’s theories about separating the “real” from the “fairytale.” Additionally, it would leave enough drama for a reset of the show, whereas the first idea is more of a full-circle ending.

Whatever happens, I’m excited to see how these arcs are wrapped up :)

2. Their True Loves

Emma loved a man that fate kept telling her to let go of (re: the Dark H00k and Underworld arcs). Emma’s love died, and then he was resurrected.

Regina loved a man that fate kept telling her to let go of (re: the whole Marian thing, and the Zelena thing). Regina’s love also died, and (a version of him) was resurrected.

It is clear that not only do Emma and Regina mirror each other, but so do their respective romantic relationships. And if we assume this trend will continue (which it already appears to be doing), we can begin to draw some conclusions….

Regina thought she could see a future with her resurrected love. In the last episode, however, we saw that R0bin manipulated her, and she realized the hard way that he was not the man she wishes he was. By now it’s obvious that the whole purpose of this Wish!Robin arc is to allow Regina to heal and move on from that relationship. 

Like Regina, Emma thinks she also sees a future with her resurrected love. This season, we’ve been shown how H00k manipulates her… first by lying about the shears, now by proposing to her before being honest about his past. Will she come to the realization that he is not the man she wishes he was? Was the whole purpose of H00k’s resurrection to help Emma truly and honestly move on from their relationship? 

This is the only way H00k’s resurrection makes sense to me: that both men were simply catalysts for the character growth of our heroines. R0bin helped Regina “open her heart to love” (S5 Only You), and H00k helped Emma “take off her armor” (S5 Firebird). It’s no coincidence that, once again, these developments mirror each other. The main purpose for both of these relationships were fulfilled last season.

3. Their Happy Endings

We’ve been told this season that the fate of all saviors is that they never live to see their happy endings.

GET THIS: how many times has it been brought up that villains also don’t get happy endings?

Twice now, Emma and Regina have had a conversation about “beating fate” together. When I think about it like this, it’s so obvious! “The Final Battle” is really just about them fighting for a chance at their happy endings… and the truth is, it’s always been with each other. 



 The biggest overarching theme of this show is about Emma and Regina becoming part of a family; a second theme is about both of them finding true love; and now another theme appears to be about them conquering their identities…. 

And the concept of beating fate, which is specifically associated with Emma and Regina’s relationship, is tied into all of these themes!

…………I never completely believed this before, but I do now: this show is really fucking gay lol

Originally posted by goodwindsalwaysarrive

Die Lorelei is a rock on the eastern bank of the Rhine near St. Goarshausen in Rheinland-Pfalz, Southwestern Germany, which soars 120 m above the waterline. It marks the narrowest part of the river between Switzerland and the North Sea. It’s the most famous feature of the Rhein Gorge, a 65 km section of the river between Koblenz and Bingen that was declared a UNESCO World Heritage Site in 2002. Strong currents and rocks below the waterline have caused many boat accidents. In German mythology, Lorelei is also the name of a feminine water spirit, similar to mermaids or Rhinemaidens, associated with this rock in popular folklore. They appear in works of music, art, and literature. 

The name comes from the old German words lureln, local dialect for “murmuring”. The heavy currents and a small waterfall created a murmuring sound and this combined with the echo the rock produces to act as a sort of amplifier, giving the rock its name. The murmuring is hard to hear today owing to traffic and the urbanization of the area. In a story of an enchanting female associated with the rock, the beautiful Lore Lay, betrayed by her sweetheart, is accused of bewitching men and causing their death. Rather than sentence her to death, the bishop consigns her to a nunnery. On the way there, accompanied by 3 knights, she comes to the Lorelei rock. She asks permission to climb it and view the Rhine one more time, does so, and falls to her death; the rock still retaining an echo of her name afterwards. In 1824, Heinrich Heine adapted the theme in one of his most famous poems, “Die Lorelei”. It describes the eponymous female as a sort of siren who, sitting on the cliff above the Rhine and combing her golden hair, unwittingly distracts shipmen with her beauty and song, causing them to crash on the rocks. In 1837 Heine’s lyrics were set to music by Friedrich Silcher in the art song Lorelei that became well known. A setting by Franz Liszt was also favored. The theme has appeared in countless poems, musical compositions, and literary works since. A list here

anonymous asked:

*squints at the gorgeous Victor Belle art* omfg is that a dog collar he is wearing, like a priest would!!! Ohhhh omfg *goes back & reads umfb hits play for the soundtrack & re reads the lyrics & sets myself on fire* its a miracle that the ice didnt melt!!!

Haha, yup it is! When the incredible minatu who drew it asked me what I had in mind for the costume my only two specifications were that the colour scheme was red and black and that they style incorporated a kind of clerical collar because the song has some very religious undertones and that’s how I pictured it when I wrote the scene. The religious themes also appeared in chapter 2 of obs&bh so it was important the costume reflected that in some way 

He had watched Yuuri skate and everything had changed and Viktor knew that he had already damned himself in the process.

Quel est l'homme qui détournerait son regard d'elle. Sous peine d'être changé en statue de sel

Yuuri was one of a kind and he was under Viktor’s skin and in his soul and Viktor wanted him in every way that it was possible to want. And yet Yuuri still hated him, was still completely untouchable, and it was the worst kind of hell.

etc etc 

Have you ever noticed how Gandalf the White has his own theme music?

When Gandalf the White is onscreen, you often hear a certain musical theme that represents his character.  My favorite version of this theme is the one that plays when Gandalf leaves Edoras with Pippin, at about 1:20 of this clip:

Links to this scene’s soundtrack:
OST: Hope and Memory
Complete Recordings: Flight from Edoras

Although the composer calls this leitmotif Gandalf the White’s theme, and it appears most often when Gandalf is riding Shadowfax/doing something awesome/doing something awesome while riding Shadowfax… it’s also occasionally used for the Rohirrim. You can hear one of the variations I’m talking about at 1:20 in the OST soundtrack Riders of the Rohirrim.

Some (but -not- all) other appearances of this theme:

When The Three Hunters journey with Gandalf to Edoras…(at 0:56 of this clip)

OST Soundtrack: The White Rider
Complete Recordings: Gandalf the White

When Gandalf is freeing Theoden from Saruman’s spell, you hear a version on horns and with a Dramatic Choir instead of the usual violins (beginning at about 2:03 of this clip:)

OST: The White Rider
Complete Recordings: The Court of Meduseld

And of course there’s the Iconic moment when Gandalf charges with Eomer’s troops at Helm’s deep. You hear this theme just as the sun rises over the mountain peak, blinding the Uruk-hai- (at about 4:15 of this clip)

(OST soundtrack: Forth Eorlingas
Complete Recordings: Theoden Rides Forth)

(To request a soundtrack to be analyzed/translated next, reblog this linked post with a request. This one was written after @avoyagetoarcturus requested Hope and Memory! I tag all my soundtrack posts with #lotrsoundtrackfacts.)


Hello again! sorry for being inactive.. just got my laptop back from the dead.

I consider myself more of an observer rather than a meta writer although I have lots of theories dancing in my head I’m just a horrible at writing.

*clears voice* lets get to the point and yes the point is the number 7.

Why seven? I have absolutely no idea but I keep seeing it in series four specially in “The Six Thatchers”

first it appeared in the theme at first I thought it’s a 7 before I saw TLD and found out that it’s a question mark from Faith’s note

And then we see this which is very obvious.

Anything familiar?

Ahhh I think I’ve seen these pictures before I took screenshots of them, you know where?

It’s on the tip of my tongue..

Rachel Talalay director of The Six Thatchers twitter

I thought that I lost it due tin hatting so much for the past two months but why would she mention that? is it possible that it may have stand for 7 percent solution like Sherlock is still high and series 4 is all in mind palace?

Something is indeed fucky.

My ranking this time~

Special thanks to all my e-friends that helped me in this Sailor Moon event! I hope I could help lots of you who sent me requests as well. I did the most endings as possible and every Ballroom lesson I could, as always.

I wasn’t that engaged in this one (for reasons of: I’m not smitten with Sailor Moon), so I didn’t spend items on it.. But just wait until an event that catches my eye appears, kufufufu~

Thomas ‘T.J.’ Lane

‘In a quaint lonely town, sits a man with a frown. No. job. No family. No crown.’

Date: Feb 27, 2012

Age: 17

School: Chardon High School, Chardon, OH

Killed: 3

Wounded: 3

Outcome: Surrendered. Prison.

T.J. Lane’s parents, Thomas Lane and Sara Nolan, never married. They had a tumultuous relationship in which both were charged with domestic violence. According to Mr Lane, Ms Nolan bit and punched him, was ‘unable to control herself with respect to the use of alcohol’, and engaged ‘in violent, dangerous conduct.’ Ms Nolan’s behaviour was bad enough that she was jailed. She however, was not as violent as T.J. Lane’s father.

Mr Lane has multiple, violent episodes that are difficult to sort out. He was charged with resisting arrest for fighting with an officer who intervened in a domestic altercation and was later imprisoned for beating and kidnapping a woman. This may have been the attack in which he ‘held his wife’s head under running water, then bashed it into the wall, hard enough to leave a dent in the drywall.’ In 1997, Mr Lane was charged with pushing a woman around and threatening to kill her. Five years later Mr Lane was imprisoned after he ‘verbally abused and physically attacked another woman over a period of nine hours in the presence of three young children.’ He was charged with attempted murder and felonious assault. If T.J. Lane was one of the three children present during this episode, he would have been seven years old. It is no surprise that ‘more than once, police or courts warned [Mr Lane] to stay away from the boy and his mother.’ Because of the family chaos, Lane was largely brought up by his grandparents, apparently living with his mother’s parents and visiting his father’s parents on weekends.

Though at first Lane was said to have been an outcast who was bullied, multiple people who knew him said that this was not true. He reportedly had friends and was not picked on and was said by many to be a nice young man who was easy to talk to.

If the attack was not revenge for bullying, why did he shoot people? Though initial reports said he did not know the victims, it was later reported that he had known some since middle school and was even Facebook friends with them. The best guess as to a motive was that one of the victims was dating Lane’s former gilrfriend. Lane walked over to the table where this boy was sitting and opened fire on him and his buddies. This may have been a crime of envy and resentment. These themes appear in a poem Lane wrote two months before his attack:

He was better than the rest, all those he detests, within their castles, so vain. Selfish and conceited. They couldn’t care less about the peasants they mistreated. They were in their own world, it was a joyous one too.

Lane clearly felt left out of the joyous world that the others seemed to live in, and he was bitterly angry about it. His poem ends on a threatening note:

Now! Feel death, not just mocking you. Not just stalking you but inside of you. Wriggle and writhe. Feel smaller beneath my night…Die, all of you.

From ‘School Shooters, understanding high school, college and adult perpetrators’ by Peter Langman

maderilien  asked:

talk to me about catws!!! (ノ◕ヮ◕)ノ*:・゚✧

I’m gonna talk about how the character of the Winter Soldier relies heavily on sound throughout the film because it’s one of the first things I picked up on during my numerous re-viewings and I think it’s one of the strengths of the film in terms of film technique.

For starters, the Winter Soldier is a really interesting character because he’s one of the titular characters and he’s key to the plot, but he has hardly any lines of dialogue and he’s only in it for maybe a third of the film. But the reason the Winter Soldier has such a presence in the film is because of the strength of Sebastian Stan’s ability to act using just his face and body and also the techniques that the film uses to establish details about his character that aren’t revealed through plot or dialogue. WS has only six real scenes in the film, which are:

  1. First encounter with Nick Fury on the streets of D.C.
  2. Shooting Nick Fury at Steve’s apartment
  3. Speaking with Alexander Pierce
  4. The Causeway
  5. The Bank Vault (”But I knew him”)
  6. Final Battle

So how do you establish the presence of a character who has six scenes during the film? The answer is to use every film technique at your disposal, and this film especially relies on sound. The Winter Soldier has to be one of the creepiest themes I’ve ever seen for a character because it utilizes a lot of metallic noises, robotic clanging, and inhuman screaming, which matches perfectly the visceral diegetic sounds of WS during the film, like the sound of the metal arm. It’s a far cry from what a normal character theme would be, because The Winter Soldier theme is for a presence, not for a person, which works so well given his legendary status as an assassin (“most of the intelligence community doesn’t believe he exists”).

The film uses sound in a major way to fill in the details about his character that can’t be shown on-screen, as well as to establish him as an inhuman figure that has the ability to morph what goes on around him, adding to his threatening presence. Firstly, when he’s first introduced to the audience and to Nick Fury on the streets of D.C., the music, which had been an exciting combat theme mirroring the action, suddenly goes very quiet and what you hear is what I can only describe as a hollow sound, a few notes of the WS theme. It’s a sound very evocative of a desolate wasteland. WS is unique because you never see him ‘enter’ a scene; he’s always there, and as soon as he appears, the sound in the film changes to mirror his presence. This happens when he appears and ambushes Fury’s car and the sound grows very quiet and haunting, and also during the scene where he appears in Alexander Pierce’s kitchen, but it also happens in a much larger way when he gets the shot at Steve’s apartment.

When Steve and Fury are talking, the song It’s Been a Long, Long Time is playing as diegetic music in the background to mask their conversation. It’s symbolic, because the lyrics mirror Steve and Bucky’s relationship, but it also serves a practical function within the storytelling. However, as soon as WS takes the shot and Fury goes down, the music very obviously warps in a really horrifying way that is more psychological. As Steve and Sharon and Fury are talking, their voices still sound normal, but the music playing, which logically should sound exactly the same, suddenly takes on a chilling, haunting quality. All because WS has appeared and distorted the scene. Essentially, the Winter Soldier is a character that is able to distort the reality of every scene in which he appears, because he’s a character that stands outside of reasoning and the fabric of reality itself. (Which makes a lot of sense given that he’s a character who was thought dead, but has in fact been alive for seventy years and has become the world’s deadliest assassin). Even when he doesn’t appear, such as when Steve and Natasha and Maria are watching Fury in the ER, as soon as Steve mentions “he’s fast; strong. Had a metal arm,” the WS music creeps back in because the Winter Soldier doesn’t need to be on the screen in order to ‘be’ there. 

The causeway sequence is probably my favourite in the entire film, because it expands on what we’ve already learnt about WS through sound. The theme appears instantly as soon as he lands on top of Sam’s car, and then goes into a very metallic, action heavy piece of music. What’s really interesting, however, is what happens when Natasha draws WS away from Steve and Sam into the streets. As WS is walking down the street (and another thing to note about WS; he’s threatening because he never runs, only walks), the sounds of screaming and sirens are deliberately pushed far down on the sound hierarchy because what’s actually happening is that the audience is being given a rare glimpse into his point-of-view, which is incredible given that he’s a “villain” and not one of the protagonists. It offers the audience a view of how the Winter Soldier’s mind works. He’s focused solely on the mission, which in that moment is to listen for Black Widow, meaning all other superfluous background noise is deliberately muted because it is irrelevant to him. Then, we hear what he hears: the sound of Natasha speaking, which of course turns out to be a recording and not actually her. Later, after Natasha gets shot, the camera does a pov shift to Natasha and the music pretty much cuts out, which helps to show the audience just how terrified of WS she is (the shaky, handheld pov camera shot), which is something incredibly rare for this character because the only other person we’ve ever seen Black Widow scared of is the Hulk. Then WS jumps back into the shot on top of the car, rifle pointed straight at Natasha in what I personally consider to be the single best shot of the whole film, and the WS theme surges back in in a really terrifying way, because both Natasha and the audience know in that instant that if Steve hadn’t appeared at that very moment, Black Widow would be dead.

All of this is great stuff, but the cincher for me in why this film is superior to every other superhero movie in terms of technique is that in addition to establishing the Winter Soldier’s inhumanity through sound, sound also plays a huge role in establishing his humanity, which happens almost at the very instant Steve mentions the name “Bucky.” At the bank vault, when WS is asking who the man on the bridge was, the sound of the robotic, metallic WS theme is deliberately pushed back in favour of an emotional note that is clearly evocative of Steve. 

All of this culminates in the scene of the final battle, which takes the established haunting Winter Soldier theme and plays that out while Steve and WS are fighting, until the instant Steve tells him “you know me.” As soon as Steve engages him in conversation, the Winter Soldier theme disappears and instead you get a piece of deeply moving music playing as Steve tells him that he’s not going to fight him, that he’s his friend, and that “I’m with you till the end of the line.” Then it goes into that emotional piano piece as Steve falls into the Potomac and Bucky dives in after him. Essentially, what’s happening here is that for two hours this character has been crafted as a robotic, inhuman assassin who distorts the fabric of reality and morphs every scene he’s in simply through his presence, but suddenly he’s now being treated like a character; an actual person. All because Steve Rogers is treating him like a person. Steve Rogers is the one thing that keeps the Winter Soldier human, and the film manages to tell us that simply through sound.

And this is why CA:TWS stands above every other superhero movie in terms of technique, in my opinion.