I really need ACOMAF from Rhys’ perspective

Just imagine

  • The agony of feeling Feyre through the bond while she’s ‘happy’ with Tamlin – trying to convince himself that this is good, that as long as she is safe and happy he can live with not having her. 
  • The reunion with his brothers and Mor and Amren and Velaris – tears and awe and hugs and everyone just falling into a heap of crying and holding each other because they are so happy that he is alive
  • His inner monologue when he hears Feyre say no at the wedding – he’s so happy and hope begins to bloom and he gets all dressed up to prepare for his dramatic entrance.
  • The icy rage when he notices how thin she’s gotten, or when he feels her fear down the bond, or when she tries to shut him out – swearing that he will murder Tamlin, fighting with his instincts to just winnow there and take her, constantly telling himself that he deserves her hatred after everything he did Under the Mountain.
  • The pride he feels when he shows her Velaris and introduces her to the Inner Circle 
  • THE NIGHTMARE COURT SCENE FROM RHYS’ POINT OF VIEW – falling in love with Feyre all over again because everyone is so scared of her and she’s all his and she’s sitting in his throne where she belongs and she’s letting him touch her and he’s just freaking out.
  • The attic scene and Rhys’ heartbreak when she says she just wants a distraction – ‘you should be grateful, Rhys, that you even get to touch her at all. If this is all you get, you will be grateful.
  • When Feyre finds out about them being mates and shuts him out – he will not stop pacing and practically ripping his hair out because she’s gone and mad at him and he can’t feel her through the bond and it is agony.
  • Chapter 54 where he confesses everything to her in the cabin – he is crying during this scene, the despair and sorrow in his heart and fear of her rejection must be awful.
  • CHAPTER 55 – utter disbelief and gratitude and savoring every single sound and touch and feeling like he’s dreaming and this is never going to happen again. Not being able to believe that she said yes and she accepted their bond and she loves him.
  • The protectiveness and possessiveness when they get back from the cabin - ‘mine’.
  • The Hybern scene - mind racing and heart pumping as Rhys realizes what Feyre is about to do and the only word that is able to escape his mouth is ‘no’ because he can not lose her.

I just really need ACOMAF from Rhys’ point of view, is that too much to ask?

There are plenty of differences between Tokyo’s Haunted Mansion and the other Mansions around the world - some of them major and some of them fairly minor. But ultimately, I think the differences that result in perhaps my favorite mansion experience boil down to main areas: Tone and Presentation.

The first differences in tone come long before you enter the attraction, with the fact that the ride is placed in Fantasyland. One would suspect this would lead to a lighter, more comedic tone. You’d be dead wrong. This mansion is darker and scarier than it’s siblings. In the queue the first instance that something is amiss are the classic tombstone gags (Master Gracey, Laid to Rest, etc.). There are just a few present in plain view, and here, rather than being overgrown, they mark fresh burials with mounds of dirt in front of the tombstones. Whereas before the focus of the gag would be on the humorous epitaph, the eye is now drawn to the much more immediate reminder of death.

Inside the first few rooms, not much is different, other than that the stretching room narration (and all following) is in Japanese. As a non-Japanese speaker, this does perhaps remove some of the humor from the attraction, though all of the visual gags with the stretching portraits are well in place here. The next change is the lack of any of the “Sinister Thirteen” portraits in the doombuggy loading area. This is important as we board and move on to the ride.

Once we start the ride proper our doombuggy often turns almost immediately to one side in other versions. This always struck me as odd due to the fact that the doombuggy was originally conceived to mimic a walking tour of a haunted house; in Tokyo, this is rectified by having the doombuggy proceed straight forward through the first room, home to all of the Sinister Thirteen portraits, all watching you at once. The result is immediately visceral and overwhelming, contributing both to a different presentation of the mansion, and for our discussion here, a more sinister tone. The portraits all facing you as you face a foreboding entryway you are inevitably moving toward feels like a second welcome after the stretching room, but this time from the mansion itself, rather than the Ghost Host. This is the only time you can see where you are headed in the mansion and it is used to great effect.

The next several differences in tone also focus on creating a foreboding experience through the use of darkness. The first of these is the spiders section which Tokyo has in lieu of the Escher stairways. Aside from the spider webs and spiders themselves, the area is pitch black before reaching the endless hallway scene. While the Escher stairways read as hinting at the spirits within the mansion to come, the spiders read as the mansion itself toying with you, forcing you to confront creatures that - the longer you look - appear to be moving unnaturally. Of course, this section forces you to look at them by being otherwise dark and putting the spiders quite close to the doombuggy.

The second section that shapes tone with darkness is the attic. Whereas in the stateside mansions the attic is home to chatty Constance and is lit enough for guests to see what objects are, this is not the case in Tokyo. This mansion retains the older attic scene featuring pop up heads and the beating-heart bride, pictured above. This attic only features back lighting, and almost all objects are cast in darkness, with guests only able to see the outlines of many of them. As you try to make out what you are seeing, pop up heads jump up to surprise you, accompanied by screams. The effect here is much scarier than I anticipated and much more effective than it is in the graveyard scene. Besides screams, the attic is scored by the heartbeat of the bride. So in a sense, the attic is sonically dark as well. While darkness by itself is not inherently scary, the way it is utilized to draw the guests’ eyes to certain areas and highlight figures who have ambiguous intentions toward riders certainly contributes to a more sinister tone. One more factor - the attic is an area where the Ghost Host never has a presence, and in other versions where the bride talks, one might assume she is the one who has control of your tour in the attic. That is not necessarily clear in this version, and with the tonal similarity to the earlier spider scene I would argue this is the mansion itself once again controlling the tour and attempting to scare you.

One last area that features differences in tone is the Corridor of Doors. While the lighting here in generally is weird and creepy, here the lighting is more sinister with it being blood red. There is also the addition and/or retention of effects that add to this tone. One is a unique portrait to Tokyo that is not a traditional changing portrait, but rather one who’s occupant stretches out to meet you. It caught me off guard, and is quite frankly, disturbing. The other notable effect is the monster claws/skeletal hands breaking through the top of a doorway. Something in this hallway does not like you, and does not want you to get away.

While these tonal changes do not take place in every room of the mansion, they do place the unaltered rooms and scenes into a new context. With aspects of the mansion being truly sinister, can you really trust the man asking to be let out of the coffin? Can you really sleep easy knowing a ghost has followed you home? In other mansions, Little Leota is one last invitation gag to join the after(life) party - in Tokyo these invitations seem more like a threat.

Aspects of humor still permeate this mansion, but the atmosphere and tone are heightened and the tension is at times palpable. And frankly, I absolutely love it. These aspects would elevate the mansion experience to a new level on their own, but there is also the sheer quality of Tokyo’s presentation, which I will discuss in a follow-up post.

Transcript of the deleted attic scene. Mostly for my own copy/paste purposes. If you have any plans whatsoever to get the blu ray (I don’t know if it’s on the DVD or not), I suggest just waiting and watching it yourself. Otherwise you’ll like, say it a way in your head and then it won’t be like that really. And if you don’t have plans, maybe make plans.


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Achilles Drags Hector:  Black-Figure Hydria C. 510 BC

Greek vase-painters often used subjects from Homer’s great epics the Iliad and the Odyssey in their work. On this hydria - a vessel with three handles for carrying water - the Attic painter depicted a scene from the Trojan war in which Achilles ties the body of the Trojan hero Hector, killed by him, to a chariot. He goes on to mock his enemy’s body publicly by dragging it along the ground before the very walls of Troy.

Attributed to the Antiopa Painter, Leagros group, Attica.


I like to call this “Parts of Disneyland rides that scared the shit out of me as a kid.”

  • Indiana Jones Adventure- snake striking at you
  • Alice in Wonderland- the Queen of Hearts getting angry
  • Haunted Mansion- the bride in the attic scene
  • Snow White’s Scary Adventures- the whole ride basically
  • Pinocchio’s Daring Journey- appearance from Monstro the Whale
  • Pirates of the Caribbean- the shipwreck scene
tickfleato replied to your post: of course the things in the immediate vicinity of…

do you think mirrors might have to do w/ cherub duality?

they’re definitely thematically relevant in a bunch of ways; the mirror personalities that cherubs represent, mirrors being often seen as portals into other worlds, etc. etc.

it just strikes me that while sarcophagi and clocks are strongly established motifs in homestuck, mirrors hadn’t even been seen in hiveswap up until the attic scene.

anonymous asked:

This isn't a head canon, but my god.... ashton is so im love with isabella, i just can't see him being with anyone in the game. I'm surprised he hasn't died when isabella kissed back in the attic scene ohohohohohohoho

That he is. I’m of the same mindset; I can only ship ash with someone other than Isabella in an AU in which they never met. He has fallen, and become afflicted for life. He will never find his way out, nor does he care to try.

Bella, on the other hand, I ship with everyone. Everyone needs some sunshine in their lives ;) 👀

As for the kiss, they were kinda occupied and ash bottled it away for later. Once they’ve dealt with the curse and life returned to normal though????? He just suddenly went into cardiac arrest in the middle of the precinct. ꉂ (ᵔ̴̶̤᷄ꇴ ॣᵔ̴̶̤᷅⌯))л̵ʱªʱª⁎*.*

Rant: The Infernal Devices

Alright, so I’ve read many posts and rants about The Infernal Devices and the Wessa/Jessa situation and “who Tessa really loved” and so on; and I do agree with much of what those posts say, though not all. 
 So here is my own Wessa/Jessa/Heronstairs rant

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For a moment their mouths pressed hotly together, Will’s free hand tangling in her hair. Tessa gasped when his arms went around her, her skirts snagged on the floor as he pulled her hard against him. She put her hands lightly around his neck; his skin was burning hot to the touch. Through the thin wet material of his shirt, she could feel the muscles of his shoulders, hard and smooth. His fingers found her jeweled hair clasp and pulled at it, and her hair spilled down around her shoulders, the comb rattling to the floor, and Tessa gave a little cry of surprise against his mouth. And then, without warning, he ripped his hands from her and pushed hard against her shoulders, shoving her away from him with such force that she nearly fell backward, and only stopped herself awkwardly, her hands braced on the floor behind her. 

She sat with her hair hanging down around her like a tangled curtain, staring at him in amazement. Will was on his knees, his chest hitching up and down as if he had been running incredibly fast and far. He was pale, except for two fever splotches of red across his cheeks. “God in Heaven,” he whispered. “What was that?”

Tessa felt her cheeks turn scarlet. Wasn’t Will the one who was supposed to know exactly what that was, what wasn’t she the one who was supposed to have pushed him away?

“I can’t.” His hands were fists at his sides; she could see them trembling. “Tessa, I think you had better go.”

Go?” Her mind whirled; she felt as if she had been in a warm, safe place and without warning had been cast out into a freezing, empty darkness. “I…I should not have been so forward. I’m sorry–”

A look of intense pain flashed across his face. “God, Tessa.” The words seemed dragged out of him. “Please. Just leave. I can’t have you here. It’s–not possible.”

“Will, please–”

No.” He jerked his gaze away from hers, averting his face, his eyes fixed on the floor. “I’ll tel you anything you want to know tomorrow. "Tessa. I’m begging you. Do you understand? I’m begging you. Please, please leave.

"Very well,” Tessa said, and saw with a mixture of amazement and pain that the lines of tension went out of his shoulders. Was it that much of a horror having her there, and that much of a relief that she was leaving? She rose to her feet, her dress damp and cold and heavy, her feet nearly slipping on the wet floor. Will didn’t move or look up, but stayed where he was on his knees, staring at the ground as Tessa made her way across the room and down the stairs, without looking back.