Silver Tongue

dungeonkeeper:

official Player’s Handbook™: Dragonborn have no tails. Tieflings have normal human skin colors, but also red.

everyone who plays d&d:

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players handbook: dragonborns only come in dull neutral browns and their scale ancestry is more of their bloodline rather than a reflection of their outward appearance. also tieflings are evil and regarded as demons

dnd players:

unrelateddude:

Here is a gift for all you good children! Ho ho ho!

isashi-nigami:

bumblebeebats:

daughterhood:

world-of-cats:

Why does this cat sound like a fullmetal alchemist character

this cat is telling me about his many crimes in the Ishvalan war

I thought these comments were way too specific, but imagine my surprise to find out they’re 100% on point

go home envy, youre drunk

moomin-boom:

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what do you mean snufkin looks different in every panel *nervous sweating*
12 hours of pain babey
=Second part=

uncle-cucky:

uncle-cucky:

My friend made 1 joke and I had to make an animatic for it.

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Penny becomes a secretary

fullmetel:

i can’t get over how everyone in fma just accepted that alphonse was a ten year old boy in a big ol suit of armour. he would actually have to be huge to even fit inside and control the armour with any dexterity so i guess when he told people “oh yeah i’m a child that’s why my voice sounds like i just came out the womb” they had no alternative but to accept that there was an extremely jacked six-foot ten year old in there, just chillin

tiktoks-we-like:

[Start Caption]

*Person onscreen rapidly picking up and hanging up a telephone receiver*

(Telephone receiver) I- don’t- cum-

(Person onscreen walking around store aisle while laughing) Please tell me you got this on video-

[End caption]

marauders4evr:

In my humble opinion, Coraline is one of the best movie adaptations out there because it actually strays away from the book a lot and adds/changes several different things, but it does so all for the sake of a visual medium which is exactly what a movie adaptation should do!

There’s nothing showing the Beldam making the doll but darn it if that’s not the most aesthetically pleasing scene in stop motion animation:

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The appearance of the tunnel is never described (other than it being musty and her feeling a force behind her) so they made a psychedelic tube: 

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In the book, she meets the three ghost children at a generic picnic but the movie, for reasons I will always love, decided to show them against an animated, interconnecting, version of the Starry Night:

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The blue hair, the garden, the world falling apart—

Everything is tweaked to be more visually pleasing.

Which is the point of turning a book into a movie in the first place!

opinions-about-tiaras:

gahdamnpunk:

When Zuko apologized to uncle Iroh in the tent cause he was so ashamed of his actions and what he’d done to the only person who unconditionally believed in his ability to do good >>>>>

So okay, I’ve given this rant before but this is another good time for it.

Structurally speaking, ATLA did something important with Zuko that, in a purely mechanistic sense of narrative development, I think a lot of people don’t notice immediately, and that even fewer people who want to emulate what was done with him get.

Which is Zuko is made a protagonist VERY early, and the show goes out of its way to continually place Zuko into situations where the audience empathizes and roots for him.

This happens in literally the second episode of the series, if we count the two-part premiere as a single episode, which I think we should. The A-plot of that episode, “The Southern Air Temple,” is Aang reckoning with the genocide of his people… but the B-plot?

The B-plot is the introduction of Zhao, and more specifically, his introduction in a way that is calculate to shift the audience, whose introduction to Zuko did NOT engender a ton of sympathy to him, directly and forcefully onto his side. They want Zuko to kick Zhao’s ass.

This continues all through book one and book two. Remember, Zuko is never, ever the main villain of this series. That’s initially Zhao, followed by Azula and Ozai. (Plus various temporary players like Long Feng.) Whenever Zuko isn’t placed into direct conflict with the other protagonists, he’s always written and presented in a way that is careful, VERY VERY careful, not to make him too monstrous, and to make us root for him. He’s placed right next to Iroh, who is designed for people to like, and that reflects back onto Zuko; we want Zuko to be better than he is because we want Iroh to have good things.

Put aside for the moment whether any specific character, including Zuko, deserves their redemption. If you’ve decided you’re going to do that, you have to erect the proper narrative scaffolding around them, and it extends to far more things than “did this person not do things that were too horrible” and “is this person genuinely sorry and is working really hard to atone.” There’s a difference between protagonist and white hat, but if you want someone to eventually wear that white hat, you REALLY need to establish them as a plausible protagonist early on.