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The Great Gatsby

Best sticker

goneturkdad-deactivated20191130

Freakin’ awesome. We live in anaheim so our boys got to enjoy the all-access Disneyland Daily pass. Our youngest (Tanner) wanted to be an officer. Unfortunately he was too small for the restraints on splash mountain so when the coaster sped up it flung him out and he skidded about 200 feet on the asphalt. Here’s what we’re keeping him in right now:

Disney won’t let us bury on park grounds because of a potential copyright issue with the superman thing.

We miss him a lot, but there’s a cancellation fee on the Daily pass, so we’ve been making the most of it. His brother still enjoys the park and since we chose not to press charges, we’re entitled to one free mickey pancake a day

crabwalker

??? Reading that looked like you tried to copy abd paste 3 differint stories together to make us not realise you just copied and pasted??

First of all: splash mountain is a water log ride. There are no places where it just…speeds…up? Its a fucking water log ride???

BECAUSE its a water log ride it DOESNT HAVE RESTRAINTS….it DOES however have a minimum height requirment of 46 inches to ride the ride, so EVEN IF this kid was too small, they WOULD NOT let them ride.

There is no asphault anywhere near the track itself. The CLOSEST you could come is the big drop at rhe end but again, minimum height requirement of 46 inches tall to ride, the angle of the drop and the speed at which you go it is physically impossible to get ‘launched’.

I feel like this is obvious but theres so much obviously wrong about the second addition i suppose i need to state this.

SUPERMAN. ISNT. DISNEY. Superman is DC. The only theme parks that have licenced DC character based rides is six flags.

Six flags, another park that HAS MINIMUM HEIGHT REQUIREMENTS for rides.

That has restraints on rides in which are necesary. Which again, YOU CANNOT RIDE IF YOU DO NOT MEET THE SAFETY GUILDLINES.

Go try to shitpost and ruin the reputation of a differint park, will you? At least make sure your story is even plausable before you open your mis-informed mouth.

goneturkdad-deactivated20191130

@crabwalker Are you seriously explaining to me how Splash Mountain works? Do you think I don’t remember how my son died? Oh, and it’s “physically impossible to get launched?” Guess what, asshole? My SON got launched. This is the last photo we have of him.

You’ve said some cruel things to me, but I’m going to be the bigger person. I’ll be praying, for your sake, that nobody in your family ever gets launched.

plank-boi

That photo is based off of a meme of this lady looking pissed. That and I can’t find an incident based off of what you posted. Shut the fuck up.

gorps

Why did you photoshop tanner out of that picture?

powerburial

sad that there are still ignorant tanner denialists out there

wacktroid

random assortment of art...

#metroid #Little Birdie #and Sephiroth is here too

wacktroid

little birdie haters.... DNI !!!

#metroid #ridley metroid #trick question... NO ONE hates little birdie.#<- the story... is true!

its-kerington

#shovel knight #shield knight

jelloapocalypse

Someone asked me a while ago if I still had a photo of the worst sink I had ever seen while apartment hunting in Los Angeles. I assumed I deleted it so I didn't answer the ask and now it's gone, but as it turns out, yes, I do still have a photo of it.

#what

sivavakkiyar

August 11th!

#Unbelievably awesome house party to have been at

tainted-scholar

Rewatching Treasure Planet (great movie, watch it) made realize something about the way that stories convey information to their audiences. There's been a lot of discussion on the overuse of plot twists and how many stories prioritise surprising their audience over telling decent stories. However, if you instead reveal the "twist" to the audience before it becomes known to the characters, you can build tension and stakes. Treasure Planet comes right out and tells you that Long John Silver is the main villain almost immediately after his introduction (And even before he's introduced we're warned about a cyborg, so you'd have to be pretty dense to not put 2 and 2 together and realize he's a bad guy). So when the audience watches him and Jim bond and grow closer, it builds tension for when Jim finds out and it highlights the tragedy of their friendship, because we all know it's not going to end well. Then, after the truth is revealed, stakes are created because we want the friendship between Jim and Silver to be repaired, because we know it was real, but we don't know if can be after what Silver's done. And all of this would have been lost if Silver's true nature had been a cheap plot twist. The tragedy would be completely overshadowed by the surprise and betrayal, and any investment in their relationship would have been built on the false impression that Silver was a good guy.

Another good example of this is Titanic. Even if you were somehow ignorant of the ship's sinking, the film makes sure you know that it sank with its framing device of Old Rose telling her story to people salvaging the Titanic's wreak. And Titanic's plot structure could only possibly work if you know the ship is going to sink. I'm not just talking about building tension, tragedy, and stakes for the characters like with the above example, I mean that if you didn't know that the Titanic was going down walking into the film, the abrupt shift from romance to suspense-disaster would be an increadibly tough pill to swallow. But it works because we expect it. You don't walk into a film called Titanic without expecting the damn boat to sink.

However, the sad thing about both of these examples, is that despite all the benefits that came from telling the audience these things ahead of time, I think the main reason the creators didn't make them plot twists was because they couldn't have. Treasure Island is the single most influential piece of pirate media out there, and you'd have to have been living under a rock for over a century to not know the Titanic sank. So, the writers had to work around the fact that these important turning points in the narratives were common knowledge, and they wound creating incredible stories as a consequence.

I want to see more of this style of writing in stories where the writers aren't forced to do it. We've clearly seen that you can tell some really damn good stories by giving information to the audience before the characters learn it, and I just wish more works would do that instead of trying to surprise people with shocking twists.

skeleton-richard

@the-golden-ghost !!!

laropasucia

This is also why most adaptations of The Strange Case of Dr. Jekyll and Mr. Hyde don't follow the mystery plot structure of the original book, since everyone already knows they're the same person, no one will be surprised by that twist nowadays.

As a consequence, most adaptations of the story are told mainly from Jekyll's point of view, and the conflict between Jekyll and Hyde becomes the main story, which makes for really compelling drama!

beleester

We are now having a very innocent little chat. Let’s suppose that there is a bomb underneath this table between us. Nothing happens, and then all of a sudden, “Boom!” There is an explosion. The public is surprised, but prior to this surprise, it has seen an absolutely ordinary scene, of no special consequence. Now, let us take a suspense situation. The bomb is underneath the table and the public knows it, probably because they have seen the anarchist place it there. The public is aware the bomb is going to explode at one o’clock and there is a clock in the decor. The public can see that it is a quarter to one. In these conditions, the same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: “You shouldn’t be talking about such trivial matters. There is a bomb beneath you and it is about to explode!” In the first case we have given the public fifteen seconds of surprise at the moment of the explosion. In the second we have provided them with fifteen minutes of suspense. The conclusion is that whenever possible the public must be informed. Except when the surprise is a twist, that is, when the unexpected ending is, in itself, the highlight of the story.

--Alfred Hitchcock, on the difference between surprise and suspense.

imsobadatnicknames2

This feels like a comparatively pedestrian example but just a couple days ago on youtube I saw someone say that one of the biggest flaws of Invincible as an adaptation was revealing to the audience that Omni-man was who killed the guardians of the globe at the end of the first episode (instead of having it remain a mystery for both the characters *and* the audience like in the comic) because it "ruins the twist", which is such a silly opinion. It didn't "ruin the twist" because in this version it's not supposed to be a twist! The adaptation made the choice to turn the murder of the guardians of the globe from a surprise twist into the first season's major source of continual dramatic tension! Some of the best scenes in the first half of season one would lack any tension and be completely pointless if the "twist" hadn't been revealed to the audience in the first episode!

kajira-kreations

Little Metroid doodle: another one of my HC series where Rodney Aran (Samus's dad) and Adam knew each other when they were comrades (oh, and Ian too).

First night out, and Rod and co. meets Virginia, who is a student at GalFed Academy and works as a bartender.

She's actually very no-nonsense and doesn't take Rod's rizzy crap, but I got tired and didn't feel like drawing her with an expression like that, LOL. Ian just laughs at Rod's antics, but poor Adam looks so done

#metroid #rodney aran #adam malkovich #virginia aran #Yummy yummy metroid hetslop...