Final Fantasy XII

Cersei stopped in front of Roslin's door and hesitated for a moment, debating internally whether it would be better to just go back to her own room and think of some excuse to tell Roslin later or not. She would probably notice that something was wrong with her mom if she saw Cersei. But despite of her fears, the blonde decided she wouldn't run away this time. Cersei inhaled and exhaled deeply to try to calm her nerves but it only made things worse, and this irritated her. "Fuck that..." she cursed

Cen’s ears flicked, while she wasn’t sure that the Archmage had heard his growl, she did. It was something she knew very well, though hoped that he behaved. Her words stayed sweet and polite, sounding a little different from when she normally spoke hoping Kari might recognize the act “ Yes, even with enchantments it’s still dangerous, for not only us but for you as well, technically. I believe we’re both enemies of your new leader, yes?” Her words were to the point but still said in a jovial manor

Stars twinkled in the black bodice overhead and the moon was nowhere in sight, yet, no one questioned why. All lay dead in the sky while below on land, badlam occurred. It was the 18th Era on Gaia, in the small mountain town of Nibelheim. Squall Leonhart was clutching Cloud’s hand, running towards Mt. Nibel, away from the denizens of his hometown. His feet could barely keep up with the speed of the blonde, who was sprinting at an inhuman pace. The ascent of the mountain was too much to handle for

The barbarian snarled, a war cry bursting from his lips as he ambled toward me. His leather boots kicked dust up from the arena floor as he moved in a slow circle, trying to get his back to the sun and diminish my line of sight. It was a good trick, but there was just one problem with that. I knew what he was trying to do. Even if I could keep him from blinding me, that hulking axe of his would do some major damage. If he hit me with that, no amount of blocking would keep my head from getting caved

Tifa and Aerith hadn 't thought they 'd seen the last of Don Corneo. Oh the brawler had hoped that she might not see the lecherous eyes gleam in that face ever again after the first time, and again after the second, but as soon as they 'd realized they were going to be sneaking into the place again she knew it was a possibility that she might end up coming face to face with him once more. She just hadn 't expected to be doing so like this. They were alone in the room, and any one of them could

Subsequently, while most superhero plots involve an element of fantasy, the characters in Moore’s graphic novel are, for the most part, embedded into pessimistic version of reality with only lifelike traits. Obviously, the one glaring exception in Watchmen is Doctor Manhattan, who is transformed into a being capable of a number of otherworldly abilities. However, the other five heroes in the story are regular humans who take the initiative to aid in the protection of society. This is unlike most

Social Criticism in the Hollywood Melodramas of the Fifties In the early 1950s the films of Douglas Sirk led the way in defining the emerging genre of the Hollywood melodrama. "Melodrama" strictly means the combination of music (melos) and drama, but the term is used to refer to the "popular romances that depicted a virtuous individual (usually a woman) or couple (usually lovers) victimized by repressive and inequitable social circumstances" (Schatz 222). Sirk's films were commercially successful

A Simple Life The novel, Gulliver’s Travels, is just that, a novel about the main character, Gulliver who goes on many journeys. The part of this book that brings out the reader’s interest is Gulliver’s character and the ways his character changes as the story progresses. He begins as a naïve Englishman and by the end of the book he has a strong hatred for the human race. Gulliver shows that his adventures have taught him that a simple life, one without the complexities and weaknesses of human

continuing tale of punishment for wives’ disobedience’[viii] again showing how women make themselves victims of their own behaviour, Helen Simpson’s interpretation is that ‘I really cant see what’s wrong with finding out about what the great male fantasies about women are’ [ix] The heroine fights against the victimisation, and indeed reverses role with the male in the story, as it is Marquis who dies and it is the female who leaves this chamber and finds happiness. The Snow Child, another short

Stiva. This technique also plays with the themes of memory and perception that were so integral to Tolstoy’s early works. The dream features a party with fantastic imagery of singing glass tables and “little decanters that [are] also women”. This fantasy-party is set in America, about as far from Petersburg as possible, which points to a pervading tendency for escapism in the Russian nobility at this time of social upheaval. Indeed, at several points in the novel, characters flee Russia when met with