Automoderated users, Autopatrolled users, Bureaucrats, Comment administrators, Confirmed users, Forum administrators, Interface administrators, Moderators, Rollbackers, Administrators
116,898
edits
Take Our Word for It: Difference between revisions
fixed bogus template, quote italics
m (fix broken external links) |
Looney Toons (talk | contribs) (fixed bogus template, quote italics) |
||
Line 11:
See also [[Undisclosed Funds]], [[Hiroshima As a Unit of Measure]], [[Ultimate Evil]], [[Noodle Incident]], [[Informed Ability]], [[Orphaned Punchline]], [[Lost in Transmission]], [[You Cannot Grasp the True Form]], [[You Do NOT Want to Know]], [[Head-Tiltingly Kinky]], [[Offscreen Afterlife]], [[Offscreen Moment of Awesome]], [[Narrative Profanity Filter]] and [[Nothing Is Scarier]]. Compare [[Showing Off the Perilous Power Source]], where the characters are the ones who can't have the direct experience, and [[Great Offscreen War]], where a vast budget-busting world-changing war is only obliquely referred to as [[Backstory]].
{{examples}}
Line 61 ⟶ 62:
* Apparently, the scars that make a ''[[Claymore]]'' are so disgusting and grotesque, that they have the capability of turning off ''an entire horde of raping bandits''. We never see these scars for ourselves, though.
* In ''[[Yu Yu Hakusho]]'', [[The Smart Guy|Kurama]] causes [[Soul Power|Kaito]] to [[Beat Them At Their Own Game|lose at his own game]] by making a face, causing Kaito to laugh and lose his soul.
* Buddha's manga in ''[[Saint Young Men]]'', which is apparently extremely funny for people in Heaven but too in-jokey for mortals. All that's shown to the readers is the first panel featuring a pun on
* In ''[[Kanamemo]]'', Kana is at one time asked to practice smiling to her customers. She gives a smile that, while unseen by the audience, scares the wits out of the ones watching.
Line 193 ⟶ 194:
* At the end of Sidney Sheldon's ''Master of the Game'', {{spoiler|Eve's disfigurement at the hands of her plastic surgeon husband}} is never described in detail, though the effects it has on the character in question and those around her are.
* In Jack Vance's ''Liane the Wayfarer'', the title character makes the mistake of going on a quest to recover a tapestry stolen by the mysterious Chun the Unavoidable. Vance never describes what Chun looks like (aside from the {{spoiler|cloak of eyeballs}}), but judging from Liane's reaction, Chun's features are horrific.
* In ''[[The Catcher in The Rye (Literature)|The Catcher in The Rye]]'', Holden Caufield's description (or lack thereof) of an attack by a group of bullies on a weaker classmate tells us all we need to know -- "I won't even tell you what they did to him, it's too repulsive." The only thing left unclear is whether the boy's eventual death (he jumps from a window) is the result of suicide or murder.
* In Edward Monkton's ''The Penguin of Death'', said penguin kills its victims by saying one word, a word of such incredible beauty and power that the victims simply explode from the brilliance of it. We never find out this word.
* [[Lampshade Hanging|Lampshaded]] in [[Vladimir Nabokov]]'s ''Bend Sinister''. At one point the protagonist, a famous philosopher, wonders if his supposed brilliance really amounts to anything, then thinks of this trope.
Line 206 ⟶ 207:
* ''[[The Divine Comedy]]'': Dante evokes this in the first canto of ''Paradiso''
{{quote| ''To represent transhumanise in words<br />
''Impossible were; the example, then, suffice<br />
''Him for whom Grace the experience reserves.'' }}
::and at the end when beholding the Godhead:
{{quote| ''Shorter henceforward will my language fall<br />
''Of what I yet remember, than an infant's<br />
''Who still his tongue doth moisten at the breast.'' }}
| |||