maimoncat

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someone asked me to draw mr miracle ^_^

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"Maybe I'll kill that reporter who does all your interviews. Maybe I'll kill Clark Kent."

This is the most important line in the movie. I'm 100% serious. It tells you everything you need to know about Lex Luthor's character. It shows the audience that, despite being almost omnicognizant from the get-go, Luthor clearly has no fucking idea who Superman is, only what he does.

I've never seen anyone go from All-Knowing Evil to Absolute Fucking Loser so fast. In fifteen words he went from unstoppable criminal powerhouse to flailing manchild moron. He gave his Evil Dictator demonstration and then turned around, dropped his pants and showed his entire ass. He proclaimed his manifesto of unrelenting ego, turned around, slipped on a banana peel and landed on a whoopie cushion.

And he was so mired in his own sense of superiority that he never even knew it.

Lex Luthor, folks. Ten out of ten, no notes.

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I heard you... he now has a sweater... why leshy is bald- here

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WOAH ROADTRIP DOODLES?!

The road was so gawn damn bumpy i could barely draw aaaaa

(See below for narilamb thoughts dump)

But hey! I thought of sum lore while doodling,, I feel like my lamb would be really hurt by the whole "sacrifice yourself so i can be free" thing, and definitely would be bitter about it for a while. They'd choose to kill him instead of sparing him, therefore having more time to reflect as they crusade and indoctrinate the bishops.

When the Mystic seller revives Narinder they'd probably just be indifferent at that point, they wouldn't bother him just give him anything he needs and leave him alone.

Meanwhile Narinder, freshly traumatized from purgatory, is probably expecting some kind of anger. Unsure how much time has passed he'd think the Lamb is still as angry and unpredictable as they were during their fight. Afraid to figure out if they're just pretending to not care, he'd just tread on eggshells until realising from his siblings being there and after speaking to them that, no, the Lamb doesn't really care anymore.

Lamb themselves would be in the middle of figuring out their feelings. Not for Narinder but how they'll come to terms with godhood. They've had enough time to think about Narinder as their god being full of lies and them being naive. Now they have to come to terms with being the only God left in the old faith. They would leave the cult for a bit to reflect, maybe take a trip to their old home when they were a small Lamb and then return and actually start accepting their godhood and maybe just maybe they'd pay attention to how nervous Narinder is while next to them.

Would he talk to them? Maybe. Though probably not for a while,,, I'd feel Narinder would start speaking to his siblings more. Probably ranting to Leshy and trying to figure out his feelings. And Lamb would just be too busy with other things to even bat an eye to the cat.

Also I'm definitely having my LeshyCat have a way healthier and sweeter relationship than NariLamb,, Why? Its funny. Also Narinder has a reason to be jealous and want the same with the Lamb, who probably doesn't even like him that much. They're just indifferent.

GRAHH LORE!! Though yeah no im thinking this over a lot,, maybe I'd change dome things!1 Might write a fic who knows,,, Chat pray for me that i don't get the ao3 writers curse if i ever do post a fic </3

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Pose pratice woth two of my ocs :D

Historians will call them besties

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Show some respect, people.

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how to tell mutual hey i think ur really cool we should talk more but like also im bad at talking and am always exhausted

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Holy shit the "Trilogy of our Ancestors"?

Now that I think of it, I can see it, especially for "the Nonexistent knight"

I have been looking back into "Garulfo", so two notes I just want to share.

A) One thing I actually quite enjoy is how Garulfo actually goes against the "muddy-colored Middle-Ages". I mean, it is expected given Garulfo sets itself in a continuation of a very colorful French fairytale cinema (a la Jacques Demy's Donkey Skin), but still, it depicts this vivid, polychromic Middle-Ages filled with colors EVERYWHERE that is probably truer to reality than the "American mass media Middle-Ages" all in brown, black and grey.

It also helps that in Europe we remained very much in touch with our Middle-Ages. The Americans have this true disconnection but in Europe we are still surrounded by preserved medieval art, and reproductions of medieval books (with their illustrations), and all these medieval texts talking about the colored knights and the brightly-dressed kings and all that... So in European media there's a tendency to preserve the polychromic Middle-Ages idea. Anyway.

B) The two main "inspirations" and "sources" for Garulfo are typically given as traditional fairytales (Perrault, Grimm, the Gustave Doré illustrations) and the philosophical tale (conte philosophique), you know, stories a la Voltaire - and the author himself pointed out that yes, Garulfo's first "season" (the two first volumes) was originally meant to be much more of a conte philosophique. But there's a third influence that I want to share here, because the author (Alain Ayroles) talked about it in an interview that is now gone and can only be reached by archives. And it is "the humoristic-magical féeries", as Ayroles describes it. He lists specifically the Monty Python movies (especially "Holy Grail"), and Italo Calvino's "Trilogy of Our Ancestors": The Baron in the Trees, The Cloven Viscount and The Nonexistent Knight. Ayroles explained it was his appreciation for these works that prompted him to "make an humoristic story about fairytales and legends, but without making a parody out of it."

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Now abandoned, La Petite Centure is a 19th century railway that loops over 30km around Paris

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Trying to capture tension in a pose! 💪 You know, the kind where you can see the muscles and tendons popping out. RAAHHH!! 😤

I don't know if I succeeded, but at least I tried 🥲

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To Gab

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Sleeping Beauty Part II: The Other Woman

You are a queen. You have no children. And what is a queen good for, if she’s not producing heirs?

Your husband travels a lot, these days. You see him seldom. After all, what could he be expected to do with you, as useless as you’ve proven to be?

You used to love each other, you think. Things were better than this, at least. But you are too old now for children; even if you had been useful in your youth, it would all be over now.

One day your husband returns, after a journey of many months, with a young girl and two infants in tow. The children have his eyes, his nose, and the girl is a child, fifteen at most. She is small and frightened and confused, but she looks at your husband like he hangs the moon.

You could feel pity for the child. You should, perhaps. She still has baby fat of her own, as well as the lingering traces of the pregnancy. You ask her how it happened, between her and your husband. She tells you she doesn’t know, she was asleep at the time.

You should feel pity.

But you have lived too many years alone, and this is not the first time your husband has chased after children to give him what you can’t. And this one, this one he brought into your home, sat her across the dinner table like it was nothing, her own gorgeous suite of rooms, a thousand beautiful jewels and dresses. All the things he gave you when you were young, as if you were not still here to stand by his side. He leaves your marriage bed cold to visit her every night. You should feel pity. Instead you feel anger. Instead you feel fear.

Perhaps you go mad. Women in your position often do; stories of it date back to the Greek tragedies. Perhaps you go mad. Perhaps you are simply evil. Certainly you are jealous. And this is Sleeping Beauty’s story—there is no room for you as anyone but the villain.

You decide to boil the children, and feed them to their father for dinner. (All right, so you’ve probably gone mad.) The cook is kinder, saner, less invested in this drama than you are. He hides the babies away, and serves your husband lamb.

For the girl herself, sleeping little girl who stole your husband’s heart, and your whole life along with it—for the little girl you take matters into your own hands. The water boils. The child screams. Foolish, selfish girl, her children have been missing for days, but it is only now, as the heat rises around her, that she thinks to be afraid. She screams; your husband comes running.

You burn. You boil. You die. Perhaps the little girl eats you, as you intended to eat her. You don’t know; you’re dead.

You’re dead. You’re dead, and your husband marries the little girl. He raises a family with her. She’ll live happily ever after, perhaps. She doesn’t know any better.

More likely, ten years from now, her husband will bring home another pretty child to replace her.

You burn, you boil, you die. She marries the man who raped her, because what else does she know to do? At least this one can bear children to keep him happy.

You die. It isn’t fair. None of it is fair.

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Alireza Shojaian

"Mnemonic", 2019, Acrylic and Colored Pencil on Wood Board

"Blossom at the Mention of Your Name", 2020, Acrylic and Colored Pencil on Wood

"Blue Mystique", 2023, Acrylic and Color Pencil on Wood

 “Remi”, 2021, Acrylic and Color Pencil Born in Tehran in September of 1988, Alireza Shojaian is an Iranian artist. Shojaian received his Bachelor of Fine Arts in Painting from Tehran’s Islamic Azad University in 2014. Encouraged in his art studies by one of his professors, he began to explore his queer identity in his work through themes and narratives. Shojaian pursued his Masters of Fine Arts for two years at the Islamic Azad University; however, as his final thesis project was queer art, he was denied his degree. The prevalent theme in Alireza Shojaian’s work is homosexuality in both identity and relationships. His work reflects on his own personal experiences as a queer person and the queer history of western Asia and its context in present society. Created with acrylics and color pencils, Shojaian’s images depict male figures, most often nude, in both portrait form and group presentations.

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Love to see it

Also, for Shamura, no, the answer is no, obviously

Me writing another Astaroth bit like:

It's going to kill me, I swear. I love that jellyfish too much!

[maimoncat]

One of the best scenes ever Batman literally arguing with a God then again it's not his first time but it's always funny 🤣

Poor Ollie I thought he was going to have the heart failure 🤣