#artistic analysis

[chairsharper]

Honestly people who think there is only ever one “correct” way to interpret a piece of art are just missing out on so much. Like the curtains can be blue because she’s sad or because blue were the colors of the Revolution at the time or to show royalty or any other reason! If you see it. If you buy it. Then the meaning is there. Whether or not the author meant it to be. Something even beyond the author could’ve ever thought. That’s the magic! That’s art! Stop constraining yourself!

[gagliandi]

#Seasons Through Art: Exploring #Spring's #Impressionism, #Summer's #Fauvism, #Autumn's #Romanticism, and #Winter's #Minimalism

#Art and #nature have always been intimately connected, with the changing seasons offering endless inspiration to artists throughout history. Each season, with its unique #colors, #light, and #atmosphere, can be paralleled to a distinct art movement, reflecting the mood and essence of these cyclical phases. Let’s embark on a journey through the seasons, exploring their connections to various art…

[tismoonie]

I hope y’all like greek mythology here…

Anyone else obsessed with EPIC??

[lampochkaart]

I have been thinking about one interesting thing lately.

I noticed it first during my secong DRV3 walkthrough, but with each rewatching I noticed it more and more.

Tsumugi throws shade at Kokichi SO often, it's insane. Almost from the very beginning of the game, she makes comments about how suspicious Ouma is, or how scary and dangerous he is. She jumps at pretty much every opportunity to point fingers at him and say how bad he is. Now, I wouldn't pay any attention to this if Tsumugi was an ordinary girl. It's much harder to find those who like Kokichi than those who dislike him. But the thing is... Tsumugi is not an ordinary student. She's a mastermind. She is not wary of Kokichi because she believes that he is a potential threat. She deliberately turns the group against him. She knows exactly what she's doing. Every time there is an opportunity to throw shade in his direction, Tsumugi is using it. And in cases where she is not the initiator of the idea, she is one of the first people to agree.

This is a very interesting detail that I have been thinking about for several months now. The more closely you look, the more you notice how often this happens.

I also have been thinking about how Shirogane is literally a wolf in sheep’s clothing, and Ouma, on the contrary, is a sheep in wolf’s clothing. Tsumugi looks and acts like a sheep: nervous, weak, defenseless. But at her core, she is a blood-hungry, ruthless wolf. At the same time, Ouma goes out of his way to be perceived as a wolf. He puts in a lot of effort to be considered scary, dangerous and evil. But in reality, he is just a sheep.

Admittedly, a very weird seep, that was even biting other sheep in order to convince everyone that he was a dangerous predator. But the only thing he has from a wolf is it's hide. Wearing it, however, is risky, because hunters can actually mistake the wearer of this skin for a wolf. Then there just will be one less sheep, and the wolf will remain unnoticed among the herd...

Version with a black sheep Ouma

[blackcur-rants]

Fundamentally, "The Owl House" is an allegorical story dealing with the dichotomy at the heart of the "American Dream", with Luz representing the ideal of America as a Melting Pot of Nations that brings together all the peoples of the world, while Belos/Philip represents the Manifest Destiny crap about how America exists to serve the interests of rich White Cishet Christian (preferably Protestant) Men and no one else. Both of them literally follow the classic American Immigrant Story™ of coming to a new land with nothing but the clothes on your back and making your way in the world with cleverness and ingenuity and intelligence. Luz even goes so far as to fall in love with the daughter of a prominent rich family and win her love in return like she’s in “Hamilton”. But whereas Belos attempts to destroy the Isles’ beautiful culture and/or twist to suit his own purposes so that he can kill and destroy everyone and everything on them, Luz accepts the culture of the Witches as her own and helps to restore it to its former glory after Belos is destroyed.

It’s also kind of a Christ allegory wherein Luz is a dark-skinned person raised by a working class single mother in a distant corner of the world’s most powerful nation who comes to a world straining under the weight of a truly terrible tyranny and helps people heal from their trauma and pain and love for her redeems or at least helps to redeem several flawed and broken people and her name can potentially even be taken as a reference to the messianic solar deity Sol Invictus and/or the Jewish concept of the Ur Ein Sof…oh, and her whole thing is descending into the Underworld and offering her life up to save its inhabitants and denizens.

(And no, I will not attempt to read Christian meanings into “Amphibia” or “The Ghost and Molly McGee”. “Amphibia” is a Buddhist story wherein the Calamity Trio (or at least Anne) are destined to transcend physical reality/Samsara and become deities/Bodhisatta through their good deeds and kindness, while Molly McGee is a personification of Tikkun Olam/a potential Tsadik Nistar who heals the world without realising just how much of a positive impact she’s been leaving on people, at least at first).

@disregardcanon @lady-asteria @witch-apologist @awakefor48hours @candyskiez

TOH Fans: OMG, you should watch The Owl House, there's gay witches that kiss on screen!!

Plot points about government corruption, ethnic cleansing, living with a chronic disability, white washed history, working through grief, having abusive parental figures, overcoming suicidal thoughts, and more

[sirfrogthe3rd]

"If an artist falls in love with you, you can never die."

[oblique-lane]

Spy tf2 and his identity

Character analysis (or at least my vision on him, if you believe my reasoning)

What do we know about Spy? He's a disguise mastermind. He can pretend to be anyone in order to infiltrate into the scene to do his job - quite literally, stab people on the back. But when he's not in the battle, what is he to his teammates? A suave Frenchman, a gentleman with taste, somewhat a leader.

At least, that's the persona he prefers to show. But is he really..?

What if I tell you that this person never drops his disguise?

For a man who always wears a mask and who's identity being secret is a sacred part of his role in this job, isn't this persona too much to show if it is real? Frenchman, rich, ladykiller... Wouldn't it be too easy to decipher his identity with so much clues provided? Wouldn't it be dangerous?

While Miss Pauling and the Administrator definitely know Spy's real identity, hiding it is a major thing for whatever reason. One could assume it might be because of Scout (obvious guess) but I doubt he's a sole reason. Spy very much enjoys being the Spy all by himself. Do what's the deal?

Let's start from the beginning.

Why did Spy join Mann Co. in the first place?

Let's take this assumption as a fact: people come here out of desperation. They are professionals in their field, yet in their past/casual life there is a pattern of them having difficulties that push them into joining this service. I don't see why Spy would be an exception.

The reason for joining is usually money. Some people question why Spy, a wealthy man from higher society, would join Mann Co. if he has it all already.

Well, probably because he really does not.

Have you ever met an aristocrat? Wealthy people don't get so protective about their expensive suits, they can afford cleaning or a new one. Regardless, rich people don't usually get stingy about material goods, especially if they're mass produced.

At least, not those who were born into wealth.

Spy's defensiveness about his "wealthy stuff", his pomp-ness, disgust and arrogance towards "plebs" gives off a man who knows what it means to live in poverty and who doesn't want to be associated with it ever again.

(Not even talking about his own filthy habits such as not washing his mask and pissing on walls? Jesus Christ)

Dare I even guess that he might be not French at all? His French is so broken. (Although, so is Medic's German, but at least he uses his language much more frequently and in more complex sentences, while Spy only uses French to say some basic expressions, occasionally confusing them with other languages). Definitely not a native.

If anything, he's not giving "rich man" at all, he's giving con man. And that fits my picture perfectly.

So, poor upbringing. How old is Spy? If he's Scout's father (and he was young when he was conceived), I'd say he's no less than 20 years older than him. I'd give him a few more years actually. So, approximately Spy is around 50 at the events of the game (1968-1972). Let's assume he was born somewhere in the 1910s.

Even if he's not French, I still agree that he's probably European. Hmm, what was happening in Europe at the time Spy was a kid?

Oh yeah. The Great Depression.

See my picture: imagine, a child from a lower class family during the Great Depression, his parents were most likely to not take good care about him (both because of the economical situation AND as an echo to Spy's struggles with his own fatherhood). He has to run away from home early and start to make money. Any way possible.

Unavoidably, it leads to crime.

Petty theft, blackmail, scams. Changing identities. Selling low quality products and services. Changing identities again. When older, seducing rich women to stay at their homes overnight, be fed and supported. Running away from the police. Walking into a trap of the mafia, and then joining them as their goon.

In this nightmare of a life he just had to keep pretending to be someone else, someone better and stronger, in order to his ego to not completely shutter. He had to imagine he was an invincible mastermind trickster of some sort, not just a poor boo-hoo victim of poverty who has never knew normal life and care.

And if you pretend for long enough, you become your role eventually... Right?

His true self was long lost forgotten under many layers of new identities. Worse, his true self was never known. And he didn't want it to be known in its ugly and disgusting vulnerability. Narcissism became his lifeline.

It's so much better to be Spy. To be rich and elegant and respected. His ego rebuilt.

[venusaur-propaganda]

Drawing Venusaur with every Pokemon pt. Slither Wing

[derpwithit]

something something "Fiddleford’s innate domesticity comforting a man whose deepest desire was to come home" something something "a man who nurtures and cares for others to the point of heartbreak meeting a man who doesn’t remember what it’s like for anyone to care about him"

doodles very much inspired by @yujateaandpi's perfect and beautiful analysis of Fiddlestan

[verityshush]

I don't think I'll ever stop finding it simultaneously incredibly frustrating but also incomprehensibly hilarious that one of the major pieces of "art" [for lack of a better description] that I have a minority interpretation of is the bloody "Curtains Are Blue" meme.

I can't go two months without seeing a thinkpiece or blog post about how it's "damaged critical reading skills" or "taught people not to engage with art" or whatnot. The "majority interpretation," to be a bit pretentious, seems very much to be that it's an anti-intellectual meme mocking the idea of finding meaning or interpretation in art that wasn't intended.

But I never saw it like that. I always interpreted it not as some teardown of the concept of artistic analysis and differing interpretations, but as a criticism of the education system and how the way it works does tend to encourage teachers to, instead of fostering that dialogue of interpretations, simply railroad students to a pre-existing majority interpretation.

And I think it's delightfully ironic that my interpretation of "The Curtains Were Blue" being about "teachers who only really give the time of day to one interpretation of a text" is the minority opinion in a sea of lofty arty types I usually agree with only giving the time of day to one interpretation of the text, i.e that it's anti-intellectualist and anti-interpretation.

Through the lens I view that bloody meme instead, of criticising those who dictate or limit artistic interpretation of texts, the people constantly making their posts criticising its "surface-level nature" and whatnot ARE the people they imagine saying "the curtains were blue:" People far more interested in mocking the art using its simple & established mainstream interpretation (the author liked blue, the author doesn't understand art, etc.) than in attempting a more reparative reading & finding a new, perhaps unintentional, perhaps pretentious, but still valuable interpretation of a piece of art.

[qephyr]

For the epic bird who managed to revive a fandom @randomalistic (<- SUCH A PASSIONATE AND KIND PERSON BTW YOU SHOULD TOTALLY GO WATCH THEIR VIDEO IF YOU HAVEN'T ALREADY! GO GO GO THIS IS AN ORDER!!!)

bonus doodles teehee, got attached to the idea of a little bird and its oxpecker-like relationship with the world's largest parasite :]c

[tacxx]

Demon paralysis

(Context: I see demons or paralysis and since I'm mostly influenced by sun and moon lately. I see them like this-

They don't look like this and honestly they look blurry)

[pollomindfulness]

El alma es el verdadero retrato de quien somos; por ende, amar al alma es una inversión a la eternidad.

[afterthelambs]

⚠️Spoilers for Look Back but I was initially confused about what Fujino and Kyomoto's relationship had to do with pursuing a career as a mangaka. After thinking about it, I interpret it as a narrative device to represent what will come when choosing to pursue art (of any form, whether it's comics, painting, animation, music, etc.).

Think about it, what's Kyomoto's role in the story? She is what got Fujino to take art seriously in middle school, and what motivated her to continue after she initially gave up. However, she's also the only thing in the story that makes Fujino wish she quit art. First, halfway through 6th grade and then later after her death. She serves as Fujino's motivator and de-motivator.

I think the scene of Fujino wishing that she never told Kyomoto to come out (that pursuing art only led to suffering) represents artists' regrets. We literally look back and see an alternate universe where Fujino never pursued art and it has a happier ending. Anyone that pursues artistic dreams will end up regretting it at some point. It's not easy, any artist will tell you that. The story is saying yes, you probably will end up healthier and more stable by giving up your dreams. Because art is suffering.

But then Fujino enters Kyomoto's room after reading the comic from the alternate reality and all of a sudden we get a montage of the happy memories and accomplishments they had pursuing their dreams together. And we realize that, everything we saw of them in the alternate 'happier' reality pales in comparison to this:

The happiest both of them look in that alternate world is when they finally meet and promise to work together someday. They loved art. They loved each other. Giving up on your dreams means missing out on all of that, and nothing in the world can replace it. Because yes art is suffering, but art is also joy and love.

And so the end of the story where Fujino goes back to work isn't her moving on. She tapes the comic strip in front of her to remind her of Kyomoto, to remind her of why she got into comics in the first place. Basically, Kyomoto IS art to Fujino. A life with her means experiencing both suffering and joy, while the life without her means having none of that.

I might be wrong about this, like maybe Fujimoto just wanted to tell a mangaka story with doomed yuri (valid) HOWEVER i like my interpretation so im sticking with it.

[lampochkaart]

Thinking about how Kiibo tries so hard to be seen as a human and not a robot. He often gets offended when someone reminds him of his characteristics, he tries to avoid using his abilities as much as possible, and he reacts emotionally to the tragic events of the game. He is one of the more soft and sensitive people in the group. And although he is often guided by logic, feelings and emotions still play a big role in his perception.

All the while Kokichi tries really hard to NOT be perceived as a human. Masks sincere emotions behind exaggerated or inappropriate reactions, almost instantly switches between moods, talks about "resetting emotions", tries to distance himself from the group as much as possible, to such an extent that even his dying words are doubted. Many of his actions in the latest part of the game are best described by the word “inhuman.” He is the most cynical person in the group and one of the most cold-blooded ones.

But at the same time, they can't really change who they are. Kiibo has to accept himself and his abilities, which are only avilable to him. And Kokichi can't completely get rid of emotions and force himself not to feel anything, no matter how hard he tries.

[the-sslimmest-shady]

THIS IS A MESSAGE TO THE MALEVOLENT FANDOM: WHY DOES YOUR GUY LOOK LIKE JON FROM THE MAGNUS ARCHIVES. I CANT KEEP MALEVOLENT OFF MY DASH BECAUSE I KEEP ACCIDENTALLY INTERACTING WITH MALEVOLENT FANART THINKING ITS JONATHAN SIMS. I DONT KNOW WHAT MALEVOLENT IS. I KNOW NOTHING ABOUT IT. I DONT WANT TO. THE FANART IVE SEEN IS BEAUTIFUL SO PROPS TO YOU FOR THAT BUT IM JUST VERY CONFUSED. IS THERE SOME KIND OF FANDOM OVERLAP?? IDK HIS NAME BUT HE LOOKS EXACTLY LIKE JON. SLIGHTLY DARK SKINNED DUDE WITH MESSY MID-LENGTH HAIR AND A LOOK OF FEAR IN HIS EYES. YOU KNOW THE ONE. WHO IS HE