#centipede imagery

[drawinblog]

Forgot that I never posted my hc design for him on here, but voila! This is my personal hc design for Pests’ anatomy, I like to explore his more buggish features. The last doodle is how I imagine him as a baby, something similar to a Homestuck grub.

[allangelschaos]

[payasita]

How he could love something so much, and forget to feed it?

so i listened to an audio drama in two days

[fishlung8877]

My lifter had a mental break??? How?

Only one thing to do about it then...

[puppetmaster13u]

I just wanted to draw Batgirl Barbara with some Oracle vibes, like an inbetween stage of sorts.

Au is by @phoenixcatch7 and you need to check them out if you haven't <3

[chunkofchange]

oh. oh god (trips on a centipede)

[valtsv]

hey king you ever get into tokyo ghoul

i did and i have to confess that i was actually convinced for years that the centipede ear torture thing was based on a real life historical torture method and was absolutely humiliated when i looked it up and found out it was a tokyo ghoul original. anyway i consider myself a nonpracticing fan because i don't think about it often anymore but the opening theme song from the first season of the anime and the recurring use of the spider lily imagery to represent blood spreading got me good.

[galoogamelady]

I'd like to ask, did you actually watch Human Centipede before drawing "Red Flags" ?

Yeah, I watched it with my friends on Discord. We thought it would be a horrible movie with torture porn and lots of gore, but it was kinda tame and competent compared to our expectations. I would've made it way more nasty if I'm being honest. (I know the other movies in the series are much darker and provocative.) I mostly just wanted to see what sets or props were iconic enough to make it into the video: the house exterior, pool room, riding crop and towel. I didn't want to use imagery of a real centipede, an actual human centipede or a syringe, partly because I know large groups of people have pretty bad phobias around them and also youtube monetization is a picky bitch.

But no rest for the wicked, Tom is FoRcInG me to watch more movies.

[psiirockin]

I absolutely adore how you make the human characters resemble their animatronics its so fun to notice and point out. like how liz has those big pigtails and the skirt also her shoes and charlie has stripes on her shirt which idk if that was intentionally connected to puppet butit reminded me of her. and cassidy has the buns in her hair that look like bear ears oughgh they r so cute i love them. I also love love LOVE ur ennard and molten freddy designs!! they look a lot more like freaky bundles of wires (especially molten freddy!!! i am obsessed with the centipede vibes :3) and your art in general is so nice to look at!!! its so pretty!!!

and also im curious if there was any other animal imagery that you added to the mci kids the way you did with the aftons and their bunny faces?

OH WOW you hit everything spot on!! I'm so happy that the little details came through, I was really hoping it would all translate hehe!!

The stripes are intentional! Her sleeves are also long and thick at the bottom like Marionette's arms! I also tried to theme her clothes with some Puppet colors: the purple/black/white/red combos!

And I still need to finish my MCI lineup drawing (so take this old WIP from my other drawing of them for reference RN LOL..), but Gabriel has Freddy's colors + the freckles on his face! Jeremy has big bunny teeth, and Bonnie's colors too. (Mix of blue/purples).

I'd like to think that the top of Susie's dress resembles Chica's bib a bit! Though it initially was not intentionally at all haha.

Fritz has physical disabilities, mainly regarding walking-- and one of his hands crunches up a lot. So I guess you could see that reflected in Foxy having his own physical issues. (And Foxy's hook!) So while it's not much of a little design detail in the way the others are there's still a parallel. (I might have given him a few crooked teeth though, to make them jagged like Foxy's?)

Fritz in particular also comes from a very bad household + is on the chunkier side! He's shy, and a little more emotionally distant. Which y'know, has its similarities with Michael, who is THE Foxy bro haha. I think that Michael would have been really affected by his death, maybe he saw himself in Fritz & wanted better for him. And that's why he uses Fritz' name in FNAF 2's location; in honor of him.

[chuuyaa-nakaharaa]

No, I was just overwhelmed and yelling back. Something I normally did a lot.

I mean, I loved you after all. I didn't really want someone I love to just insult me.

The voices

— @dazaii-osamuu

What?

[felassan]

Just poring over some of the new images. ◕‿◕ DA:TV spoilers under cut.

in what seems to be an in-gameplay version of the more cinematic[?] group-fight scene we saw at the end of the character trailer, Rogue Rook stands ready to fight with Harding and Taash (toll...). Red lyrium mutated darkspawn that remind me of these guys from concept art, with red lyrium claws (! dangerous. and new I think?), run towards them. the structures around them are Blighted, covered by Tainted pustules and horrible growths. red lighting enhances the impression/threat of red lyrium spread and in general. also, I am really curious what these blue lamp things are? something to do with blue lyrium, or objects we can break to refresh our potion supply in the boss battle with this dragon and its darkspawn adds that is clearly about to go down, perhaps? the backdrop looks like a starry sky, and in the middle it reminds me of an eclipse 👀 (which is a prominent motif in DA:TV promo material and some previous lore. e.g. one, two, three), like the moon is blocking out the sun.

the scene compositionally reminds me of this key art, though it seems to be a different dragon, as this one's horns curl down and that one's horns curl up.

behind the dragon are the Evanuris head statues. maybe this fight occurs near the end of the game, and the team return to where it all began (Solas' ritual site in Arlathan Forest) to take down the final boss? maybe in that time red lyrium/Taint corruption overtook the area. or maybe this is taking place in the Gold/Black City in the Fade [it could be both, the Fade reflects the waking world sometimes]. as it also reminds me compositionally of the vinyl covers, Gold and Black. the dragon, the outspread wings, a figure/s in the foreground, the sun/moon/eclipse imagery in the background, corruption, the city surrounds. though this dragon's horns match neither of the dragons below hh.

the spire-like structures with their points remind me of the spire-like structures of the City here on the vinyl art - namely, the timepoint on the right, when everything is corrupted and Blighted, like it is in the image above with Rook.

I wanna say that maybe the dragon in the image above with Rook is Elgar'nan in dragon form. The Evanuris Were [all] Dragons[haped sometimes], "Elgar'nan, Wrath and Thunder, strike the usurpers with your lightning, burn the ground under your gaze, bring Winged Death against those who throw down our work", "Light radiates from the eidolon’s narrowed eyes and its open, snarling mouth", "Elgar'nan, Sun's death, burn the ground under your gaze, grant the fire blessing, your people call out, for all things to end in flame." he's back now, and Ghilan'nain is also back but she wouldn't need to take dragon form maybe, she's already in a kinda monstrous form in the gameplay reveal video and for variety her boss battle could have her in the massive centipede-monster form instead, two.

[thesleepyfable]

~ SWTD: Still Here AU Part 10: ~

Dream a Little Dream, For Me:

It's time for Gibbo to have some of the spotlight. This was going to be a series of mini-chapters following everyone's dreams, but Gibbo's stuck with me the most.

Part 11:

'...r...li....e...'

'Char...lie...'

'...Charlie...'

Gibbo shot up from his bed, which was just a mountain of spare pillows he needed to keep his head elevated. A voice called to him. One he knew and thought he'd never hear again. It was sharp in tone yet spoke as a comforting whisper. He was still in the shipping container. A small break in the doors exposed faint sunlight. It was warm. The cold winter air was gone. He couldn't see his breath.

'...Charlie...'

Gibbo moved and, with a tendril, opened the doors. He wasn't on the rig. The container sat in a field with overgrown grass and dandelions. A small breeze picked up, sending the dandelion tufts in all directions. Birds were singing their songs in the trees. Rabbits moved in the grass. The sky was clear, with no clouds for as far as the eye could see. He didn't know where he was, but it was peaceful. At first, Gibbo didn't want to leave the makeshift bedroom. He felt his body would ruin the imagery. To him, it was heaven. She called to him again.

'...Charlie...'

The voice was a beacon. Gibbo moved through the grass, practically hypnotised. It was her voice. His sweet Elanor. She was here. This really must be heaven. Yes. Gibbo must have died peacefully in his sleep. After several 'steps' from the centipede-like legs used to keep him moving and balanced, the infection melted away, along with all of Gibbo's worries. He was happy. The literal weight of the flesh vanished into nothing more than a puddle behind him, disappearing into the Earth. He wasn't in his uniform, but his casual attire, which was a striped green and white polo shirt and bell-bottom jeans.

A figure came into view. A blur slowly formed into a shape. A woman in a flower patterned maxi-dress stood with her back turned. Long flowing ginger hair, lighter than his, moved with the breeze. Gibbo stopped. His heart racing. A smile formed on his face. He had to double-check, but there was no denying it. He moved forward. He wanted to run, but he couldn't. His legs felt heavy, but that didn't stop him. Gibbo reached out a hand.

'Elanor.' His voice was a muffle, like he was submerged in the oil that infected him, but he didn't seem to notice. His hand fell on her shoulder. Elanor turned, but before Gibbo could see her beautiful face, she vanished. Simply turned into dust and was gone with the wind. Particles landed in his hand. Gibbo's smile, which was known to light up an entire room, faded. He looked at his palm. At the dust. It turned into the oil The Shape resided in. That hideous black, green, and purple glow cast a look of fear in his eye. The field around him began to melt. The backdrop turning into Engineering. The loud hisses from the pipes that were ready to burst. The cold air ran a shiver across his body. His clothes turned back into orange boiler-suit. The oil pulsated, then froze into a firm solid, and pierced Gibbo's hand like a stalagmite. It grew as his veins turned black and began to spread through his forearm. It was fast. Gibbo couldn't do anything. His scream still muffled and drowned out with the noise. The Shape reached his eyes and turned them black. He cried oil, skin discoloured, and his hair began to fall out.

Not again. Not again.

His eyes scanned to the left. Eleanor was there again. He tried to reach out, but the oil froze him in place until everything went black.

'CHARLIE!'

Then he woke up.

Light shone through the doors. Gibbo hurried and shoved them open. His mind hadn't caught up with reality. He thought he was still in a dream. He wanted to be there. In the field. To be human again. Instead, he was stuck on Beria, watching the sun slowly rise in the East. He was still a mass of flesh with no arms and those legs that were once his bones.

Gibbo couldn't cry. He was empty. All he could do was find comfort in the chain he stored in his body for safe keeping. A tendril sprouted from his side, and he gazed at Eleanor's picture. The sight of her calmed his nerves. Was it for the best she wasn't here? How could she even look at him? How could his mother and son look at him? What was he going to tell them? Would he even be able to see them again? The questions began to consume it. Until...

'Bad dream?'

Addair sat on his container. Gibbo didn't notice at first, but after seconds ticked by, an ugly feeling came over him. Rennick might be in charge, but Addair ordered him to go and check the drill. If you count ordering as grabbing hold of his uniform and shoving him in the direction he needed to go. Because of him, he was infected. Maybe the slaps he gave Rennick should have also been directed to Addair? Both were his superiors. Both were shit people.

A part of Gibbo wanted to smack Addair into next Tuesday for what he did, but he just couldn't. He wasn't that type of man. He didn't feel bad for hitting Rennick. However, he didn't want to make it a regular occurrence to his character. Whenever he's let his bottled anger get the best of him, either himself or something has gotten hurt. Only Douglas knows he's the reason there was a large indentation on one of the pipes that lost a screw. It only took one punch, and Gibbo walked away with a bruise.

'Same. I-'

'What do you want, Addair?'

'Am I supposed to want something?'

'The only time you talk to me is when you want something.'

'I just want to talk. No dramatics.'

'...Fine.'

To Addair, that was an invitation to move from his container and stand beside Gibbo, which just made him uncomfortable. It's like he was trying to get under his mostly non-existent skin. He turned his attention to the sea's high tide. 'I never thought you would've given Rennick a kickin'. How did it feel?'

Just answer his questions and he might go away.

'Good,' Gibbo answered curtly. 'It was a long time coming. Surprised you didn't get involved.'

'I think you made your point, well enough.'

Well, this was awkward. Caz made it look easy from afar. They didn't have a beer to share or darts to comment on. Both were too much of the polar opposite to find anything to talk about.

Except for one thing.

As Addair waited for Gibbo to talk, he noticed the chain. Before, he would have swiped it from him to tease and stress the poor man out, because he was the 'big man' who could do whatever he wanted to little Gibbo, who lacked a backbone. Yesterday was something of a wake-up call.

'She's pretty.' Gibbo's eyes widened. He pulled Eleanor's picture close to his body as the tendril began to retract. 'What's her name?'

Isn't it sad? These two men have been working on Beria for six years now, and neither knew anything about each other's family.

'Eleanor.' A pause. Gibbo could feel the anger fade, but he wasn't going to be polite. He hoped to never speak to Addair after this, despite that being impossible. 'What about yours?'

'Jennifer.' The way Addair said her name, she was a Goddess in his eyes. 'Married for 13 years now.'

'And you have, what, four boys?'

'That I do. You?'

'I have a son. Ma looks after him when I'm out here.'

'Looking forward to see them again?"

'Of course. But,' he tried to laugh. 'Fuckin' look at me.'

'Don't get yourself worked up, Gibby. You're not the only one thinking that.'

He didn't want to admit it, but Gibbo knew he was right. There was nothing in the world he wanted more than to get home. Something everyone was feeling, infected or not, but he was scared. What if his mum and Jackie run away in fear? He'd didn't want to be alone. They were all he had left.

The sound of Rennick opening his container ended their conversation. Was it productive? It was a start, at least. They watched their manager quickly acknowledge them before wandering off to Accommodation. Other crew members could be seen in the corridor gathering up their belonings. Addair turned and began to follow Rennick. 'Roy better have made bacon today,' he muttered.

Gibbo watched, then looked at the sea. One last vision of the field sprung into his mind. He closed his eyes and waited for it to pass. Eleanor's voice called to him as he began to turn in the Water Tanks. Her voice comforted him as his bones cracked, and his body turned inside out and expanded. That was before the rage he bottled up began to boil. He felt it, and it was why he pleaded for Douglas to stay away. With Finlay, he just knew something was going to happen, and his only option was to scare her away. 'Who did you hear in The Shape?'

Addair paused and turned back. Silence lingered. The pair locked eyes. He tried not to look venerable. Bad enough he cried in front of O'Connor.

'I heard my boys laughing.'

'And your dream?'

'Back home with the wife and kids having Christmas Dinner. The food melted into oil and The Shape infected me again. They...' He sighed. 'They ran away.'

More silence.

'I heard about your son. I'm sorry.'

Addair's eyes softened, caught off guard with Gibbo's words. The man can try and act tough and superior all he wanted to the men here, but his children were his soft spot. He loved them, and he would happily burn the world to keep them safe. He just hoped they knew that. 'Thanks.' Using his tendrils, Addair grabbed onto the catwalk and vanished into Accommodation.

Dobbie awkwardly shuffled by him and appeared on stairs to yell.

'You coming Gibbo?!'

'Aye!'

[monstersdownthepath]

Still reading through Divine Mysteries and while I've greatly enjoyed 99% of what I've read so far, there's a few bits that make me frown.

Perhaps one of my biggest disappointments is:

Aonaurious, a Qlippoth Lord* introduced way back in 1st edition's Bestiary 6 as a footnote among the existing Qlippoth Lords who were actually getting stats, alongside Yamasoth (who was given stats in another book) and Shiggarreb (who was never given stats, but who got a Divine Obedience). He had the intriguing epithet of "the Enigma Clot," invoking the imagery of some malefic hair clog or perhaps a constricting fungus, in either case fitting in alongside the grotesqueries of both the other Qlippoth Lords and the qlippoth in general.

Absolutely nothing about Aonaurious was known but his name and his title for the longest time, and though Shiggarreb received some additional development in the Complete Book of the Damned which came out months later, the Enigma Clot was left to languish for 8 entire years and a whole edition shift before finally appearing in Divine Mysteries as... a giant praying mantis.

Not just a loss in terms of what the Enigma Clot could have been, but he also seems to have completely supplanted Shiggarreb, being a warmongering beast hellbent on slaughtering literally anything and everything he sees without pause or tire, exactly as the Marauding Maw/Warmonger Queen was once stated to do. Fair enough, all things considered, especially since with Shiggarreb being gone, we get a more unique Qlippoth Lord named Nyuo-Ogh the Always-Observing... but this also means that poor Aonaurious stands out like a sore thumb among his demigod kin, as his current lore as it is has him lacking any form of parasitic aspects, a mainstay among qlippoth as a whole and incredibly pronounced in the existing Qlippoth Lords. He instead represents a relentless hyper-predator, something that already has representation in the forms of existing lords Chavazvug and Thuskchoon (each of which also embody parasitism in different ways).

All this being said, I don't hate Aonaurious, and I do like the threat he presents as "the predator that kills far more than it could ever possibly eat and chases down prey that could not possibly be worth the effort of getting at," but I feel like such a plain appearance is a waste of a fascinatingly evocative title and a sad miss in terms of fitting in thematically with the rest of the lords.

Nyuo-Ogh is a fantastic addition to the Parasite Pantheon, though, I'll say that. Shiggarreb wasn't exactly a good fit herself, so I do not mourn her.

Edit: Reading his physical description more closely (Divine Mysteries, pg. 226) makes him sound more like a monstrously enormous and clawed house centipede, and if ANY creature could be called an "Enigma Clot" it would be a gigantic house centipede! I'm going to treat him like he's one of those.

[meloncolliemovies]

QUEER (2024)

Director: Luca Guadagnino

Cast: Daniel Craig (Lee), Drew Starkey (Eugene)

4.5/5

Luca Guadagnino’s queer is a spectrum of imagery. It pushes the boundaries of what we know as “queer”, it disembodies it. It is so unusual to see a film with mlm couples where they are not in love and deeply romantic, because even in 2025 people are still uncomfortable with male on male sexuality. In fact, so much so that a woman behind me in the cinema couldn't stop laughing at this film, believing it comedic instead of the art it is.

I have always admired Guadagnino’s filmmaking for it's visual symbolism. I watched Bones and All last year and it is honestly one of my favourite films for imagery still. I personally loved the use of snakes and centipedes, evoking phallic, poisonous imagery, reminding viewers of how this film is rife with the unfortunate toxic masculinity that surrounds queer communities still today. The snake eating itself, in infinity, forever is a consistent reminder that we must escape the cycle as queer people and be honest with ourselves. The film also featured some fantastic bodily imagery, I've never been so upset at seeing a pair of boobs on my screen.

The acting is undoubtedly amazing. Casting Daniel Craig as the film noir Humphrey Bogart he always should've been, and shooting it so. Every concrete alley, every shadow, every superimposition was reminiscent of that 50s Hollywood, hard boned romance star. Yet, Daniel Craig is far from that in this, I'd go so far as to argue he's the opposite. He's vulnerable, but in the way that men expect they should be, he trods around his desperation until he simply cannot hide from it anymore, and then he begs and stalks. “I want to talk to you…without words”, he wants to emotionally connect, somehow still such an unusual concept for men. And then there's the ashamed, silent lover, Eugene, played by Drew Starkey and it's a fantastic role. I've never seen Drew Starkey in anything before and he blew it out the park for me. Their relationship, unlike many queer films I've seen especially featuring wlw relationships, demands rather than yearns. It is not just that Eugene and Lee want each other, it's that they demand and order. “Mas, mas, mas” They want more, and both cannot reach that, until they quite literally superimpose their bodies together and become one, and it all becomes too much.

The cinematography and mise en scene was also stunning. I loved the opening shots, the story told in objects. I loved the windows, because Guadagnino loves a window so I do too. It is shot so purely, sunlight through the blossoms, cobbled streets, unnamed buildings and bars where the queer people have to hide away from the rest of the world. Yet, Guadagnino has built a community in this world. The Green Lanterns, a safe space for queer men to express freely, and it makes me joyous to see that represented. Also, that fucking score. Trent Reznor is a genius and the Nirvana needle drops were all anyone could ask for, it was a symposium of sounds which make you think, does this match the aesthetic? But it does, it truly does. It brings us the seediness and hidden identities which visually are not shown.

After composing my thoughts a little, I can honestly say that Queer is a reminder of how far cinema has come. I would describe my feelings as I left the cinema as joyous. The film was beautiful. I absolutely love seeing men on screen, exploring vulnerability and breaking boundaries. Yet, I also love how they are so masculine that they can barely escape it. It's just wonderful to finally see unconventional queer relationships. I can't remember who said it, but a review I read said that "Sexuality is as individual as the fingerprint" and that's more than true. The film literally only lacks half a star because I got freaked out when their hearts fell out of their mouths, but honestly that's just me.

I would watch again, and again. I want more!

p.s I'm rewatching I Saw The TV Glow soon, be prepared for a huge review.

[museofthepyre]

I’ve been David Lynch brainrotting lately and I’m dwelling on the way he uses symbols and visual motifs to communicate emotions, rather than to serve as clues or plot devices

Re-appearing imagery of, for example, the owls in Twin Peaks— that don’t necessarily represent a “who” or a “what”, not an entity or force

But a feeling, of being watched, being spied on by something which looks down from above, camouflaged so you’ll never know when it is or isn’t there

They are paranoia. They invoke it and signify it.

They don’t serve anyone or anything within the story itself, they aren’t clues to a mystery. There’s nothing to “solve” about what they “mean”. They’re simply part of the ambiance— the way a film’s score can dictate the mood of a scene, how it’ll swell to evoke fear or tension— Lynch uses visual motifs in that very same way.

I kinda wonder how close that is to the presence of centipedes in CHNT

Whether they represent an entity/ force, or just… a feeling. I have spent so long wracking my brain on what they might mean, if they’re entities or servants of something, if they’re omens, if there are any clues to be found in their presence…

But I think I’d be satisfied if the answer was just… something like “they are paranoia, or fear of a danger you cannot know”. You know it exists— you hear it skittering across the floor at night, you’ve seen flashes of it scurrying about— and something about it looks wrong… but you only ever catch it in time to watch it vanish right back into the darkness. Once again unseen. Never clear enough to know… beyond the fact that it is still in the room with you. You’ll never know where the danger is, and you don’t know what it can do.

But you know it is there. It could be right behind you. Stirring up paranoia, and a fear of something that’s nature will not let you know it.

Maybe it just *is* that fear… maybe that’s what it serves to express? Or maybe it’s Adam in disguise. Or maybe it has something to do with the agents I literally have no clue

[mychlapci]

if you think about it in TFOne, them directing the cargo trains towards buildings was similar

the 9/11 imagery of tfone has the george bush-faced centipede rolling over in its grave