#die in cries

[dreamenergy]

HIDE WITH KYO

[holy-needle]

[aimedbladeatyou]

[rationales]

[k9punkout]

bro

you're telling me they never interacted

[dalekinapaintedparadise]

Another reason to cry about the Temperance ending: Johnny feels like V is still out there somewhere.

[vkei-company]

ビニールスカート　光沢　黒　フレアスカート　ヴィジュアル系　ビジュアル系　Ｖ系　パンク　ロック　インポート　合皮スカート　メンズスカート　V系バンド衣装

[opikiquu]

my life a movie (PSYCHOLOGICAL HORROR)

[cat0901h3]

Goosebumps Books 1-10

Can't believe that it took me nearly two years to just do 10 covers for the books. Will be posting more Goosebumps in the future, along with other stuff.

Read more to know my personal opinions and critiques on my fanart for each book:

Welcome to Dead House: I wanted to make the house look alive like Monster House, so I gave it more human characteristics (ie: the people in the windows to form eyes, or the finger-like branches.) Also paid homage to a horror film by styling it after The Amityville Horror house.

The Benson children themselves look a bit depressed, that's because the first book is actually more scarier than the rest of the series, so they're a bit angsty.

Stay Out of the Basement: This one killed a lot of my green markers lol. I tried to make Dr. Brewer as menacing as possible while still showing that he is a father with the photos, There were going to be more plants reaching out, but I decided that the leaves hidden on him would be enough.

Though I have to admit my disappointment with the lighting. It still looks a bit too bright, and not dark enough. That's just my own critique.

Monster Blood: Honestly, pretty mixed about this one. While I'm proud of the bubbling ooze that looks like a skull, which is outlined by one of my colored pens. I'm not proud that everything else is so muted with brown. Almost all of Jacobus' works are vibrant and saturated, so it being dull in colors feels like a disservice to him.

Also, Andy's last name was made up by me, she apparently just doesn't have one. It's inspired by Stephen King. Btw, hope you love banana and strawberry dyed hair, you'll see more of it soon in future batches.

Say Cheese and Die!: One of my favorite books, and of course it gets the best fanart imo. The screaming skeleton form of Greg Banks with red bg in the polaroid, contrasting with the dark background is just super cool, coolest shit I've ever done. Though I might be biased, I really like skeletons. Like Curly.

I actually made concept art for a Say Cheese and Die! graphic novel, which includes drawings of the photos and Spidey! Let me know if you're curious.

The Curse of The Mummy's Tomb: Not much to this one honestly. Just a mummy casually busting down a wall filled with hieroglyphics. Though I will say, I was experimenting with shading with purple and blues like Jacobus. As you can see, didn't stick for long.

This is also the book that I discovered that if the protag doesn't have a last name, then there is an official one either in the Presents novels, the mobile app, comics or other.

Let's Get Invisible!: This was pretty tricky to draw. Drawing someone turning invisible maybe easy in Photoshop or Procreate, but this was traditional art. Sure Jacobus did it with airbrushes, but I all had were pens and markers. But I somehow managed to pull it off, which is insane that I even managed that in the first place.

Night of the Living Dummy: Ah, the infamous Pamela Vorhees book, where the main antagonist isn't the mascot, but instead some other puppet lol. I've seen a lot of fanart of Slappy, but never of Mr. Wood. So I wanted to do justice for Wood while still showcasing Slappy. While I am proud for how it mostly turned out, there are two things that bother me. 1. This is the night sky that is black, the rest are either blue or purple. 2. I forgot to add the lines that make the jaw on Mr. Wood, whoops.

Aside from that, I hope guys like that Misfits poster in the background and Kris's cool hair cut. The green was inspired by the comic adaption not 2015 Jacksepticeye.

The Girl Who Cried Monster: Please forgive me for the small thumbnail, I wasn't using a ruler at the time. The design for Mr. Mortman wasn't much of a challenge. I loosely based it off of the French rendition of the cover and gave him a large leech-like mouth.

In my headcannon, the teeth spin like a garbage disposal, making easy work of the turtles.

Welcome to Camp Nightmare: Another one of my favorites, and I think I did a decent enough job, too. The lighting is perfect, the clouds look alien enough, and you can just barely see the screaming campers inside the tent. I do have one issue though, and that is the size of the monster, Sabre. In the original sketch I did, he was supposed to blend in like a bush, but instead he looks like Sasquatch Sr. Oh well.

While they did give Billy a last name in the Presents books, I had to make up one for Dawn. Just based it off Gwen Stacy lol. Also, hope you enjoy the little bonus pictures down below.

The Ghost Next Door: The original Jacobus art was perfectly vague enough to keep the twist there but not spoil anything. Of course to do the same thing, but with a twist of my own. The "ghost" shadow that you see in the street is the Dark Figure that follows Hannah around or when Danny is near. I wanted it to look like it was constantly on fire, since SPOILERS: someone in the book does die in a fire.

Another headcannon is that the Dark Figure isn't actually a ghost or whatever, but instead the embodiment of Misery.

[mayhemspreadingguy]

Lost boys

[buttercupshands]

never say never I guess

had a sudden "I want to draw them"

Lyrics from "The Last Goodbye" by Billy Boyd

also a warm up that led to this, wanted to try drawing them again and somehow got inspired a bit

[emmg]

He wrestles with a feverish appetite, this crude and uninvited urge that intrudes at its own whim—though, really, when would such thoughts be welcome? It is not refined, not proper, to sit opposite her and let his mind wander to the gloss of her lips, to wonder how she might taste, to wish that the mascarpone she savors so languidly were his own flesh, heavy and impatient. 

He despises himself for it—wants to be better, finer, something more than hunger in its basest form. And yet, he wants. Sweetness, yes; kindness, yes; love in all its quiet splendor—but also salt and sweat, the lush, slippery heat between her legs, his or hers or both, some mingled thing he might catch on his fingers, press back inside her, trace along her trembling thighs as he coaxes her to completion. 

But it is not only this. No, his disease is greater, more humiliating still. He thinks of grand, maudlin absurdities. Of flowers left on windowsills, of rings slipped onto fingers, of days spent making memories out of nothing. And it is this, not lust, that he fears might truly appall her. Because hunger, after all, is easy to satisfy. It is love, foolish and relentless, that tends to send people running. 

You mustn’t be so sentimental, someone had murmured that to him once. He can no longer summon the speaker’s face, nor their voice, nor even their gender, only the ghostly trace of the words themselves, breathed or sighed, said once or, more likely, many times.

It became, in those gauzy, amber-lit years of his youth, something of a running jest. An affectionate, exasperated refrain, volleyed at him with the regularity of a well-worn melody. 

"Don’t fucking propose to the waitress, Volkarin. She’s bringing you a beer, not subtly signaling that she wants to die in your arms," Johanna would mutter, leaning back against the sticky wood of some dimly lit tavern, where they debated spirits over spirits.

"They’re funding your research, Emmrich, not secretly applying to be the mother of your children."

"Your new assistant is very handsome. Try not to hyperventilate when he hands you a quill."

He laughed along. It was funny, after all. Until, inevitably, it wasn’t. Until the joke, fossilized through sheer, relentless overuse, lost its shape and became a dull thing, something to stub his patience against. Until his forced little chuckles gave way to eye-rolls, to abrupt departures, to a growing sense that he was, in fact, trapped in some long-running farce penned by a particularly untalented playwright.

They were all married now, every last one of them—the tireless jesters, the committee of mirth who, years later, still found delight in flogging the same long-dead horse. And he wasn’t. Not that he was alone, of course. He had his affairs, his amusements, his charming little entanglements. But still, from time to time, a most delicate and specific malice stirred in him. 

He wanted to dig up some particularly malicious little corpse, whisper something truly awful to it, and dispatch it to haunt them. Not in any grand, dramatic fashion. No moaning, no rattling of chains. Just a gentle, relentless nuisance. A ghost of mild inconvenience. A door that won’t quite shut. A draft they can’t find. A whisper when they’re shaving. A misplaced document on the morning of a big presentation. 

The sort of thing a petty man might dream up. And he has, after all, always been petty.

He tried, though. He tries still. To smooth the edges of his affections, to hush the operatic swell of his heart, to trade grand declarations for something gentler, something more palatable. Not entirely, of course—self-betrayal is a vulgar thing. But enough. Just enough to keep from frightening them, from scattering them like startled birds. 

For Rook, mostly. Because Rook is not like him. Rook does not do sentiment. Rook has the supreme, indifferent ease of someone born beautiful, the kind of beauty that turns heads and opens doors without so much as a sidelong glance of acknowledgment. Rook has never had to earn affection—it accumulates around her the way cigarette smoke clings to velvet. Rook rolls her eyes at poetry. Rook, with her lazy smirk and her miraculous ability to construct entire, fully functional sentences composed exclusively of obscenities.

He loves Rook very, very much. He suspects Rook loves him too, in her own peculiar way. She smiles, she laughs, she allows him his embarrassing little effusions, even kisses him for his trouble—then, with perfect timing, calls him a dweeb and steals the last sip of his drink. 

It’s fine. He’s learned to translate. In Rook’s private dialect, dweeb means yes, fine, I suppose you amuse me, a kiss means I would be inconvenienced by your untimely death, and drinking the last of his whiskey? That, of course, is a vow of eternal devotion. Or something like that.

It all collapses into a feverish, tangled catastrophe one evening. A breathless, ill-advised implosion of longing and lust and something dangerously adjacent to reverence. She is so, so beautiful, and he wants to touch her, of course, but also—he wants to read to her. Not the dull, airless sonnets, no, but the real poetry, the ones thick with scandal, with sin, the ones that might cajole that sharp little smirk from her lips. Maybe while his fingers are inside her. Maybe precisely then.

He wants to coax pleasure from her, whispering thick, illicit syllables against her skin, punctuating each lewd phrase with the curl of his knuckles, just to see how the two mingle, just to see which makes her gasp first. To see if she’ll arch into it, if she’ll moan, if she’ll laugh. Because of course she’ll laugh. She always does. Even when he licks his fingers clean, even when he settles between her thighs, even when he finds his own satisfaction in the aftermath of hers, she will be laughing. 

It happens like that, and yet, not like that at all. Because as he collapses against her, boneless and spent, something dreadful and unmistakable unfurls in his chest—too late, of course, always too late. His sentimentality, that incurable affliction, has caught up with him at last, threading itself through his ribs, pressing its damp, foolish hands against his throat. 

He bows his head to her chest, breathing her in, willing himself to contain it, to gather the wet, trembling edges of his absurd little heart and tuck them out of sight. Perhaps she will not notice. Perhaps she will feel only the smile he presses into her skin, as if that might smother the rest. 

A silence—brief, terrible, perceptive. 

"Oh no," she says, and he feels her fingers weave into his hair, loose and lazy and terribly knowing. "What the fuck did I do?" 

He shakes his head—not much, nothing at all, everything. Just a little.

"Nothing, my darling," he says, only slightly unsteady. "Nothing at all. I am—" a soft exhale, an almost-laugh, "—very happy." He swallows. Feels the first pangs of self-reproach begin to bloom, acid-sweet. "Only… allow me a moment to gather myself. It will pass." 

A brief caress at the base of his neck. Then, just as he begins to sink into it, she shifts, shoves, displaces him. He rolls onto his back, compliant, expectant, and she follows, settling astride him, her thighs bracketing his ribs, her cool hands framing his face. 

"Happy?" she confirms. 

"Yes, happy." 

"Hm." A small, satisfied noise. "Good. Happy and pretty. You’re so very pretty." 

She does not elaborate—she never does—but she kisses him. Thoroughly. His cheeks first, then his chin, the arch of his brow, the slow, methodical placement of lips upon skin, like affixing wax seals to letters never meant to be sent. His eyes, last. She drags a fingertip down, drawing his lids closed as if dimming a lamp. Then, the press of her mouth, warm, dry, familiar. And then—oh.

The flick of her tongue, feline and quick, slips between his lashes, parting what she has only just sealed, grazing the raw, unguarded wet beneath. He flinches; she giggles, breath skimming his cheek, unreasonably pleased with herself. 

She does it again, slower this time, the tip of her tongue tracing the curve of his eyelid. Then once more, lower now, across the ridge of his cheekbone, the corner of his mouth. A methodical, absentminded mapping—kisses pressed to skin with no particular urgency, a grazing of teeth when the impulse strikes her. He lies still beneath her, utterly at her mercy, though she is hardly in a hurry to exploit it. She seems content merely to taste him, her breath leaving damp traces that cool, then tighten, then disappear. 

Chocolate, yes, still lingering from earlier, something dark and rich that settles at the back of his throat just from breathing her in. Salt, too, a faint sting where sweat beads along the curve of her upper lip. 

Finally, an exhale. A minute adjustment of her weight as she lifts her head, pleased, apparently, with whatever inscrutable calculation she has been making. A kiss, light as a comma, stamped onto the very center of his mouth. 

“There you go,” she announces, stretching her arms overhead, yawning into her wrist, smiling that slow, pleased smile of hers. “All cleaned up. Not a tear in sight, since you seem to find your own emotions so mortifying.” 

"Thank you," he says, and, disastrously, feels like he might start crying again. 

"Mm-hm." A pause. Her fingers tapping absently against his cheek. "There’s a joke in here somewhere." 

"Is there?"

A frown, thoughtful, exaggerated, her brows knitting together in careful concentration before giving way to a terrible smile. "Yes." A beat. Then, the telltale flicker of something truly indecent behind her eyes. "Something about staying hydrated. Or maybe—" a pause, as if she is weighing her options "—eating out your third eye." 

He laughs then immediately chokes as she presses her hand to his throat for balance, the casual weight of it cutting off just enough air to send his body into brief, ungraceful revolt. 

"Never short on dreadful puns, I see." His voice, when it returns, is slightly hoarse. 

"Never," she agrees. Then, with a flourish of indulgence, she leans down again, kissing his eyelids one by one. “So you continue doing this—” kiss, kiss, kiss “—and I'll continue doing that.” 

Disgracefully, absurdly, he cries again, even as she laughs, even as her laughter spreads like ink in water, pulling him under, until the whole thing disintegrates into some ungovernable mixture of mirth and misery. He is laughing too—helplessly, wet-faced, ridiculous—and she, entirely unbothered by his descent into sentimentality, licks at the salt on his cheeks like a cat, or perhaps some particularly devoted dog, calling him pretty, pretty, pretty in that lazy, drawling way of hers, as if the word itself were a charm, a refrain, a verdict.

He wants to ask her why—why this word, why now, why, of all possible things, she has settled on this ludicrous, ill-fitting descriptor as he lies before her, blotchy and unsightly and utterly, embarrassingly undone. But she only snorts into his collarbone, her breath warm, unbothered, and the chant continues, pretty, pretty, pretty, until he is left with no choice but to accept it.

In the morning, his eyes are red. Lucanis notices. Davrin notices. The two, incapable of letting a thing be, set about turning his misfortune into sport, taking turns to see who can unearth the most appallingly indecent explanation.

He feels a migraine approaching. 

And then Rook arrives, deposits a cup of coffee into his hands, and, without so much as a glance at him, declares, “He snorted too much powder last night. Leave him alone.” 

Ah. 

Oh.

He sits there, staring at her, vaguely appalled, impossibly infatuated, hopelessly starry-eyed. Very well, then. She has let sentiment in—however unwittingly, however carelessly—and now she will drown in it. And then, once she is thoroughly waterlogged, he will buy her all the gold in Nevarra. 

[aimedbladeatyou]

[sp0o0kylights]

Indie horror filmmaker Eddie Munson, high off his first big (underground but notable) success, knows the movers and shakers of the film world have their eyes on him. 

They're just waiting to see if he was a one hit wonder before they open all the doors he's been trying to kick down. 

His next upcoming film is his chance, his shot at finally making it. Of being like Rob Zombie and the other creators he looks up to that masterfully blended metal and horror. 

This is his golden ticket. 

The project starts off smooth. His last success has greased the wheels, and things fall into place faster than ever before. 

He's got the best idea for this insane haunted house story, a true "mazes in mazes" type of deal with a queer twist. A real look at how a place can haunt a person just as easily as a ghost can.

 Everything's going swimmingly--until one of his leads drops out the day they're due to start shooting.

No call no show's, and later, Eddie will find out the guy got a last second call back to be a contestant on one of those Love Island bullshit romance gigs (and laugh his ass off when the main love interest takes one look at Billy Hargrove and goes on a five minute rant about ugly mullets on national television) but right now? 

He's fucked. 

He's called in every favor he has for this film. Maxed out every credit card he owns, tapped every contact, got on his hands and knees and begged his rising star journalist best bud to help him market it. (Which Nancy agreed too, for way less cash than she should have.) 

 Eddie can't get anyone on the phone, much less find a replacement actor and the amazing place they rented, that is so dark and wonderfully eerie, is booked out the rest of the year as an AirBnB. 

If he doesn't film now, he loses it all.

Cue the other lead, unknown theater actor Steve Harrington, watching his hair pulling, tire kicking, 'cursing and hopping while holding a toe' mental breakdown and asks why Eddie himself doesn't act in it. 

"Just go full Kevin Smith man. Act and direct." He says, with an easy grin. 

Jeff, Eddie's tried and true videographer, trades glances with Gareth and Grant (Eddie's long used special effects and makeup team, who double for about twelve other jobs because they're also his best friends and they're all in this together, make or break.)

"We don't really have a lot of other options." Gareth hedges. "You're already using me and Grant as background characters." 

Eddie, hands fluttering around his face as though trying to wave away this entire situation, squeezes his eyes shut and lets out a pained hiss. 

"Fine, fine!" He announces with the air of a man running towards a fire. "Fuck it, this is our one shot and so help me I will be shooting it!" 

Steve politely hides a laugh with a cough. 

"Chuckle all you want big boy, I'm going to tragically romance you so hard people will forget both of our characters actually live." Eddie snarls.

Steve, the handsome bastard, just winks.  "Looking forward to it." 

Eddie blushes, but hides it with a surge of frantic energy, conveyed by lots of yelling and moving and getting the ball rolling. 

Two days later, Steve would give the performance of a lifetime down on his knees, covered in a literal pound of fake gore, booty shorts and nothing else as he sobbed about how a lover could become a home. His hands clawed at Eddie's jeans before resting a tear stained face on a slim leg as he bent his body towards Eddie like it hurt to be away from him. 

Eddie would later receive equal praise in his own acting during the scene, with the world and every reporter in it asking how he conveyed an otherworldly panic so beautifully throughout Steve's performance. What was he thinking, to evoke those expressions on his face? 

The way his own pale hand, unmarred by blood and acting as a metaphor for the plot, would come to stroke Steve's cheeks.

Eventually he'd come up with a smooth polished answer that cheekily pleased his audience, but nothing would ever come close to the truth. 

("Eddie I've known you since grade school." Jeff said that night, a scant few hours after they'd wrapped. "You can act man, but not like that." 

Eddie made a wild "shut up" gesture, looking frantically over his shoulder before admitting; "You saw how close his face was to the prince of darkness!? I was seconds away from popping a boner next to his lips, in front of the 4K camera!” 

Eddie bounced into Jeff’s face so he could hiss: “He fucking had his chin on my thigh, Jeff, and I am only a man. A mere mortal!" 

"So we're gonna unpack all of that later." Jeff said finally, when he'd managed to get his mouth working and Eddie back out of his personal space. "But dude, we've talked about you calling your dick the prince of darkness." 

Eddie flipped him off.) 

One year later and critics named Corroded the best horror film of the year, praising the camera work, practical effects, and how there wasn't a soul alive who was surprised to hear Eddie and Steve were dating after their explosive on screen chemistry.

No one ever quite understood the prince of darkness jokes or why Steve mentioning it made Eddie blush, but that was a secret to find out later. 

Today on WIP’s I have no intention of writing, indie horror movie AU!

[gubler-garbage]

Queer solidarity

[skunkes]