#putting this if i dont actually finish it
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hm. so. homecoming wings spoilers, be warned.
i just finished caleb’s branch on the main story and i’m actually crying? i’m not going to talk about the little holes they left on the story because the game was never about scratching the player’s itch of writing excellency like a book would do…
but why did our farewell with caleb sounded so bittersweet? like we actually “lost” our childhood bestfriend or the idea we had of him and there is no comfort after that. that is just there, in plain sight: we are not happy with him and we let him go in weird terms. them leaving things as they were pissed me sooo much! but again, i must consider the cards and extra content after that happened… so we are actually in good terms, or something like that.
infold really put the yandere behavior on him and i love it! at the same time, they let us feel that teenage loving side of him to ease a little (and confuse) our brains.
the sleeping pills??? the “sit back” voice??? the “i want to protect you so much that i’m ok with being the bad guy in your head as long as i keep you safe”???
🔊 THE CUP SCENE. YES. OH MY GAWD. and then his reaction like “are you finished?” after that- LORD HAVE MERCY. his battle attire, animation and lines are my favorite now! (after lumiére ofc)
caleb is so hot and his memories and cards are so unique!!! you get that feeling of first love and intimacy only the mc’s trope with him can give us. AND HE IS CRAZY ABOUT US AND IF YOU DONT LIKE THAT I FEEL SO SORRY FOR YOU. cause you’re missing out on this guy.
what really got me was his yearning, his trailers really gave us that and i’m glad it wasn’t just trope bait. he looks disheartened when he sees that we are ACTUALLY pissed at him. and when he goes to ruffle our hair and then stops his hands when we’re saying goodbye? OH NO MY SHAYLA.
this was me yapping. i’m not disappointed at all, the 3.0 version is full of nice features. it’s a shame the game is mostly a scam, but who am i to complain right? i’ll watch everything on yt later <3 CALEB YOU’RE SO HOT PLS GIVE ME A CHANCE.
anyways, live laugh love caleb.
#love and deepspace#caleb x you#caleb love and deepspace#caleb x mc#lads#caleb fluff#caleb fanfic#love and deepspace caleb#caleb x reader#caleb smut#caleb
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there is context to this.
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been trying to get back into animation
original gif below ^^ teehee!
#F slur#reclaimed f slur#You wanna know the worst part abt this#this is the first finished animation ive made in like 5+ yrs#animation#turbo#turbo wir#turbo wreck it ralph#king candy#king candy wir#king candy wreck it ralph#Idk why i locked in so hard HEHRHEHHAHA😭😭😭😭😭😭 i just kept on adding more and more until it became This#abomination#i was even gonna make the background more polished and everything but then i was like Wait i actually dont care#this was so fun to make ouggjghhhmhmgjjdf i forgot how fun animation was!!!!!!😢😢😢 definitely going to be making more in da future#this was very experimental i just love putting myself on grinding duty and qorking on something like this for hours straight#i am so learning bros#ill post frames tomorrow bc its midnight and idk how many ppl are gonna see this rn but i cant just not post it immediately#wreck it ralph#silly time 🐛🐛🐛#my art! 🎨
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I was thinking about HotelOwner!Taco interactions earlier and I think that they should be friends. Or maybe frenemies.
#ii#inanimate insanity#sighhhh not technically my au#this is based on a s1 winner swap au I saw#ii taco#ii paper#ii evil paper#I dont like calling him that#I saw someone call him Looseleaf and I like that but idk if im allowed to steal that#Shes smart enough to put together when Evil paper is in switch and to understand that Paper doesnt remember what EP does#but still doesnt fully grasp that EP remembers shit because nobody at the hotel actually knows what DID is#starts a fic before finishing my old one starts a fic before-
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basically my standards for gay/trans media these days are that it has to be something i'd still enjoy even if none of the characters were gay or trans. bc otherwise the whole thing is a waste of my fucking time. in 2012 i was so starved for gay representation that i'd consume anything that so much as mentioned queerness just to feel less alone but that's not the world we live in anymore and i don't want to go back to that world and i would be miserable continuing to pretend that gayness is the pinnacle of good writing in 2023 it feels so.... gross. i like being spoiled with a rapturous amount of gay content to choose from and plenty of the gay content i DON'T like is beloved by other queer people and i don't have to love every gay narrative or pretend to. so i'm no longer touching any shit that doesn't do the kind of cool storytelling that compels me. i did my years in the trenches.
#unlikely to ever finish aftg partially for this and partially bc i really only wanted to participate in fandom and#my experiences with the fandom and its discourse put me off it like. yeah actually i dont want to be involved with any of this#eta: please don't tag this post q slur. i'd rather you simply didn't reblog it.
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THE NARRATOR!!!!!!!!!! Or my first attempt at my vision of him
Oh how I want to yell so much about how much I love him. But for now, take this art.
(CLICK FOR BETTER QUALITY)
Im going to make a full design soon but this just popped out before I was able to. Look forward to a more in depth, full body design of this guy :3
#tsp#the stanley parable#the narrator tsp#tspud#first thing is i had to give him a fucking tail#and the tip of it actually can act on its own like a mouse cursor#also..i need to put some more fat on this guy#god i cant believe i finally finished this#god please dont let this flop#im gonna improve my art just to draw more of him AHHHH#I LOVE HIM I LOVE HIM I LOVE HIM#my art#tsp narrator
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patience being tested. being forced by a bizarre unfortunate situation to adhere to university requirement technicality by taking this simple basic elementary "introduction to environmental history" class.
this class is from facilitators/program which do, like, "history of the American frontier" or "history of fishing and hunting" and still basically subscribe to that old-school twentieth-century idealization and celebration of characters like Teddy Roosevelt and reverence for a mythical arc-of-history-bent-towards-justice narrative of the often-clumsy but ultimately-benevolent US federal government and its mission to "save nature" through the miracle of "sustained yield," while heroic federal land management agencies and "heritage" institutions lead to way, staffed by exceptional individuals (appeals to nostalgia for the frontier and an imagined landscape of the American West; ego-stroking appeals to flattering self-image that center the environmentalist or academic). where they invoke, y'know, ideas like "ecology is important because don't you enjoy cross-country skiing in The Woods with your niece and nephew? don't you like hunting and fishing?" which makes it feel like a time capsule of appeals and discourses from the 1970s. and it invokes concept of "untouched wilderness" (while eliding scale of historical Indigenous environmental relationships and current ongoing colonial violence/extractivism). but just ever-so-slightly updated with a little bit of chic twenty-first-century flair like a superficial land acknowledgement or a reference to "labor histories" or "history from below," which is extra aggravating when the old ideologies/institutions are still in power but they're muddying the water and diluting the language/frameworks (it's been strange, watching words like "multispecies" and "Anthropocene" over the years slowly but surely show-up on the posters, fliers, course descriptions, by now even appearing adjacent to the agri-business and resource extraction feeder programs, like a recuperation or appropriation.) even from a humanities angle, it's still, they're talking at me like "You probably didn't know this, but environmental history is actually pretty entangled with political and social events. In fact, we can synthesize sources and glean environmental info from wacky places like workers' rolls in factories, ship's logs, and poetry from the era." and i'm nodding like YEP.
the first homework assignment is respond to this: "Define and describe 'the Anthropocene'. Do you think 'the Anthropocene' is a useful concept? Why or why not?" Respond in 300 words.
so for fun, right now in class, going to see how fast i can pull up discussion of Anthropocene-as-concept solely from my old posts on this microblogging site.
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ok, found some
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I think that the danger in any universal narrative or epoch or principle is exactly that it can itself become a colonizing force. [...] I’m suspicious of the Anthropocene as concept for the very reason that it subsumes so many peoples, nations, histories, geographies, political orders. For that reason, I think ideas like the Anthropocene can be a useful short-hand for a cluster of tangible things going on with the Earth at the moment, but we have to be very careful about how fluid and dynamic ideas become concretized into hegemonic principles in the hands of researchers, policymakers, and politicians. There’s so much diversity in histories and experiences and environmental realities even between relatively linked geographies here in Canada [...]. Imagine what happens when we try to do that on a global scale - and a lot of euro-western Anthropocene, climate change and resilience research risks doing that - eliding local specificities and appropriating knowledge to serve a broader euro-western narrative without attending to the inherent colonial and imperial realities of science and policy processes, or even attending to the ways that colonial capitalist expansion has created these environmental crises to begin with. While we, as a collective humanity, are struggling with the realities of the Anthropocene, it is dangerous to erase the specific histories, power-relations, political orders that created the crisis to begin with. So, I’m glad that a robust critique of the Anthropocene as a concept is emerging.
Text by: Words of Zoe Todd, as interviewed and transcribed by Caroline Picard. “The Future is Elastic (But it Depends): An Interview with Zoe Todd.” 23 August 2016.
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The Great Acceleration is the latest in a series of human-driven planetary changes that constitute what a rising chorus of scientists, social scientists, and humanists have labeled the Anthropocene - a new Age of Humans. [...] But what the Anthropocene label masks, and what the litany of graphs documenting the Great Acceleration hide, is a history of racial oppression and violence, along with wealth inequality, that has built and sustained engines of economic growth and consumption over the last four centuries. [...] The plantation, Sidney Mintz long ago observed, was a “synthesis of field and factory,” an agro-industrial system of enterprise [...]. Plantation legacies, along with accompanying strategies of survival and resistance, dwell in the racialized geographies of the United States’ and Brazil’s prison systems. They surface in the inequitable toxic burdens experienced by impoverished communities of color in places like Cancer Alley, an industrial corridor of petrochemical plants running along the Mississippi River from New Orleans to Baton Rouge, where cotton was once king. And they appear in patterns of foreign direct investment and debt servitude that structure many land deals in the Caribbean, Brazil, and sub-Saharan Africa [...]. [C]limatologists and global change scientists from the University of London, propose instead 1610 as a date for the golden spike of the Anthropocene. The date marked a detectable global dip in carbon dioxide concentrations, precipitated, they argue, by the death of nearly 50 million indigenous human inhabitants [...]. The degradation of soils in the tobacco and cotton-growing regions in the American South, or in the sugarcane growing fields of many Caribbean islands, for example, was a consequence of an economic and social system that inflicted violence upon the land and the people enslaved to work it. Such violent histories are not so readily evident in genealogies that date the Anthropocene’s emergence to the Neolithic Revolution 12,000 years ago, the onset of Europe’s industrial revolution circa 1800, or the Trinity nuclear test of 1945. Sugarcane plantations were already prevalent throughout the Mediterranean basin during the late middle ages. But it was during the early modern era, and specifically in the Caribbean, where the intersection of emerging proto-capitalist economic models based on migratory forced labor (first indentured servitude, and later slavery), intensive land usage, globalized commerce, and colonial regimes sustained on the basis of relentless racialized violence, gave rise to the transformative models of plantations that reshaped the lives and livelihoods of human and non-human beings on a planetary scale. [...] We might, following the lead of science studies scholar Donna Haraway and anthropologist Anna Tsing, more aptly designate this era the Plantationocene. [...] It is also an invitation to see, in the words of geographer Laura Pulido, “the Anthropocene as a racial process,” one that has and will continue to produce “racially uneven vulnerability and death." [...] And how have such material transformations sustained global flows of knowledge and capital that continue to reproduce the plantation in enduring ways?
Text by: Sophie Sapp Moore, Monique Allewaert, Pablo F. Gomez, and Gregg Mitman. "Plantation Legacies." Edge Effects. 22 January 2019. Updated 15 May 2021. [Bold emphasis added by me.]
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Geologists and other scientists will fight over [the definition of the beginning start-date of the Anthropocene] in scientific language, seeking traces of carbon dioxide that index the worst offenses of European empire which rent and violated the flesh, bodies, and governance structures of Indigenous and other sovereign peoples in the name of gold, lumber, trade, land, and power. [...] The stories we tell about the origins of the Anthropocene implicate how we understand the relations we have with our surrounds. In other words, the naming of the Anthropocene epoch and its start date have implications not just for how we understand the world, but this understanding will have material consequences, consequences that affect body and land.
Text by: Heather Davis and Zoe Todd. On the Importance of a Date, or Decolonizing the Anthropocene. ACME An International Journal for Critical Geographies. December 2017. [Bold emphasis added by me.]
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From Aime and Suzanne Cesaire, C. L. R. James, Claudia Jones, Eduoard Glissant, through Sylvia Wynter, Christina Sharpe, and so many others, critical anticolonial and race theory has been written from the specific histories that marked the Black Atlantic. [...] Glissant also reminds us, secondly, of how cunning the absorptive powers of [...] liberal capitalism are - how quickly specific relations are remade as relations-erasing universal abstractions. [...] This absorptive, relations-erasing universalism is especially apparent in some contemporary discourses of […] liberalism and climate collapse - what some call the Anthropocene - especially those that anchor the crisis in a general Human calamity which, as Sylvia Wynter has noted, is merely the name of an overdetermined and specific [White] European man. […] [T]he condition of creating this new common European world was the destruction of a multitude of existing black and brown worlds. The tsunami of colonialism was not seen as affecting humanity, but [...] these specific people. They were specific - what happened to them may have been necessary, regrettable, intentional, accidental - but it is always them. It is only when these ancestral histories became present for some, for those who had long benefitted from the dispossession [...], that suddenly the problem is all of us, as human catastrophe.
Text by: Elizabeth Povinelli. “The Ancestral Present of Oceanic Illusions: Connected and Differentiated in Late Toxic Liberalism.” e-flux Journal Issue #112. October 2020.
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The narrative arc [of White "liberal humanism"] [...] is often told as a kind of European coming-of-age story. […] The Anthropocene discourse follows the same coming-of-age [...] script, searching for a material origin story that would explain the newly identified trajectory of the Anthropos […]. Sylvia Wynter, W.E.B. DuBois, and Achille Mbembe all showed how that genealogy of [White subjecthood] was [...] articulated through sixteenth- through nineteenth-century [historiographies and discourses] in the context of colonialism, [...] as well as forming the material praxis of their rearrangement (through mining, ecological rearrangements and extractions, and forms of geologic displacements such as plantations, dams, fertilizers, crops, and introduction of “alien” animals). […] As Wynter (2000) commented, “The degradation of concrete humans, that was/is the price of empire, of the kind of [Eurocentric epistemology] that underlies it” (154).
Text by: Kathryn Yusoff. “The Inhumanities.” Annals of the American Association of Geographers, Volume 11, Issue 3. November 2020.
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As Yarimar Bonilla suggests in regard to post-Irma-and-Maria Puerto Rico, “vulnerability is not simply a product of natural conditions; it is a political state and a colonial condition.” Many in the Caribbean therefore speak about the coloniality of disaster, and the unnaturalness of these “natural” disasters [...]. Others describe this temporality by shifting [...] toward an idea of the Plantationocene [...]. As Moore and her colleagues write, “Plantation worlds, both past and present, offer a powerful reminder that environmental problems cannot be decoupled from histories of colonialism, capitalism, and racism that have made some human beings more vulnerable [...].” [W]e see that contemporary uneven socioecologies associated with the rise of the industrial world ["the Anthropocene"] are based [...] also on the racialized denial and foreshortening of life for the sacrificial majority of black, brown, and Indigenous people and their relegation to the “sacrifice zones” of extractive industry. [...] [A]ny appropriate response to the contemporary climate emergency must first appreciate its foundations in the past history of the violent, coercive, transatlantic system of plantation slavery; in the present global uneven development, antiblackness, and border regimes that shape human vulnerability [...] that continues to influence who has access to resources, safety, and preferable ecologies [...] and who will be relegated to the “plantation archipelagoes” (as Sylvia Wynter called them) [...].
Text by: Mimi Sheller. “Thinking Beyond Coloniality: Toward Radical Caribbean Futures.” Small Axe (2021), 25 (2 (65)), pages 169-170. Published 1 July 2021. [Bold emphasis added by me.]
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Indigenous genocide and removal from land and enslavement are prerequisites for power becoming operationalized in premodernity [...]; it was/is a means to operationalize extraction (therefore race should be considered as foundational rather than as periphery to the production of those structures and of global space). [...] Wynter suggests that we […] consider 1452 as the beginning of the New World, as African slaves are put to work on the first plantations on the Portuguese island of Madeira, initiating the “sugar-slave” complex - a massive replantation of ecologies and forced relocation of people […]. Wynter argues that the invention of the figure of Man in 1492 as the Portuguese [and Spanish] travel to the Americas instigates at the same time “a refiguring of humanness” in the idea of race. [...] The natal moment of the 1800 Industrial Revolution, […] [apparently] locates Anthropocene origination in […] the "new" metabolisms of technology and matter enabled by the combination of fossil fuels, new engines, and the world as market. […] The racialization of epistemologies of life and nonlife is important to note here […]. While [this industrialization in the nineteenth century] […] undoubtedly transformed the atmosphere with […] coal, the creation of another kind of weather had already established its salient forms in the mine and on the plantation. Paying attention to the prehistory of capital and its bodily labor, both within coal cultures and on plantations that literally put “sugar in the bowl” (as Nina Simone sings) […]. The new modes of material accumulation and production in the Industrial Revolution are relational to and dependent on their preproductive forms in slavery […]. In 1833, Parliament finally abolished slavery in the British Caribbean, and the taxpayer payout of £20 million in “compensation” [paid by the government to slave owners for their lost "property"] built the material, geophysical (railways, mines, factories), and imperial infrastructures of Britain and its colonial enterprises and empire. [...] A significant proportion of funds were invested in the railway system connecting London and Birmingham (home of cotton production and […] manufacturing for plantations), Cambridge and Oxford, and Wales and the Midlands (for coal). Insurance companies flourished [...]. The slave-sugar-coal nexus both substantially enriched Britain and made it possible for it to transition into a colonial industrialized power […]. The slave trade […] fashioned the economic conditions (and institutions, such as the insurance and finance industries) for industrialization.
Text by: Kathryn Yusoff. "White Utopia/Black Inferno: Life on a Geologic Spike". e-flux Journal Issue #97. February 2019. [Bold emphasis added by me.]
#sorry for being mean#instructor makes podcasts about cowboys HELP ME#and he recently won a New Business award for his startup magazine covering Democrat party politics in local area HELP#so hes constantly performing this like dance between new hip beerfest winebar coolness and oldfashioned masculinity#but hes in charge of the certificate program so i have to just shut up and keep my head down for approximately one year#his email address is almost identical to mine and invokes enviro history terms but i made mine long before when i was ten years old#so i could log in to fieldherpforum dot com to talk about enviro history of distribution range changes in local reptiles and amphibians#sir if you read my blog then i apologize ive had a long year#and i cant do anything to escape i am disabled i am constantly sick im working fulltime i have NO family i have NO resources#i took all of this schools graduate level enviro history courses and seminars years ago and ran the geography and enviro hist club#but then left in final semester because sudden hospitalization and crippled and disabled which led to homelessness#which means that as far as any profession or school is concerned im nobody im a retail employee#i was doing conference paper revisions while sleeping on concrete vomiting walking around on my cane to find outdoor wifi#and im not kidding the MONTH i got back into a house and was like ok going back to finish the semester the school had#put my whole degree program and department in moratorium from lack of funding#and so required starting some stuff from scratch and now feel like a hostage with debt or worsening health that could pounce any moment#to even get back in current program i was working sixteen hours a day to pay old library fines and had to delicately back out of workplace#where manager was straight up violently physically abusive to her vulnerable employees and threatened retaliation#like an emotional torturer the likes of which i thought existed only in cartoons#and the week i filed for student aid a massive storm had knocked out electricity for days and i was clearing fallen tree debris#and then sitting in the dark in my room between job shifts no music no phone no food with my fingers crossed and i consider it a miracle#sorry dont mean to dramatize or draw attention to myself#so actually im happy you and i are alive
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mira !!! :]
#isat#in stars and time#isat mirabelle#isat spoilers#<- due to act 3 optional content !#the img might be being chewed due to weird canvas size oops ah well#one of these miras is not like the other#one of these miras doesnt belong ASFASFSDAFA#a majority of these are based on things mentioned / that happen in the house cuz i thought itd be fun to draw :D#so like the wilting plant is from gardening room dialogue#the poster with ppl holding hands and sparkly eyes is (i think??) from some SAPSAPSAAP dialogue in one of the first rooms#i tried looking around ISAT to see if it's also in there too but couldnt find it so uh correct me if im wrong if thats NOT an exclusive LOL#side note the 2 in the poster are some old nuz ocs isatified ASDFASFA#funnily enough tho they are from 2 different games if they actually ever met they would hate each others guts i think. hmm...#however both are also the most qualified to help with promotional stuff so theres that ASDFAFA#mira looking at her bonding proposals is sorta on the tin but#the fact that she has like right next to her while she sleeps in her dresser makes me :(#cuz to me it potrays how much theyve been weighing over her cuz of how close shes been keeping them with her vs putting them on a bookshelf#or something idk if that makes sense i dont have proper words atm#but uhhh moving on chalkboard is from one of the optional events#which i think is! important!!! i dont think ive seen many ppl talk about it but!! yeah!#however i too do not have words on it atm but!!! yeah!!!! moving on for now!#the 'mira' that is really just the change god is ofc from the change god event :]#aaand ofc the iconic finish from mira towards the king#and then some misc miras with swords for funsies tbh ASFAFA#but yeah! i like mira a lot actually but as with many things i do not currently have many words to properly articulate *why*#all i know in my heart of hearts is that she is near and dear and special to me personally#one day. one day i will be able to gather my thoughts in a cohesive manner but that day. is not today!#anyway tag talk over :]
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AGH happy (definitely-not-late) bday to mr jamil viper 💖🐍 and thank u harveston jamil for coming home as well as two of his bday cards 💖💥
#i put WAY too much effort into this and;; i dont even like it 100% 😭#i gave up on the patterns </3#but anyways#thank u jamil for ruining my life ily#also happy holidays everyone (it’s literally still back-to-school season)#actually technically it's already christmas in the philippines#so uhhh#it fits???#thank u harveston sledathon for the perfect timing#[—✦-#-✧ my art#twst#twisted wonderland#twst art#jamil viper#harveston sledathon#-✦—]#also also i havent??? posted art in almost a week???#das crazyyy#i got sick the day after his bday when i was supposed to be finishing up his art >:[#then i just lost all energy for a bit i couldnt do anything 😭#anyways it’s like. 4am i cant sleep#so i decided to just finish up his bday art 😤#who knew drinking thai boba milk tea at 5pm wouldnt be such a good idea#i feel like i’m unnecessarily rambling more than usual lmao sorry 😭
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just how can i protect your smile?
#you guys like yaoi? can i get you some yaoi#pjsk#prsk#project sekai#proseka#tsukasa tenma#rui kamishiro#ruikasa#AUUUUUGH.#this is what finally makes me actually draw riks. vocaloid autism#putting the link in the caption because NOBODY FUCKIGN TLAKS ABOUT SCISSORHANDS EVER WHERES THE HYPE I NEED HER. SONG OF THE DECADE(2009)#this song makes me incredibly normal. my bad. i saw the miume choreography when i was like 11 and my brain shifted#i wanted their outfits to look like mikus in the mv so bad. Fuck my life for that btw stupid fuckign frill trim. why did she have to slay#tried to think of smth other than butterflies for kasa but i have no brain and tbh i hope his life is miserable so its fine#me posting this only to tmblr and not twt because i fucking hate twt#im drawing more song covers that live in my mind palace so i'll pist them there all together. and maybe here all together. who give a shit.#emnn skeleton orchestra next and it will fix me#Good lord. sorry. Im so caught up posting this for no reason. Get me out of here#im supposed to have a lecture in 3 hours but post covid symptoms say otherwise. im so fucked#i have a cyberpunk dead boy wip with them but idk i dont like posting wips on here its like an archive. n i want to actually finish it#but dear lord rendering it with their stupid outfits. clutches my chest falls to the floor. AUUUUGH#wxs killing me killing me taking damage augh auugh aughg
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#sketches#scrapped#my art#Woe my lengthy rant be upon ye! below..#this is the gabe that I was going to put in the background of my previous post#Mostly just didnt work because I overdid the rendering here in a way that clashed with the bg really bad#& the colors are off too#on its own it looks nice though#Sorry about the watermark I normally dont bother with those but I actually like this a little. Like it's pretty#& I feel like this would be something some asshole reposts on pinterest with no permission#e_e#I like the way this looks with the white background enough that I might actually finish rendering it... maybe.....idk#gabriel ultrakill#ultrakill
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Please don't hurt yourself
#lobotomy corporation#lobcorp#library of ruina#hod#hod lobcorp#hod lobotomy corporation#hod library of ruina#erm... michelle. hii michelle. going to have to spoiler tag for you though baby#lobotomy corp spoilers#lobcorp spoilers#okay i think thats it#no shading because this made me want to KILL YMSELF#it looks fone w out it anyways. yay. thank you filter after effects for saving my ass this . hurt me so muchh to try to finish#nothing specific that had me make this. at least from lobcorp lor. its more of having more empathy towards my past self or when i was young#than me. right now. it feels as if the past is so devoid of my current self yet i know that its Me. its just so distant. to the point where#at times it feels as if the me of the past is devoid of the current me. im told im very empathetic? hard to tell. that im patient and kind#or more of understanding to everyone but Myself. so when i try to be kind to myself it feels impossible. but im able to do it to my past se#which makes a disconnect. please dont hurt youself. please dont hate youself. you dont need to do that. i know you want to live it hurts#i know. its alright to want to live. you dont need to apologize and feel Guilty. but never towards Myself. to console and wish to soothe bu#not to the current self. to pardon and accept but not to this Me. so i wanted to put it down kinda. felt most similar to hod ish.#its guilt for living. apologizing for existing. wanting to be accepted and pardoned. but also forgiving and accepting the self of before#not so much forgiving. forgive is a weird word. the hurt never leaves. and the guilt is there regardless. but. yknow. accept#sorry some random shit. yappin. who gaf abt that guy. who was that guy. anyways. hod <3 HODD!!!#just like to ramble abt what i think abt when i go to make pieces. since i uhh dont really have anyone to tell who would care. so. awkward.#god thats embarrassing actuallt migjt delete if im not lazy asf later. loser oversharing on the internet AHH 💥💥#uhmm back to the actual piece. the proportions and fhe coloring were having me feel like i was dging trying to get it right. almost#considered just gettinf rid of it and scrapping the whole piece. didnt though. wanted to have it done and finished. hod <3#the feeligns described arent what i would relate w hod? but closest chatacter towards the general thougut. so wanfed to draw her#i wanted to do more w ligjting and such as well. but it never ended up getting in. maybe later
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utena and witch
(based off of this, which i unfortunately do not know the original artist of, sadly)
#my art#revolutionary girl utena#rgu#utena tenjou#anthy himemiya#utenanthy#finally done!!! feels good to finish something for myself#i put 'utena and witch' in the description for this in reference to 'tamara and demon' a painting inspired by the same poem that inspired -#- the drawing i based this off of. (at least i think so. i dont know for sure but i assume it is)#while i dont know the actual name of that drawing or who made it (despite my researching) it will come up when you search 'tamara and demon#so. theres where the 'utena and witch' part came from#2024
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-> -> Guess whos AU is turning a year old on February 17th!
The time when the update will be posted is not specified since it will all be dependent on my work schedule, however I will try and let you all know when it is being posted in advance if I end up posting it very late in the day!
(I am in MST)
#2 arms left#hey uh.#sunday#sunday is going to kill people.#sunday is actually#a really really long update#that I have been really excited to draw for a long long while#do look forward to sunday <3#friday: haha silly!#saturday: ah... bittersweet silly!#sunday: oh. oh god oh shit. who put these tears in my eyes..... who gave a leo permission to cuss for an update.....#I am not finished with sundays update though#I am about halfway done#and it is... already 39 panels...............#I might end up having to extend the event to monday tbh#so its not a 4 part update in the end#but we will see???#fridays and saturdays updates are done and set in stone though#also dont be surprised if I self rb sundays update throughout the week#chances are im posting it late sunday night#which well late sunday night = the WORST posting hours I swear-
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Morro design + a ton of notes.
#alek art#lego ninjago#ninjago#morro wu#lloyd garmadon#featured !#2024#the colors are soooo not going to stay consistent. just because i dont really work with green... ever... not the most happy with these#i need to do a ton of redraws its actually really fun... might open rqs#i know he was 15-20 when he died and its said he was a little younger than the ninja when it happened . and during s5 i see them as#18-20 so i will put him at 19 just because he gives 19 year old vibes (???)#i think i talked about the wings before. they can flap!! he does have ears !!! dont ask how it works. ninjago doesnt make sense#i say this when im the one overthinking how all their powers work and robot schematics. oops#i finished s5 .. i think we'll watch s6 tonight (queueing this on the 14th for reference) so prepare for stuff from that#art was kicking my ass and then i drew morro and all was fixed. morro my new muse ? i cant wait for day of the departed special#FUN FACT ive never seen it. and i like morro so im like itching for it dude. hes so mal core isk
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A few silly little small sculptures that I made with some of the leftover clay from the main one I did recently
#sculpture#birds#neopets#sparkly little aishas my beloved.....#Though I actually kind of liked them with a matte finish more?? I wanted to try out making them sparkly and shiny..but#I think they might have looked better before adding all the shine. BUT I kind of like both. Maybe I should make two more that aren't shiny#just to have variation lol... an entire army of tiny aishas.....#The little house is so bad lol I hada headache at that point and kind of just wanted to get everything over with#(I bake the clay all at once so I had to get the smaller ones done to go with the main one)#and was like.. zero effort into making things line up or measuring at all. one window on one side is like twice as big as on the other lol#but I think from afar ifnot examined too closely it's still kind of cute. The birds were also just random like 'what can I shape out of thi#s small blob of clay I have leftover' etc. I did actually put irridescent eyeshaow on the pigeon but it just doesnt show up in photos ToT#The other bird is not anything in specific... some sort of random fantasy creature bird with slight purple on it's wings or something#The strawberry is exclusively just a quickly done accessory for the birds.. I wanted them to have a little meal to share#even though I dont know if birds eat strawberries#the last picture in the set is them all sitting on a shelf (the most well lit place I could find) but looks weird#since it has all of my avocado pit eyes in the background......... ominous backdrop for such peaceful little creachures..#you kind of cant tell what they are from that angle though i guess lol
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