#so i did open photoshop

[taeraenini]

credit

[moonchild-in-blue]

Anyways~~

Guys look 🥺 i drew my animal crossing character on my phone 🥹

isn't it she adorable 🥹🖤

[icewindandboringhorror]

examining a seemingly normal image only to slowly realize the clear signs of AI generated art.... i know what you are... you cannot hide your true nature from me... go back where you came from... out of my sight with haste, wretched and vile husk

[whosname]

I'm in powerpoint hell. I want out please, PLEAAAAASSSEEEEEEE.

[princemick]

what I image was going through lewis's head in this moment after seb beat him with 11 seconds after the 2018 belgian gp

[mildmayfoxe]

tbt this devil lady from 2021; it might be cool to do a redraw of her

[caoimhe-from-hoenn]

so I passed by these monstrosities this morning posted outside the post office, apparently this is what the photoshoot was for and HEUUUUUGHHHHHHH

[johnnysslaughter]

disc: itsthenerdlife

[tickfleato]

and i'm not even mad. and i'm NOT even mad;. And im literally NOT even mad. and im not even mad about it and im not EVEN mad and i'm NOOOT EVEN MAAAAD

[rohirric-hunter]

.

[e-adlirez]

#Technoblade25

Heeyyyyy am I late to the party? I hope I'm not too late, been working on this thing for the occasion

hebe hebe HEBE amiinm'enbimikta HEBE AMIINM'ENBIMIKTA AMIINM'ENBIMIKTA HEBE HEBE HEBE AMIINM'ENBIMIKTA

Ne yhdeini sy caera, Tommy? Meku AMULVHT VID LIIN!

For the record, the ripple thingies are from Tsevhu, aka the funni koi fish language :D I've been studying the conlang lately

Anyway, the red Tsevhu is a translation of "you want to be a hero, Tommy? Then DIE like one!", while the pale red are the voices chanting "one of us" and the closest the Tsevhu Discord could approximate for "blood for the blood god" in a phrase (the actual thing translates something to like "start giving completely and involuntarily", which in Tsevhu is kinda like chanting for sacrifice, which is fun and very much chat :3)

("blood for the blood god" would've translated to a straight-up sentence that I'd have to frame in koiwrit, which I felt would be too cluttered, as much as clutteredness is very in-character for chat)

Anyway hope I'm not too late haha, happy 25th birthday, Techno.

[hua-fei-hua]

today i learned that we weebs are responsible for the existence of the .ass file type. #heritage

[sisterdivinium]

(One thing I find peculiar and unfortunate in current fandom business is the seeming lack of pointed discussion, so here is a humble attempt to spark a conversation and I more than welcome commentary.)

I came across someone in the notes to a post somewhere talking of how Jillian had been better styled in season two than in season one and I agreed, already seeking the justification for it in my mind. My observations are as follows:

S1 Jillian is Arq-Tech's mastermind and public face. Even though we first meet her in Morocco, in her explorer, Indiana Jones-like garb, it's the image of her running her company that sticks with us, her statements to the press, her corporate persona opening metaphorical fire upon the Church. A "powerful woman" as mainstream media constructs for us everyday, in subtle but visible makeup so as to diminish the effects of age on her face, in heels so as to peek at the rest of humanity from above, with controlled gestures meant for the inherent theatricality that comes with introducing life-changing technology to society. It is a role she plays—well, but a role nonetheless.

The scene she shares with father Vincent is worthy of mention, for while he sits without taking up much space, his body restrained to the side of a couch, his legs crossed in what is deemed a more "feminine" posture, Jillian takes up the traditional "masculine" attitude: she commands the room, her body expanding upon her seat, in the broad pose where an ankle rests upon a knee, complete with a generous glass of alcohol in hand and talon on foot. Yet this is also for show­—it's a little too calculated, a dance that was so perfected in exhaustive practice that it lost its dynamic.

Our glimpses into the more authentic Jillian come in the scenes with Michael—not only because (coded in white and blue as the Virgin Mary of immaculate conception) she plays the part of mother, but because, in her intimacy, far from journalists and employees and the public's prying eyes, she can be more herself within the areas where she conducts her studies. Starting from when Ava asks Jillian to "science her", we never see the doctor in uncomfortable shoes again, as she retreats from entrepreneurial life and into the lab.

This is clearer in season two, for, as Kristian says, she is on sabbatical, thus isolated from general view; S2 Jillian has nobody around her, nobody to impress. Locked away in her Spanish villa, consumed by her son's disappearance, she need not wear a mask. There are no more tellingly feminine accessories, no staged stunts; her clothes and footwear are even more practical, her movements less grand but more human, more expressive (here, of course, we owe it to Thekla Reuten's underrated range). Even as the OCS invites itself into her house, making it a makeshift HQ, she doesn't fall back on the act we saw in the first season.

Jillian's stepping back from the head of her company is not just in name and contract, but in body, too; she leaves the CEO role in her office and comes home to her science and her cause, to her limited inner circle of which only Michael was privy to and into which the OCS nuns end up finding their way.

Colours also indicate a shift—we begin the series seeing her associated with light hues such as white, beige and baby blues, but when season two comes in, Jillian's striking all-white attire is nowhere to be found. The Holy Mother parallel is in shambles after Michael has gone through the ark's portal, the intangibility of this "saintly", aseptic rich genius broken down, her person brought back to Earth after flights of fancy trying to open a gate to Heaven.

We see her in a darker palette, in greys with dashes of white, yes, but never again in full white. It is not just the authorisation to be herself rather than her company's face while in her private world, but also the reflection of her inner darkness and her loss upon her very appearance.

What a more definite loss could mean, now that her son is gone for good, remains a mystery.

For instance, unlike the nun who served as her superior, our Suzanne rejects the characteristic blues of the Order of the Cruciform Sword to don a heavy all-black outfit, more reminiscent of Orthodox priests than it is Roman Catholic nuns; her resurrection through Ava does not lighten her habit, if it does lighten her burden, so we can only assume, going forward, should there be any relation between how each character expresses their inner workings through clothing, that Jillian Salvius would keep the mixture of white and grey that season two brought along... Or go darker still.

[blackbonnette]

you wear fine things well this. kissing and holding hands that. i’m actually shaking crying hyperventilating

[heoneyology]

TAEYOUNG ≫ C H E E S E

[tvxcue]

BANG YONGGUK - "MOVIMIENTO" (2024)