#something easy and accessible

[birlwrites]

overthinking the order in which the horcruxes were made and hidden

[bogkeep]

there's something so deeply dystopian to me how tech companies don't understand that a forced convenience is not a convenience at all. i'm sure autocorrect is helpful for many, but a function that forcibly changes my actual written words and punctuation is taking away my language. photo filters can be nice but i need to choose using them myself or else i have lost the ability to take the picture i want. i don't want a machine to draw or write for me. taking away the option for me to do things manually feels like violence!!!! all this talk of endless opportunity, why are you RESTRICTING me

[waddles-ex-machina]

some more comic panels I liked :>

[atalana]

so i finally cleared prometheus on 32!

(and now i can get round to testing out the other weapons bc i unlocked eos' torches and then never looked back)

[omegalerc]

okay, question: would u say max and charles are mates? cuz if max and charles are mated, how does the omega auction even go? wouldn’t max have first priority or something? especially if charles is pregnant??

anon this is such a loaded question but i thank u for asking. the answer is quite complicated; a lot of my lestappenanel situations are curated but what emotion i am specifically feeling at the time. sometimes charles and max are mates with twins on the way, sometimes they are fuckbuddies by contractual and heat/rut partnerships, and sometimes charles is just. Getting sold tf out of at the omega auction. you see omegaverse lestappen can exist in so many different lifeforms it’s quite beautiful really.

[starflungwaddledee]

Oooo starstruck dee has little stars at the bottom of her feet! Are they just aesthetic or would they make imprints into the ground? (like pawprints)

exactly like that! though she's not the only one...

edit: might need to add some additional dialogue to this to make it more clear, but a clarification in the interim; he knows about his own footprints. he's just surprised to see something similar already there when he knows he's only just landed. he lifts his own shoe to confirm that they're not identical (and also to reveal this to the viewer). seems his stoicism beat off the clarity in this one, sorry 😭

[sleepysuccubi]

i’ve been living in sundresses lately ✨☀️

ok to rb (unless you’re a minor then gtfo)

[elmonstro]

Young Lambert trying to make gunpowder for his experiments

[wlwscreaming]

idk what it is about this look but i DESPERATELY need to see more pictures of lucy in this outfit

[mistyheartrbs]

another thing about i saw the tv glow that fascinates me is the like...movement (transgression?) across mediums in that to begin with it's a theatrical feature film about a tv show. and when you think about it, while there are lots of tv shows about tv (30 rock, showtime's episodes) and lots of movies about the movies (singin' in the rain, la la land) there isn't as much crossover between the two as you would expect - few if any tv shows about movies, even less in the realm of movies about tv.

when isttvg came out in theaters, brigette lundy-paine made an instagram post with this caption:

which is a direct reference to a line their character says in the film - that the pink opaque airs on the young adult network right before they switch over to black and white movies for old people. (i'll have to double check if maddy says "movies" or "reruns" in the actual scene; i remember it as "movies" EDIT: it's reruns but my point still stands) and, for much of isttvg's runtime, it both operates in tandem with and against this notion - it's a cinematic spectacle, visually gorgeous to be sure, but the scale is very small, almost claustrophobic at times, in a way that says that the experience of watching this movie wouldn't be incredibly diminished if you played it on a boxy television in the middle of the night on basic cable (so long as you had somebody to watch it with)

but maddy's line is said with a surprising and youthful sort of disdain - the pink opaque is so different from the dumb nostalgia of their forebearers (with the same winking-at-the-camera irony with which a comic period piece notes the record-breakingly fast ten-mile-an-hour horse carriage or what have you - what they see as progress already obsolete in the eye of the modern viewer), and moreover it's in the exact medium it's meant to be viewed in. it's a tv show they're watching on tv (and in fact the impetus for owen and maddy to grow closer is owen specifically saying "i want to watch it live") - versus black and white movies, the original filmic spectacle, being thusly reduced to something smaller and lesser than they were meant to be. but of course that would never happen to our favorite Brand New television show, the pink opaque, which is super cool and is going to be relevant forever! nothing like that stuff for "old people." it's indicative of how prickly maddy is but it's one of the least sentimental sentiments of what is otherwise very much a love letter to the screen. it stands out!

(and we get even more of that with the streaming version of tpo later, but i'm getting ahead of myself here)

and it's further complicated by the fact that owen views the majority of the show via home-recorded vhs tapes, handmade gifts from maddy, forbidden things. the way you watch it matters too. the way you construct your relationship with this story. which in a way queers the viewing model too; he's literally watching the show out of order!

and now getting back into the horrendously depressing streaming scene, in which schoenbrun does the impossible and makes the phrase "soup party" upsetting, the convenience is what makes it wrong. transgression in the wrong direction. anybody can watch it. you don't even need a disc, owen/isabel says in voiceover, numbly. but instead of maddy's tapes, born out of connection/love (to a degree that neither of them even fully recognize yet), this version of non-normative/alternative access is something dictated by capitalism (it's also worth noting that the streaming scene is the only moment of overt product placement in the whole film, with the new flatscreen with the LG logo all but shoved in front of the viewer). owen/isabel flicks through the episodes lazily and languidly, landing in the middle on the mr. sprinkly episode. there is no effort involved anymore, none of the personal element present in maddy's handwritten notes ("season 2 finale: guaranteed to make you cry!"), just picking and choosing.

all this culminating in a movie about television, with a pseudo-wide release and enough buzz that it did moderately well as far as indie flicks go.

yet - inserting myself into the supposedly distant third-person analytical essay, as queer theorists are wont to do - i don't really think i would have been nearly as affected by this movie if i'd just watched it on like. netflix. if it'd had commercial breaks on late-night cable ("past curfew," as owen's parents repeatedly note) that's one thing, but the modern streaming paradigm doesn't really allow for that. seeing this movie in theaters forces you to go to the theaters. it forces you to sit with other people and view it together/separately. to walk out mid-credits and talk it through with your friend and look at each other and joke "(gasp)............we're secretly in another world where that dunkin donuts is two blocks away!" when the google maps app glitches out. you have to sit with it. you can't not sit with it. it took effort to get here, and you cannot so easily get it out of your head. it's a movie about tv. the medium doesn't fit like a glove. it barely fits at all. and you are left feeling like it's been much longer than a hundred minutes.

(i'd love to see if a24 has fun with merchandising once it gets a home release - if they sell a novelty vhs tape or what)

i think a lot of that is really something to look at. much like the film itself i do not have a conclusion to this essay.

[ghosthoodie]

i feel like the pinterestification of drawing references really affects learning artists(/non-artists viewing these drawings with repeat genres of conventional beauty) when they see a character design that is not in the Norm of conventionally attractive…ive been doing a bit of portrait practice and yea there’s a few outliers but a lot of the references when you search “portrait” are pretty young women with big distinct eyes and medium to small noses and juicy lips…and yea it’s good practice but if that’s all youre practicing or taking into account when it comes to visual design you’re not really expanding your visual library as a designer in my opinion! and i think it affects learning artists in that anything thats not their pinterest reference is ugly!

[hecksee]

im learning i have an intense fondness for historical gays. modern gays are good, but theres just Something about historical queers that hit my brain. bonus points if they're from the 17th-19th century.

[ratatatastic]

she is a bit slutty and honestly good for her

[solongshrimp]

Does anybody have pages 5-8 or 19-21 of pancaketiffy's Nautical Disaster anywhere? And does anyone know if the comic was ever continued past page 23? I wanna see if I can archive it somehow.

UPDATE: Did some more digging and found pages 19-21 (though two pages are labeled as page 21, which seems like an accident but they are two different pages, I'll have them listed in order,) as well as a 24th page. My guess is that that was the last page that was publicly released, but again, if anyone knows about pages past this point let me know.

So now all I need to find are pages 5-8, and any possible pages after 24.

UPDATE 2: Found page 7, so that leaves pages 5 and 8.

Pages I currently have:

Page 1 -- Page 2 -- Page 3 -- Page 4 -- Page 7 -- Page 9 -- Page 10 -- Page 11 -- Page 12 -- Page 13 -- Page 14 -- Page 15 -- Page 16 -- Page 17 -- Page 18 -- Page 19 -- Page 20 -- Page 21 -- Page 21 (b) -- Page 22 -- Page 23 -- Page 24

Concept Art -- Sketches -- Cover Sketch -- Cover WIP

[moe-broey]

One thing they don't tell you about the Senshi tulpa that WILL inevitably manifest in your mind to tell you to eat better is that. Every time I make myself a coffee via kuerig instantly, I can hear him. Lamenting the fact that I have become so accustomed to convenience and ease that even a standard coffee machine has become foreign to me. I am thinking about how to make coffee without use of a machine in the first place, I am wondering where my french press went, I can see him. In my mind. Showing me how to make coffee in The Dungeon. Dungeon Coffee.

[hephaestuscrew]

I'm still thinking about that scene in Victoriocity S3E7 where Fleet runs back towards the Beast so as to lure it into the path of the train...

Clara's exclamation of 'Teamwork, Fleet!' after Fleet says he's got a plan reflects her conviction that any plan that Fleet has will be a shared plan, something they do together.

This conviction is a kind of trust, and that trust is part of the reason Clara takes a moment to realise Fleet has headed back towards the Beast. She trusts that he's following behind her. She keeps talking to him, her words full of optimism.

When she realises Fleet isn't there, she immediately realises what that must mean he's done, and her voice sounds more small and scared than I think we've ever heard it before.

Fleet's attempt at self-sacrifice is a kind of betrayal of Clara's trust, but when he echoes her celebration of their teamwork in a more somber tone, I think it suggests that he understands the weight of that betrayal.

If Fleet's plan is that Clara won't realise he's gone until it's already too late, then he thinks "Teamwork, Clara" will be the last words he'll ever speak to her. In what he imagines will be their final conversation, Fleet affirms Clara's understanding of them as a team who work well together, even as he is making a choice that rejects the possibility of their teamwork in this scenario. It's a recognition of what their dynamic has meant. It's a goodbye and an apology, even if Clara doesn't understand it as such at first.

I don't think Fleet sounds scared as he initially faces down the train. When he shouts "Yeah, this way, you stupid machine! Come on then!", he sounds defiant and grimly determined.

In fact, I don't think he sounds afraid until Clara appears, until she might be at risk of being in the path of the Beast or the train as well. It's when he shouts "Clara, stay back for God's sake!" and "Please, get back!" that there's real fear and desperation in his voice. He can confront the idea of giving his own life, but not the idea that doing so might put Clara in danger.

Another thing about these lines is that the move from 'stay back' to 'get back' suggests that Clara didn't obey his first instruction but got closer to him (and therefore to the path of the Beast and the train) between those two lines.

Then Fleet gives what might be another attempt at his last words: "I'm sorry! I'm sorry."  A repeated apology before an attempted self-sacrifice is an implicit acknowledgement of how much losing him would hurt Clara. He regrets causing her pain.

Even so, he's accepted that he is about to die and that it'd be worth it to destroy the Beast. But Clara very much hasn't accepted either those things. She's still trying to yell over the noise of the train; she's pulling off her ring to throw at him.

I think it's a good illustration of how Clara's optimism is a kind of strength. She always believes that they can "make a new plan" and that it'll be one in which no one has to die. I think Archibald Fleet needs someone like that, someone who'll tell him to drop to the ground when his death advances from both sides, someone who - even in a dark tunnel with an murderous metal monster and a speeding train - won't stop shouting that there's hope.