#this post is... so long.... im sorry to everyone in the tag
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DIET COKE - đđđ đđđđđđđđ
The Sigma alpha wolf rizz guys đ
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𦹠SYNOPSiS ; He already felt like a second brother to you and had much love for you. Doesnât sound to weird right? Well Until he starts to show everyone how much he has for you.
TAG LIST! ⸠open! : @mitmit01 @yohanabanana @seungjiseyo @shiningnono @i03jae @sumzysworld @heelovesmeknot @love4hee @lalalalawon @jungwonkisser @jooniesbears-blog @neozon3nha @jjhmk @en-verse @rayofsunshineeee @tkooooop @brideslit @soobieboo @loves2won
DAiSYâS NOTE ; hi loves this was the last profile to post :)). Thankyou guys soooo much for the love and support đđđ, im very thankful, hope yâall will like the series!!! Thereâs more to come! School is killing me so it might be long but it will come fast. Sorry for the errors!!
Love you lovies đ
#âźď¸ DIET COKE#DIET COKE by My1forwonniexluvs#enhypen smau#enhypen fake texts#enhypen fluff#enhypen imagines#enhypen heeseung#enhypen scenarios#secretlydaisyđ¤Ť#enhypen heeseung smau#enhypen smut#heeseung fluff#enhypen hard hours#heeseung smut#lee heeseung#lee heesung x reader#enha fluff#enha imagines#enha jungwon#enhypen heeseung fake texts#kflixnet#enha fake texts#heeseung imagines#luviesđ˝#heeseung scenarios#heeseung x reader#enha x reader#enha smau#heeseung hard hours#lee heeseung x reader
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Life Series X The Normal Album
#sorry for the long post tumbr is not letting me add a continue reading thing#traffic smp#life series smp#will wood#this is an art challenge (1 drawing a day type) ive been doing this october its been fun#however this is the only album ive fully completed and am planning to#so im not sure if ill post the others#my art#uh do i tag everyone#grian#bigbst4tz2#gtws#pearlescentmoon#scott smajor#zombiecleo#martyn itlw#joel smallishbeans#lizzie ldshadowlady#jimmy solidarity#solidaritygaming
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GUYS. IM FINALLY MAKING THE DBHC MASTERPOST HAPPEN IM FINALLY DOING IT IâM MAKING IT HAPPEN RAAA
Iâm making a new one so I can format it better so Iâve had to start from scratch but itâs finally in the works and almost done
#idk why itâs been so hard for me to tackle this task LOL#but itâs finally going >:] itâll have all of the updated tags and posts and stuff!!#EXCITED :]#dbhc#FOR EVERYONE WHO HAS EVER ASKED ABOUT IT: BLESS YOU AND IM VERY SORRY IT TOOK THIS LONG
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THE SHERIFF AND GUY OF GISBORNE
uh. try to stay with me for a second. so incest motifs are a huge part of medieval lit. you see it in arthuriana cycles, you see it in romances, it's a whole thing.
Incest and the Medieval Imagination, Elizabeth Archibald
so robin hood. both adaptions and the text itself, tend to get interesting with guy of gisborne. and I will say that while I found the media being discussed in this text absolutely fucking insufferable to watch, the discussion on it was delicious, impeccable, show stopping
Mouvance, Greenwood, and Gender in The Adventures of Robin Hood and Robin Hood: Prince of Thieves, Brian J Levy and Lesley Coote
and with regards to discussions on the origin text (which I love and adore forever)
Horseplay: Robin Hood, Guy of Gisborne, and the Neg(oti)ation of the Bestial, Stuart Kane
we're. getting to the point, I promise. guy of gisborne and the sheriff in my own "adaption" are not cousins, but brothers in law (fucked up brothers in law are my thing over on my other blog. brutus and cassius? I'm there. caligula and lepidus? all over that, baby!) because I'm aiming for an adjacent transgression.
on the topic of adjacent transgressions and guy's comment in this comic about cannibalism: there's an overlap in various genres of literature, predominantly in branches of horror and tragedy: between cannibalism and incest. (additionally! a lot of texts will take on christian subtexts and allusions, so there's a bonus homoerotic cannibalism discussion happening wrt communion that I'll get into in the future) it's about. chomping. the teeth, you know.
Managing Monsters, Marina Warner
Statius and Virgil: The Thebaid and the Reinterpretation of the Aeneid, Randall T. Ganiban
there's a 100% chance I will revise the sheriff's design at some point, but I wanted to draw the flowers exploding out of the spine so bad
AND FINALLY, the neck focus on guy is half due to his fate in his origin tale (beheaded) and half my own invention: I girl-with-a-green-ribboned him. a little narrative necromancy, if you will.
#long post#outlaws in the woods tag#im sorry for how long this is and also bc its 2am but also i am not sorry. i love medieval literature and horror#the sheriff wants to crawl inside guy's ribcage and eat his lungs#he is. interestingly enough. horrified at what everyone else does to guy's body#its about possession. obsession. who else has the right to eat you etc#im going to go folk catholicism forced sainthood on guy and every second of it is going to be awful for him#i will do narrative necromancy but i will adhere to the rules of the setting and the setting is TERRIBLE#i love it! sorry guy of gisborne.#anyway you guys ever watch showtime's borgias. favorite show. so. so uh. you know that one scene. the---
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im not fucking around anymore. here's the full "Paul is Care" essay i've been working on:
âAlright. So there's uh, nothing out here, as far as I've seen. But actually, I think there is something out here. I just haven't seen it yet.â
In Petscop, the story is told between the lines. When you feel like you have a grasp on it, a single colour or date throws off everything youâve built up. Thatâs why I like to look at Petscop in another way; not as a series of events, but an exploration of a single character: Paul.
Some people like to map everything out in a single timeline; when did Care go missing, when did the family get the game, when did Lina and Mike die. I think that every interpretation of Petscop has its own value, because Petscop means something different to everyone who watches it. But, when I look at Petscop, I donât just see a series of events wrapped up in the mystery of Careâs disappearance. I see a video game used as a device to explore and understand the connection between the past and the present. I see the ways in which Paul Leskowitz is Carrie Mark.
I know that to some that notion might seem crazy; the broader discussion of Petscop is different to the niche ones held by crazy people in the tags of a Tumblr post . Obviously, this theory is personally significant and I hold it very near and dear to my heart. But, I want to share this theory in a way that makes sense to the general audience of Petscop because I genuinely believe you guys are missing out! So, keep an open mind and enter my Petscop mind-palaceâŚ
â...were signs along the way. Um, that I ignored. Because it would have been a completely ridiculous idea to me. Um. But when I found my room, it made, uh, well, I was shocked at first, but it made sense, especially considering where I found the game in the first place, um, that it would be tied, in some way, to me through you. Um. And I'm trying to think, when was the last time I saw any of you at all? It had to have been in like, 1999. I was a kid, I was a small kid. Tiny kid. Um. And after that, just, you know. But, it would make sense in the timeline.â (Petscop 11)
A lot of Petscop theories surround the actual textual proof found in the videos, so thatâs where Iâll start. Thereâs many instances where Paul makes the connection between himself and Care, but one moment continues to stick with me. In Petscop 11, Paul finally enters the house and takes a look around. Heâs on the phone with someone, presumably Belle. Paul goes up to the calendars and starts talking about Care, âYeah, on that topic... I don't remember meeting this girl at all. Um, I don't remember knowing her at any point (âŚ) Um, and I remember you saying that we were, that we, we are, um, exactly the same age.â (Petscop 11). He points out that he and Care share the same birthday, down to the year. We get further confirmation of this in Petscop 14, when Paulâs conversation with Jill that he had on his own birthday is superimposed onto Careâs. The next part though, is what really gets the theory started, âI do agree there's a resemblance. Um. Very strong resemblance between us.â (Petscop 11).
Faces are incredibly important in Petscop. Marvin thought Care and Mike could be rebirthed into Lina because they had similar features, and Care had to be given Mikeâs eyebrows specifically to change her room. So, for Paul and Care to have such similar facial features that someone else pointed out the resemblance is significant.
They also happen to share the name âLeskowitzâ, which is both Anna and Linaâs last name. We know this because his Reddit account is âp_leskowitzâ.
If heâs a Leskowitz, then that explains his complicated feelings towards âthe familyâ. âThe familyâ is a foreboding presence throughout Petscop. Their meddling isnât outright malicious, but even Paul admits that heâs intimidated by them. And it makes sense, as âthe familyâ (comprised of Anna and Jill) each have a major role in the core mystery of Petscop. Anna is the mother of Care and the wife of Marvin, while Jill is Marvinâs sister and the mother of both Rainer and Mike. To be a Leskowitz, Paul would need to be blood related to Anna or Lina in some way. Paul shows that he has this relation to the family in Petscop 22, when heâs talking to Belle about finding the windmill, âAnd, I don't th- and you don't have to worry about it, right, 'cause... 'cause you aren't, you aren't family, so you wouldn't... have a room, that's the thing.â (Petscop 22). In this context, Paul is asking Belle whether Jill has contacted her. When he tells her she doesnât have a room, this is in reference to the Child Library explored in Petscop 3 and 7. This means that in order to be part of the Leskowitz-Mark family (and in our case, related to Care), you have to have a room in the Child Library, something both Paul and Care possess.
Paul being related to the family is also supported by his casual mention of meeting Rainer as a child, ââRainerâ... I saw him at a birthday party once. All the older kids were down in the basement playing video games, to hide from everyone. He was down there, too. He was older than the rest of them, though.â (Petscop 11), and his confusion of not knowing Care, with the implication that if she was real, he would have met her through the family.
A rarely discussed aspect of Paulâs character is that he canât tell his left from his right. When heâs doing the disc puzzle in Anna and Marvinâs room is Petscop 11, âUm, we can see what the room looks like in that recording, um, on the uh, right? ... Left? Left? Right ... side.â (Petscop 14) and before he even enters the house, âAnd, I mean, I still get confused about that. Because, I mean, well, I know it's always the top, but, um, I still have to think. I have to think.â (Petscop 11), we can clearly see that he has trouble with directions. In a similar fashion, Care is described as âdizzyâ, most notably in the end credits of Petscop. She is also described as blind by Rainer in Petscop 17, âYou were blind. At some point, your movements stopped making sense.â (Petscop 17). In the counsellorâs office, the counsellor says to Paul, âAre you right handed, or left handed? You don't know? Really?â (Petscop 22). Iâll get more into it later, but this sequence is presumably a real conversation that the game is recreating. If this scene is taken from Careâs real childhood, then it confirms that she also had problems with her lefts and rights.
Now, this is the base level of the theory. Itâs easy to figure out that Paul is a Leskowitz, he literally calls them âthe familyâ. And while I think the bits about faces and birthdays and directions are significant to this theory, I wanted to get all of the textual evidence out of the way so that I could get into the fun part of this essay: the subtext.
âSome things you can't rewrite.â (Petscop 14)
Petscop is nothing if not a collection of symbols and metaphors. Ask me what Petscop is all about on any given day and thereâs a non-zero chance I will start explaining why the car is orange. While it is necessary to analyse Petscop as a real series of events, I think that another approach can be taken; what if we analysed Petscop as a series of events that are happening to Paul specifically? That the game is creating meaning by placing Paul specifically in these snippets of the past. By looking at each moment as âWhy did the game make Paul do this?â instead of âWhat is happening in the game?â, we can see everything through a new lens.
First, I want to discuss colour. Colour plays a huge role in Petscop; almost every character is assigned their own colour. This is most often used to denote who is speaking in text, but itâs also used for other things like the tool. You are probably aware that Careâs colour is yellow, as all of her text is yellow. What you might not know is that Paulâs colour is red. Paul has exactly one instance in all of Petscop where he has coloured text and that is in Petscop 22, when he gives the counsellor his name. The calendars in the house are also colour coded, as the one showing 2017 is red.
One of my favourite moments in all of Petscop uses colour in a way that supports this theory perfectly. When Paul takes Care out of the rebirthing machine, she has been transformed into an Easter egg. A red and yellow striped Easter egg. I will get into this egg later on, but for now, I want to point out how Paul and Careâs colours have been used here. Of course, itâs significant just that they've been put together, but it's more than that. Careâs final form, the egg she has been placed in to keep her safe from all of the trauma she has suffered, that she will spend the rest of the series in, is painted a combination of her and Paulâs colours. In the same sequence, when Paul is playing the Needles Piano for Care B, the âwrongâ notes he plays to turn her into the Easter Egg are all red. Thereâs a joke about eggs and transness in here somewhere.
Right after Careâs rebirth into the egg, Paul places her in the locker with the purple egg and the ânew lifeâ letter. If we abide by the established colour theory, this second egg would be Belleâs/Tiaraâs egg. By putting them together, alongside the letter, it symbolises Care and Belleâs transfer to Linaâs care; this can also be supported by the ending of Petscop. In the final scene of the soundtrack, Belle recounts when she and Paul were adopted, âThere is Boss waiting for her son. Pall do you remember being born. Smuggled away driving to your new house. Boss in driver seat me in back.â (Petscop Soundtrack). âDo you remember being bornâ is a question posed over and over again throughout Petscop. Itâs meant to be a reference to rebirthing, but here itâs Paul being asked if he remembers being born, not Care; you can also connect this to the ânew lifeâ letter, making it apparent Belle is asking if he remembers when he was given his ânew lifeâ with her and âBossâ. Thereâs also the implication of the wording âsmuggled awayâ, implying that there was something stopping Paul from being taken to his new home. Paul and Careâs final scenes parallel each other; Care is placed with Belleâs/Tiaraâs egg with the ânew lifeâ letter, while Paul is taken back to âBossâ by Belle. Care and Paul are both asked if they âremember being bornâ.
Another, smaller piece of colour theory in Petscop comes from the board games in the counsellorâs office. The board game âAccidentâ features red and yellow puzzle pieces that fit together, but are broken apart. Remember that Careâs colour is yellow, so assume that she symbolises the yellow piece; Paulâs colour is red, so assume that he symbolises the red piece. The red piece is bigger and fits into the smaller yellow piece, like itâs missing the beginning of it. The yellow piece comes before the red piece, as if it adds context to the red piece. When we think of this in terms of Care and Paul, we can see that Care is the âmissing pieceâ of Paul; the small part of his past that adds the context that completes him. Paulâs piece is bigger because heâs been Paul for so much longer (if we interpret the counsellorâs office as a real event the way it is shown, then that could be the moment he changed. Or, if we consider Careâs rebirth into the egg as the moment Care turned into Paul, then that would be the moment instead), meanwhile Careâs piece is small because she was only a small part of his life.
Taking colour into account, we can get into the meat of the symbolism in Petscop. When we view the events of Petscop through our new lens, many things become significant. Paul is placed in the role of Care many times throughout the series; on Careâs birthday, in the counsellor's office, and in Rainerâs âyou are Carrie Markâ monologue.
During the âstrange situationâ birthday scene, Paul carries around a yellow balloon, symbolising that he is standing in for Care. This is further cemented by Annaâs dialogue addressing Paul as if he is Care on the day she came home, âYou made it. Happy birthday! (...) Why are you covering your face? (...) Of course I recognize you. Those eyes. That nose. Thatâs still you.â (Petscop 14).
This next dialogue from Anna is particularly interesting to me; she doesnât just tell Paul that sheâs happy Care is home safe or ask him where sheâs been, but instead she says this, âI sure hope youâve realised by now. It doesnât matter how long youâve been gone. It doesnât matter how much youâve changed. You arenât lost. Stop wandering and come home.â (Petscop 14). When we talk about Petscop, we have the urge to deny any supernatural involvement in the story. Whether through AI or predictive programming or alternate timelines, we want Petscop to be plausible. Understandable. Easy to digest. But, we often forget that Paul poses the question of a literal âghost in the machineâ in the first few episodes. I want to consider this quoteâ Anna talking to her child who has been âlostâ for many yearsâ as an act of this ghost. The game is talking back to Paul, telling him that no matter how much he has changed, he still has the same eyes, the same nose that made him Carrie Mark. And we know how important eyes and noses are in Petscop. Also as a side note, consider how Anna didnât specify eyebrows; we know that Careâs lack of eyebrows is in some way due to Marvin, but when she tells Paul she recognises his eyes and nose, she doesnât add on eyebrows. Paul said it himself in Petscop 7, âUm, and why am I doing that? Well, because eyebrows seem to be important.â (Petscop 7). I like to think that she couldnât have said that Paul has the same eyebrows because, since Marvin isnât in the picture anymore, he wouldnât have any reason to pluck them.
Another scene that mixes up Paul and Care is the counsellor's office. When Paul finally enters the âgirl wallâ in Petscop 22, he is placed into a schoolâs counsellorâs office. Again, they talk to Paul as if he is Care, apologising for taking him out of class and saying he needs to âcatch upâ, implying that heâs missed a significant amount of school. As they start to play Graverobber (Jesus Christ, Rainer), the counsellor is confused about Paulâs name; they ask him if they have the wrong name written down, as his save file is currently âStrange Situationâ and when they called out the name on file, Paul didnât respond. Now, the connection here is a little more nuanced, but it still comes to a conclusion that I think greatly supports the theory. âStrange situationâ is in reference to the Mary Ainsworth Strange Situation Experiment, a test in which an infant is deliberately separated from their mother to test their level of attachment. This is a very base level understanding of this concept, but when applied to this specific scene, it becomes apparent that this âstrange situationâ is another reference to Care. Care was separated from her mother for about half a year, only returning during the birthday party scene; the counsellorâs scene was accessible once Paul started using the âStrange Situationâ file. Care stopped recognising the name she used before the seperation, considering herself to be âStrange Situationâ instead. She has literally stopped recognising the name Care, and picks out her own name (which in the game Paul sets to his own).
Also consider the implication of the âgirl wallâ. At first, itâs an absurd joke, meant to lighten the mood using the same roundabout humour the rest of the series has. But, the counsellor asking if they have the wrong name, listing Paul as âStrange Situationâ instead of his name, combined with the fact that when Paul is placed in front of the girl wall, he canât walk away from it, it becomes a bit of an analogy; The game keeps forcefully showing Paul the word âGiRLâ over and over and when he finally enters the âgirl-worldâ as Strange Situation, he is called the wrong name and once again placed in Careâs shoes.
Letâs revisit the âghost in the machineâ idea. In Petscop 17, we are shown a past recording of Petscop; we never find out who was playing at this time, but itâs easy to assume Paul is the one watching the recording. The footage is less interesting than the dialogue, but it is notable that itâs a recording of the player running backwards in a very deliberate pattern. The actually relevant part of this sequence is Rainerâs monologue; in particular, the way he frames it, âYou are a girl named Carrie Mark, and you were born on November 12th, 1992. You have a mommy named Anna, a daddy named Marvin, an auntie named Jill, an uncle named Thomas, a cousin named Daniel, ......I know what you must be thinking. Have these statements always been true? Or have I cursed you? Is there such a thing? A curse that changes your past?â (Petscop 17). Thereâs something about the forcefulness of this dialogue, âYou are Carrie Mark,â as if Rainer is trying to make it so just by saying it. The inclusion of the birthday is also notable; we have been shown time and time again that Paul and Care share a birthday, and that this is an important part of both of their characters. So, when Rainer asks if these statements have always been true, or if itâs âa curse that changes your pastâ, weâre meant to interpret it as such: some of the statements are true, but the âyouâ being addressed is not currently âa girl named Carrie Markâ. Rainer casts a spell to make the player retrace their steps and although he might not be playing, the use of the word âyouâ and present tense language makes the statement pointed towards Paul. Thereâs something to be said about Rainerâs position in all of this; he isnât the only tangible âghostâ in Petscop (Marvin and Tiara fit Paulâs definition established in Petscop 6), but heâs the only one to be fully dead. It truly feels, in this moment, like Petscopâ like Rainerâ is talking directly to Paul. The âcurse that changes your pastâ is the part that ties it all together. This past that Paul doesnât fully remember, where Anna and Marvin have a daughter named Care, where someone in his family went missing for monthsâ by learning about this through the game, Rainer is essentially changing Paulâs version of the past. Your memory and physical evidence are all you have of the past; when your memory tells you one thing, but physical evidence tells you another, what version of your past is true?
âYouâre the Newmaker. You can turn Care NLM into Care A, and close the loop.â (Petscop 9)
Finally, I want to explain why this theory is supportive of the themes of Petscop. Of course, thereâs the obvious link between rebirth and the change from Care to Paul. But, thereâs also themes of blood family versus chosen family, breaking the cycle of abuse, and of healing from your past. I want to provide an explanation of each of these themes and how the âPaul is Careâ theory fits into them.
Letâs begin with the family point, since I already expanded on the familyâs role in Petscop earlier. Thereâs a story behind the scenes in this series; the conflict between the chosen family versus the blood family. Anna and Jill against Belle and Lina. Anna and Jill are restrictiveâ they take over the channel and block certain things from the audience. Paul admits that heâs intimidated by them, and heâs concerned when he thinks Jill could be in contact with Belle. When we get the only dialogue from Jill, Paul is hostile and aggressive with her, something we donât see from him otherwise. Alternately, Anna comes off as dismissive in most of her dialogue; when Care shows up at the birthday party, Anna treats her like no time has passed, like they havenât been searching for her for months. We donât get direct contact between Anna and Paul (except for a phone call in Petscop 11 that you could interpret as being with Anna), but the way she talks to the player through Care during the birthday party is still dismissive, âI sure hope youâve realised by now. It doesnât matter how long youâve been gone. It doesnât matter how much youâve changed. You arenât lost. Stop wandering and come home.â (Petscop 14). Thereâs a level of distance between Paul and the family, which is evident from the name alone; Paul identifies himself as part of the family, but he still calls them âthe familyâ as opposed to âmy familyâ. When you pair that with the fact that he calls them all by their first names instead of any term of endearment (like how Rainer calls her âAuntie Jillâ in his spell), it paints a clear picture: Paul does not want to be part of this family.
In direct contrast, Belle is shown a significant amount of affection from Paul. Not only is he on the phone with her for a good handful of the episodes, but Belle also has a familial connection to Paul. In Petscop 2, Paul is talking to Belle and he says âWhen you come home next month, and uh, hopefully you're feeling a little more enthusiastic about that now, we can investigate this together, and maybe you'll find stuff that I can't find here.â (Petscop 2). I think the casual use of the word âhomeâ to describe where Belle is staying implies a certain closeness, maybe even that they live in the same household. Thatâs not the part of this line that is important to me, however. Take a look at Belleâs final speech at the end of Petscop; Belle says âI could not wait too be your friend,â and Paul responds, âFamilyâ, to which Belle says, âWe can investigate this together.â (Petscop Soundtrack). After distancing himself from the family, as well as directly telling her sheâs not part of the family (following it up with âUhh... I didn't- I didn't mean it that way,â (Petscop 22), implying they have a similar connection that sheâs defending), Paul calls Belle family. She states that theyâre friends and Paul corrects her by telling her that theyâre not just friends, but family. The most gut wrenching part of this dialogue is the use of âwe can investigate this togetherâ. Itâs like a ward, a promise that Belle is making to Paul. He doesnât have to go through this alone, sheâs promising to be there for him. Sheâs going to investigate this with him, like he asked her to in the second episode. Paul doesnât call his blood relatives family, but he tells Belle that they are his family; her and the âBossâ.
How does this connect to Care? Itâs not hard evidence, but when you take this theme of family into account, it makes more sense for Paul to have a strained relationship with the family if we apply Careâs story to him. Think about it; Paul was âsmuggled away driving too [his] new houseâ and he hasnât seen the family since he was a child, and Careâs egg was (metaphorically) placed with Belleâs and the New Life Letter when she would have been around 5, since thatâs the age she was when she was kidnapped. Care went through an extremely traumatic event in a toxic environmentâ why wouldnât someone step in and take her out of that family? To me, this theory extends the same closure Paul gets at the end of Petscop to Care; it tells us that even after everything she went through, she finds people who love and take care of her.
Abuse is a huge focus in Petscop, both as a plot point and a major theme. Rainerâs main motivation is to expose Marvinâs abuse of both Mike and Care to the familyâ whether or not thatâs successful is not important. Because years after Rainerâs attempt, Paul is back doing the exact same; although, his playthrough of Petscop is less of an expose and more of an attempt at solving the mystery. Now, I think itâs a little pedantic, but in this context, I think the âcycle of abuseâ in Petscop refers less to a generational cycle, but a continuous cycle that happens every time Petscop is played. Care is stuck in this version of the past that Rainer has created, forced to live through it as many years as Petscop is left on. Paul doesnât continue this cycle though; as far as we know, Paul is the only person to reach the good ending of the game, where heâs rebirthed Care into the egg and reconnected with Belle and âBossâ. Paul is the only person who could understand what Care needed, because itâs exactly what he needed.
Careâs trauma is replayed for us throughout Petscop. Every knowable aspect of it is shown, leaving behind a raw feeling; like somehow, Paul and Rainer have made a spectacle of her abuse. But, I donât think thatâs entirely true. Rainer, although he is bitter and vengeful, is ultimately the person who finds the truth about Care and Mike and (if we are to believe him) is also the one who found Care at the school. In the beginning, itâs obvious that Paul is playing the game to see the mystery and is slowly engulfed by it throughout the rest of the series. When the game tells him that, âMarvin picks up tool hurts me when playstation on,â (Petscop 3), Paul proceeds anyway. The same happens when Care is caught in her room; Paul sees what is obviously a child being kidnapped and continues to solve the puzzle anyway. He picks the flower, catching Care NLM, and leads Marvin to the house. Paul follows through on everything he can to âsolveâ the mystery of Carrie Mark, but in the end, he defies what the game has told him to do and saves Care. He does what Rainer couldnât do: he breaks the cycle of abuse in the Mark-Leskowitz family. Itâs kind of poetic, the idea that the person Care grew to be is the same person who confronts and lays to rest her trauma. The fact that playing his own theme would be the key to changing Care into the egg (a symbol of birth and potential) is beautiful.
The last thing I want to talk about is the theme of healing. This concept is more nebulous; we donât see much of Paul post-Petscop, but the final scene does always leave me feeling hopeful for him. I think the reconnection with Belle and âBossâ, alongside the reassurance that, â[they] can investigate this together,â shows that Paul is out of the mindset and environment Petscop put him in. Iâve always thought that throughout Petscop, we see a deterioration of Paul; in the beginning, heâs intrigued and confused, but we see him become more and more disturbed, irritable, and frustrated towards the end. This is first evident with the CD puzzle in the house, where Paul is so out of his depth and confused that he stops acting with the same calm rationality shown throughout the earlier episodes. Then, when Paul is messing about with the demo recordings, he stops speaking in the videos entirely. When Paul sees the final blacked out object, which are coordinates to the real life windmill, he is the most stuttery weâve ever seen, âHm. Y- y- yep, yep. Yep... yep. N- we would- we would have to find out how big... like, we'd have to find out how big a tile is..? One of the tiles..? Like, if we could- if we could figure out how big... one tile is, in... u- in, umm... Like, feet. Or... Uhh, yeah. Meters.â (Petscop 22). Heâs frazzled and excited and a little bit scared, evidenced by how he talks about the family, âThey didn't... I don't like talking to them. They intimidate meâŚâ (Petscop 22). All of this changes by the end; Paul is no longer stuck playing the game and heâs free to return to the people who love him most. This freedom is summed up in a single image: the final one we see in Petscop. Paulâs chair is empty and the blue sky beyond the desk is brimming with hope.
All this to say, Paul choosing Belle and âBossâ over the game as well as saving Care by doing whatâs best for her instead of finishing the final puzzle, alongside his final scene where he is welcomed home by his real family, shows us an interpretation of Petscop that paints it not as a tragedy, but a story of chosen family, breaking the cycle of abuse, and healing trauma through connection.
Thank you so much for hearing me out.
Bye-bye!
#its been done for ever i just never got around to posting it#i went through and edited it to bw more coherent tho bc this was written in the middle of a petscop fervor lol#petscop#paul leskowitz#carrie mark#im not tagging everyone#essay#petscop theory#i love you paul is care theory forever and ever#its long so you may wanna read in multiple sittings#like 10 pages long ToT#sorry not sorry#lmk if i actually made sense or if im crazy pls i want to know if this is even understandable to ppl who arent me#this was actually originally written as a video essay but idk if ill ever make it
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hey guys. remy design
#remy the farmer#dol#my art#sorry it took so long for me to make this#im watching live shows for one of my favorite music projects in the corner and i have to pause drawing to scream every 5 seconds#if i were in that crowd id be yelling. id faint. only but a dream to attend one of these#to the people that sent me another personality swap request also. i promise im not ignoring you but the one that said#''avery and eden swap would be a nightmare''#youre completely right. it is a nightmare. i cant think of anything#so if either of you have any more ideas or anyone else does then PLEASE help me im begging you all i can think of is ??? i dont know#i hope you guys like this remy though#i was worried about if it was good enough but special thanks to the people on my side account that told me it was fine#i posted fem remy there too if you want to see it#i think when i do fem vers of them all ill group them up because itll take me less time to make it since ill already have the design basis#and also i feel bad for spamming you guys#actually would you prefer i keep posting them one by one or should i post them all at once? for these designs#i feel bad posting separately because that means the people who rb my posts reblog like 10 separate design posts in a row :(#and i dont want them to spam their blogs because of me#but i do really really appreciate it when i see someone do that in my notifs :) so thank you a lot if you do#and also thank you to everyone who leaves tags i read each and every one of them obsessively like a freak#this is getting too long im going to hit the tag limit at this rate#ill try to work on the avery eden thing again#see you all later :)
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whoopsie daisy sorry for going MIA for a bit guys im just grinding TWST en
#IM STILK WRITING . BY THE WAY. but my art posts micht be more twst now#Sorry. Everyone.#it is very much a might and not a will though ill be clear#my attention span is extremely fickle im surprised i lasted so long thinking about hh#but then again thats cause i was in love w a tv. now its a ginger. Again.#đ art tag#twisted wonderland#twst fanart#my ocs#twst yuu#yuusona#yinyuu nakatomi#twst oc
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Hii! First off i just want to I'm such a big fan of your art and animatics! Your art is just so expressive and unique its addicting to look at đđ
I was wondering if you could go over how your process or tutorial in making an animatic? Whenever I try to start to make one, I get jumbled up and end up ditching it lol
I'm sorry if you get this question a lot đ
So sorry it took me so long to answer this- I was in a Busy time (diseaseridden with covid and being punched by finals) when I got the ask and wanted to answer it with some stuff Im using for my next TOH animatic!!
I'll say one thing first: I get jumbled up and ditch so many animatics. For every one animatic I release, there are three to five more I have that have NEVER seen the light of day (yet). And that's okay!! It's fun just to make them for me, and I hope it is for you too!! Animatics are scary because if you're working on it alone, it can be really hard to be your own cheerleader to keep up the mojo to keep going. So that makes it really special when there is that project that makes it to the finish line- cuz you can look at it and go "holy crap I made this. holy crap i MADE that look how SICK that is dude!! all that work and look at the turnout!!"
The following stuffh is just my personal process and is by no means representative of a professional animation pipeline, but this works for me as a Lonely Artist! It all begins with the idea - whether it's a song, or just a story you wanna tell. In the case of the one I'm gonna demo here with , I wanted to animate Hunter's first day as Del's apprentice!
The first thing I did was write a script. Not fancy or AO3-quality, but enough that I understand the pacing and the visuals of each shot. I usually just put this in a doc or put it in a script format, if I feel fancy.
Then, I take that script and find music that I think would fit for it- and remix it (if needed) to fit the pacing/mood/etc! This is what this new animatic looked like before I began ANY artwork- this is a me thing because I'm super inspired by audio as opposed to visuals first. But you might be different- this is just how I like working personally!
Then begins the research! I find references for characters, background layouts, and create a style guide for the animatic that tells me how thick lines will be for characters, backgrounds, if there'll be tons of value or no. I make a turnaround for each character so I can refer to them because Im gonna be drawing them over and over a LOT and want to be consistent! Luckily TOH has no shortage of references, so I based my work off them.
THEN, I can begin drawing. I'm a little,,, (a lot) ADHD and may not always do this process, but if you're new to animatics or daunted by the task at hand, make beat boards of the entire project.
This is just a page of rough thumbnails that get your visual idea down - look how rough and quick these are!! I try not to spend over a minute on each beat board if I dont have to, unless it's a particularly complex shot.
When it gets to the stage where you're ready to begin the actual scenes, I personally tend to do backgrounds first because I like to set characters into backgrounds - and for every animatic, I have the Awkward Blue Sketch Stage which is basically my beat boards timed out as an animatic.
I used Storyboard Pro for this (Toonboom, not free ): icky), but the process can be replicated across most art platforms in whichever way you feel most comfy with! This is so I can time the drawings before I devote time cleaning them up-- which can make for some Pretty Funny looking little guys but theyre important!! trust!!
Once a big sequence of shots is cleaned up (I usually do 40-60 second chunks at a time), I export the .mov and send it to my editing program (which in this case is still Premiere Pro) - and then repeat this process again and again until.. it's done??
Here's like a TL;DR list of basically everything I said summed up:
⢠Make a loose script or bulletin of the idea! Do your research!
⢠Depending on what kind of animatic you're making, time it to music!
⢠Make a beat board of very loose gestures for your shots, and time them - then move on to refinement & cleanup!
⢠Combine all shots, refine music cues and timings, add any last needed VFX, and export!
There's no secret recipe or anything, it's just learning a pipeline that best suits you, whether it is for something professional or something you want to make for fun because you just love to make!!
#riley talks#long post#SORRY ITS LONG but i couldnt just put a bulletin list like âthis is the ONLY method that worksâ bc thats not true!!!#everyone works diferently especially artists#and this is just my specific method of working#im very fortunate to have programs that make animatic-making a little easier#so i hope whoever wishes to make one in the future finds something that works well for them!! i have a blast making storyboards/animatics!!#text post#ask#tutorial#idk how to tag this lol
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ive been unhealthily fixated on kubosai for the past few weeks, i just have no idea how to put it into words. kuboyasu aren and saiki kusuo are in love btw
#they are.#been thinking a lot about t*rusai and k*bosai and all three of them together#(really long rant in these tags that shouldve been a rant post but im not changing it soz i got carried away LMAO->)#see the thing is that k*bosai is my absolute favorite ship ever. but i get genuinely pissed when people smack talk t*rusai#idk like i get why people wouldnt ship kbs and i really dont care. and i also get that a lot of people have differing opinions and-#wont ship trsai. i honestly cant wrap my head around why (other than people who just hate teruhashi and are misogynistic) but im okay with-#agreeing to disagree and i dont care yk??#but people so often make these long discussion posts just yapping and yapping and making up shit about how trsa 'wouldnt work'#and its always just... actual complete bullshit. like unreadable word vomit.#sorry. but its true.#thats why it gets me so mad#i cant think of a single reason why you would feel the need to do that#why cant you be normal and just. not like a ship. just dont like it. hate it even. but dont make up shit just to shit on it#its so dumb i have to force myself to just scroll past them every time i encounter one#usually on tiktok or tumblr#if i read them i wont be able to stop myself from making the most concerned and upset noises ever cuz what is actually wrong with you#theyre always the biggest dumbest stretches ever and they ignore their actual development and pretend it didnt happen#it just makes me wonder why people are so okay with making fun of that ship but get mad if anyone even dislikes theirs#and then they complain about people 'shitting on their opinion'#LIKE ?? NOBODY CARES THAT U HATE THE SHIP. I CERTAINLY DONT GAF.#but ur in the main tags advertising ur hatred for it and sounding stupid as shit for no reason? UR SHITTING ON PEOPLES SHIP ON PURPOSE#AND THEN GETTING MAD AT ANYONE WHO EVEN SAYS 'i disagree actually' IM LAUGHING SO HARD STOP IM KILLING MYSELF#the one time i ever talked in that much detail about why i disliked a ship was bevause somebody specifically asked me#and yk what ?? i have literally gotten death threats over it. im not allowed to hate that ship but everyone else can do whatever i guess#okay sorry. rant over.#is that controversial i cant tell. i dont really care and im not tagging anyway#meows post
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hiiii ^^ beastlife fishie analysis. spoilers ahead. etc etc
okay so. the main point of this is simple. I don't think the salmon head cursed c!fishie. Explaining that is the harder part I think. also i'm going to refer to the salmon head thing in e5 as "the incident" from here on out because frankly i think it's funny
Let's start with the incident. The big day. etc. What happened? Why did it happen? Obligatory third questioning statement? Well. She was gifted the salmon head for her birthday by kiwi(or like. someone in the kiwibird system. -bird system. the birds). Immediately upon receiving it she relives parts of season one and fishie herself doesn't really acknowledge it. The other players definitely notice but im not caught up enough in any other pov yet to like have thoughts on that I'll come back to that point someday. Fishie seems shaken, sure, but she moves on so quickly, especially considering what happened just there. 37 seconds of standing frozen, unresponsive. she recovers in 5 seconds. And seeing how she reacts later on to realizing the memory situation--if she was aware that happened, she would probably be concerned by it. She puts it on for a brief second at the end of the party and takes it off immediately. She's otherwise normal -- well. as normal as she is otherwise up to that point. Because that is also how she acts with pretty much any salmon head, even just kiwi herself.
I raise: Episode one, about 8:20 in. The slow zoom on kiwi as the static overtakes every other noise. This is the *exact* same behavior displayed when fishie receives the salmon head, albeit without actual concrete old video footage style flashbacks. In episode two (28:55ish) the same thing happens when she looks at the salmon head in moch's house, but this time there is technically a flashback -- kiwis grave. Fishie moves on immediately and doesn't acknowledge her behavior at all, and, seeing as it is fishie, im inclined to believe that means she does not know she is doing it. Fishie (when alone) will discuss all of her problems in immense, and usually misguided detail (bestie i promise kiwi doesn't hate you???) to the audience and/or herself. I mean she's not alone in episode one, and it is technically presession, and i guess getting struck by lightning is a decent distraction from your problems, but in episode two? She is completely alone. There is nobody with her. She went looking for moch and moch is not there. She still doesn't acknowledge the fiveish seconds she is completely frozen. This happens again and again with kiwi and salmon heads.
And then that leads you to e5. The incident. She's. well. she's doing worse. 0:50. "This will distract me if i leave it up." This is the first mention from fishie herself about how fucking weird she's being, and even then she doesn't seem concerned. I think she does not realize she's being so so incredibly weird about it. If the static and freezing is what's referred to as "distraction" then keeping it in her inventory makes it worse actually so it wouldn't really make sense unless the way it is distracting her is NOT the. well. whatever the fuck is wrong with her (affectionate). After she puts the head on there's the static all the time but for a short brief amount of time she's like significantly more normal and i don't really know if that means anything i just think it's really funny.
And then we all know what goes on during the incident i'm not analyzing this video frame by frame. um. i could. but i am not going to right now. And then she has the conversation on the table with kiwi where she like is normal for 5 minutes. Like genuinely the most. i guess stable? fishie's thought process is is like in the moments directly after the incident. She is immediately understanding with the antikiwi situation, they come to an agreement that they're like. okay now. "thank you for everything and im so sorry i couldnt do more" / "it was short, but it was nice" "i knew what i was getting into when i married you" etc etc and then they kind of rush it at the end because people won't stop dying. But then fishie is fishie and takes it in the complete opposite extreme (from. um. whatever was wrong up until now. to "oh kiwibird must secretly hate me because" and then there's no real good reason she's just like that) and it's also an issue. And i think the season two memory thing is also a part of that but this is so long already and so i'm not going to get into it rn. So bringing all of this back to my original point: the salmon head was not the cause of the curse(?) because she's been so weird all the time forever and the salmon head thing was just like. an effect. of whatever went Wrong(tm) in the season transition. like the head was a vessel to Be Worse about it but i feel like it would have worked with any salmon head she got her hands on and that it happened to be kiwico was a coincidence and also that the head wasn't cursed at all there's just something deeply wrong with fishie s3 in general and uh yeah đ
I'm so sorry this is so disjointed i had a thesis statement and everything. alas
#whisp whispers#fishie beastlife spoilers#since i had to rewatch videos these tags will serve as going insane about details i missed that were irrelevant to the post#i could make a whole thing on the parallels between fishie and bree. 'at least im not the only one with a troubled love life' yeah i guess#this is taking me ages to finish because if i think about beastlife fishie too long it genuinely spikes my heart rate#i think there's something wrong with me#fishie and bree both leaping at the oppurtunity to trade with their exes is so funny to me#someone should do indepth research about the way fishie interacts with dingo because i haven't been paying attention to it#by 'someone' i mean me because i'm the only one who can do that. other beastlife fan if you see this. holds out hand do you want#to make an analysis post with me .......#i appreciate kiwi trying so hard to do bug facts because bree's moth take is toooo insane for him. we can yes and the alien bit he draws th#line at incorrect moth facts though#'im neutral this is just fascinating' <-really funny in retrospect#*this is also taking so long forever because i keep distracted by whatever the fuck is wrong with everyone that i can't remember how to lik#put things into words#for what is a housewife without a house and no longer a wife?#'sorry guys it's just gonna be a lot of decorating today' YOUUUU. YOU. (<quote from beginning of e5)#ratchelor pad guitar riff is horrid on 2x speed. never do this what i'm doing right now#one of my irls is still in awe of the 6person boogie kill (or rather how nobody noticed fishie preparing the 6person boogie#is it boogey or boogie#does oku falling off a pillar and dying in the middle of fishie lore also count as a fishie proximity death#fishies curse is that people won't stop dying in the death games#also hiiiii fishieeeee you said you enjoyed analaysis. um. this one went a little off the rails i think and is more theory than analysis#posting this and disappearing off the face of the internet. cringe is dead but like. i mean you get it
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You mentioned how actually endearing and compelling Justine/Verity and John/Shaun's bond is, and BOY I so agree with you. I don't see people talk about them often sadly, but I genuinely think it's one of the strongest parts of the game and its narrative (in particular John's character development itself, despite that he appeared pretty late in the story, his involvement in the final sequence was really tasty. "If I kill someone for revenge I'll end hurting people dear to me, so it all will be pointless" hmmm if there isn't a certain samurai guy in another game who needed to learn this as well... but I digress)
Prosecutor's Gambit's parent/child theme is a pretty heavy handed topic, but it's not like there aren't some really amazing parts in this whole deal! I kinda don't even care about the mastermind as much as I care about John (and Kate Hall for this matter)
THEY ARE SO IMPORTANT TO ME!!!!!! I think much of their appeal comes from Justine's shift in personality after her connection to John is revealed (like her joking about smashing Edgeworth's evidence with her gavel), but also every interaction of theirs is so sweet and lovely.
I love how protective they both are of each other, and it makes all the more sense when you take into consideration that Justine wasn't much older than a child herself when she decided to adopt him. I love how they take care to show that, yes, to an extent, they both do look after each other, but Justine is still very much his mother, and she does her job well. The scenes where she's strict with him are so deeply important to me. You know she studied parenting books and did everything she could to prepare herself for this life. And yeah, John is such a great kid!! Genuinely one of the best parent-child relationships in the series to me.
I found it kind of funny how every other relationship in AAI2 involved a dad HAHA It was so much, but I get it. They really wanted to make sure you got what they were going for, and hey, most people seem to like it. I really liked Gregory's segments, which was a welcomed surprise. I didn't expect to love him as much as I did. And, yeah, the mastermind stuff did not work for me. It's probably because I didn't trust Simeon from the moment I met him (their heavy handedness worked against them in his case for me. They were pushing the idea of him being meek and unassuming too hard; I clocked it immediately as a red herring); but even the overall reveal and final confrontation were, like... eh. okay, then. HAHA The best parts of the game for me were those character interactions with the side character. Wasn't really paying attention to whatever was going on with Simeon and the president, but John, Justine, Sebastian, Katherine, Gregory, and Raymond? My actual world.
Also taking this opportunity to share all the screenshots I took of John and Justine <3 :
#i feel like some people have misinterpreted what i meant by 'telling' in the original post. i didnt mean to imply the father relationships#were badly written just that i resonate more with mum and child relationships whdisgdk#asks for the notebook#thank you for the ask!! idk what to say about justine and john because like. everything about them is wonderful. just look at them. how can#you not adore them. they're everything.#i feel like aai2 kind of tries to do too much personally. im not big on the twist villain who was planning everything from behind the scene#this whole time they come across very cartoon character to me (and simeon is definitely like that. i dont find him interesting or menacing#at all he kind of bored me sorry simeon fans) and i think it would have benefitted from having fewer characters or threads they were trying#to follow. i think the point was to feel like everyone and every interaction was importnat but it felt more like they would bring up whoeve#was convenient to bring up when the situation called for it to me. but i still really enjoyed my time with it. the writing for the side#characters was very fun i had a good time <3#freya talks aai2#justine courtney#john marsh#verity gavelle#shaun fenn#<- tagging so i can find my screenshots#long post
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I might have OCD actually
#idk i can't tell if its ocd or paranoia#but all my life these âshare this text to 10 contacts or your mum will dieâ always made me unreasonably panicked#and more and more because of posts like âdonate now or you are a horrible personâ make me deeply unwell#i feel so selfish because i know it's not their fault#im not blaming palestinians reaching out for help more like the people who share the posts and then guilt trip everyone#and i really dont wanna block the tags because it'll make me feel even worse and i still want to be informed#i have so many asks pilling up but idk what to do because I'm useless i can't help in anyway i dont have any reach and no money in my name#and i dont wanna close asks because i do enjoy ask games#but also idk what to do#because when i reply its so hard i feel miserable because i can't help but as soon as i reply i get 20 new ones and it's incredibly overwhel#overwhelming#but when i dont answer my brain is screaming at me âif you dont reply your while family will die in a car crashâ#and it's a simple mental image to think of the more asks i answer the more i get the more my brain tells me awful things#I'm sorry to any mutual i may have unfollowed because they shared so many guilt tripping posts i genuinely can't do it anymore#and i feel terrible#and I don't wanna leave Tumblr because it's my only social platform left lmao and thevother ones are all awful its the inly one i like#I'm just not in the right mental state to constantly see âdonate or you dont deserve to live even if youre poorâ kinda posts#it's not even triggering its just making my âocdâ worse than it ever was#all day long my brian been telling me âyou will die today because you didnt answer the asks!!â#it's genuinely horrible idk what to do and eother way i feel like a piece of shit i feel like i dont have the right to feel this way
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Commission for @kg-clark-inthedark, portrait of her OC Matheo from her fic Beyond The Spheres
thank you so much!
commission info
#ert#commission art#art commission#artists on tumblr#art#kg-clark-inthedark#pencil art#such a delight of a commission#thank you so so much#and Im sorry for taking so long with posting this#should i tag dishonored orrrrr#also!!! everyone!!!!! go read beyond the spheres#like genuinely go do it#its even linked right there#either way! this was very very nice
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bad astrology by flower face
#yellowjackets#jackieshauna#ITS DONE OMG ITS FINISHED#what do I do now. with my life (ranking)#also ive decided i am gonna do literary analysis. on all of em#literally i have NO idea if anyone cares. well. i do bc I care and tbh that's enough to me#<- guys look im living so healthy#anyways this was a blast#hope somebody has at least discovered flower face trhu me bc its one of my fav artists#mitos incredible life#mine art tag#also im sorry the like long scenes 3 and 4 arent on beat :/ i love that song but it has so long instrumental stuff and idk what to do there#ALSO!! i had it all planned out like at least half in my docs (like always)#and then in the middle i was like 'omg what if I only show jackie-after-the-argument and shauna-after-jackies-dead'#(excluding the argument and the flashbacks (they used to hear us thru the floor))#which was. restricting. very much#also meaning was changed (originally wanted jackie to have the line 'idc if ure not made for me' but the only scene i could think of was th#ure hungry for and that was the next scene already so.)#anyways this was originally gonna be lottienat before i started with The Shark In Your Water#bc I thiught it fit them SO well. (still do) but now I like have to get away from the jackieshauna thought and then ill do the lottienat#probably#omg also I want everyone (who has read this far. whoever would do that) to know i was running on like 25 screen#recordings and 3 jackieshauna scene packs form yt#that's why. I dknt have that many clips alright im not using like 10 scenes over n over on purpose#gotta go but im gonna make a wrap post thingy once im back slay#no actually I get like average 7 notes (<- that's a lie Idk bc I didnt count) but im proud of myself this is amazing#ive wanted to do smth similiar alr#but it was some album by alec benjamin and a different thing for every song (like a poemâ a painting or a play)#but I lost motivation this is the first thing that i actually pulled though all the way I think#jackieshauna: The Shark In Your Water
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.
#need to be held#everyone holds you differently....#so craving the kind of holding that you'll likely never get again because you got broken up with by that person is... hard. really hard.#17 days is not enough time to be better from a breakup.#i can act like im doing fine around others#i can fill my days with all sorts of things to do.#but in the slow parts#the parts filled only by my thoughts and my longing?#the hurt leaks out. drips and drops.#its not a thing where the hurt will ever truly go away. it meant too much to me for that. but i'll do my best to grow around it.#extra challenging part is that i'm trying to be friends with her still while my emotions are probly not processed enough.#i don't have a great track record of staying in touch with exes. i hope things with her turn out differently than my past times.#to those who have been reading these vent tag posts#sorry if i keep repeating the same things.#my sadness has a cyclical nature to it#or so it would seem.
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đ§¸.
#hiii long time no talking in the tags#november is the most difficult month for me so sorry for little art#im making some stuff on the side and i hope to post them sometime later#ive been putting the adopts out mostly since i need to cover some dental expenses#thank you to everyone who reblogs my stuff its so appreciated#i hope everyone is doing as good as they can#if any of u wanna send me some nice ask ill love u forever too but no pressure :thumbsup:#also there has been a name change for me!!!#and an icon change#so theres that#still mulling over if i want a new @ or not#dont want to change too much at once and confuse people who follow me though LMAO
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