electronicironic

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Its so funny how clara absolves some of the most awful people in the entire town, and sees the value in murders and kidnappers; like she hears Anna’s story and can turn around to call her innocent, just scared, traumatized, and trying to leverage power for survival the only way she knows how to.

And then whenever Daniil comes up she’s like HE’S A LITERAL DEMON FROM HELL PLEASE GOD TAKE HIM HE’S READY TO GO

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human Kinoga and Trito

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Was just informed that "any sufficiently deep enthusiasm is indistinguishable from academic rigor" and hoo boy we are really in a crisis of anti-intellectualism.

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The stands are being bizarre again-

[Standverse]

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ENOUGH MYTHOLOGY RETELLINGS i need a forbidden romance enemies to lovers thief x opera singer le corbeau et le renard

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i wanted to draw Hildryn flexing and then i got a stupider idea

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untitled (tight squeeze), 2024

18 x 19 x 23 inches

just realized i never posted this piece here?? i made this in an intro to sculpture class that i took during my last semester of college and its something im really really proud of, i learned how to weld for it!

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deltarune management simulator fangame featuring the three mikes as the main characters and you have little tasks. every so often tenna will call for a favor and you have to choose which mike to send Perhaps even send 2 mikes for high risk high reward

game over if tenna (theres probably chances to fail 2-3 mikes sent to tenna but its also slower if its only one mike) or the employees (theres like a meter for this) find out there is more than one mike (if you always have all mikes working simultaneously)

what if tenna makes you do some minigame bullshit while you’re managing Thats so funny SPLIT SCREEN PHYSICAL CHALLENGE WHILE YOU’RE BUSY MANAGING 2 OTHER MIKES ON THE OTHER SIDE

this might be contender for worst video game of all time no i dont know anything about UI/UX

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Road Wiz’s artfight page has been updated! Other jobs to follow suit.

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I've only barely started playing MTG but I am so far baffled as to how the community doesn't have some IRL equivalent of Pokemon gyms. People put so much effort into creating decks with unique theming, and while plenty of people are trying to optimize their decks to be flawlessly unbeatable, even more just seem to really like decks with cool themes surrounding particular creature types or mechanics.

I just think Magic would lend itself really well to a type of semi-competitive scene where you and your buddies can hop on the bus to the next town over to go fight Crab Guy (guy who likes crabs) at the Crab Gym (room at the back of a game store with paper crabs on the walls) to get your Crab Badge (small pin with a crab on it) by defeating his Crab Deck (deck whose only creature cards are crabs)

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I could write an essay on Warframe's use of forcing the player to walk slowly or limp as a way of creating a feeling of powerlessness and how masterfully it's used. And I could write an essay just on the segment where Stalker limps to his landing craft.

Stalker is extremely, almost comically powerful when he's in his element. The spy mission is laughably easy. He auto hacks every terminal. He can insta-kill every enemy. He can stay invisible basically the entire level and when he's invisible he doesn't trigger any alarms or tripwires. There's no challenge whatsoever. He's been doing this for centuries, to the point its become effortless.

This is juxtaposed with his complete and total powerlessness to help Jade. He doesn't know what to do or how to do it. He doesn't have any abilities or tools that help him with this. He can only watch her waste away.

Or, he can ask for help.

He can break the endless repetition and make a change. He can go to those he hates more than anything for help.

And, despite a thousand years of rage and pain, he does. Because, somewhere, deep down, in a part of himself he's long forgotten, the desire to protect is still what defines him, moreso than even the hate.

The second mission is slightly harder, as AOE damage circumvents his invisibility to a small extent, but is still pretty effortless. It's a change in why he's doing it, but not much change in what he's doing. He's still in his element and extremely powerful.

Then Sirius(or Orion) is born and Stalker's role, his goals, his whole existence, changes instantly. He's no longer the hunter, but rather the hunted. No longer a just a killer, but rather a Protector.

All of his abilities are disabled. All of his weapons besides the scythe are disabled.

The scythe that, in a written prelude, Hunhow praises for, unlike his other weapons, being a tool meant both for destroying and for growing. For creation and destruction.

A tool he uses as a shield. But, crucially, one that FAILS.

He CAN'T protect Sirius. He's defeated. He has to be spared. Someone else also has to choose to protect. To choose to go against the trait that has defined their life (greed/ambition in the case of Xeto) in order to protect something precious.

And they do.

Xeto gives up her chance to impress the Sisterhood and likely paints a huge target on her back, in order to help someone she doesn't know. She lets Stalker get to his feet and she and her men stand aside for him to escape.

And, in that moment, bloodied and beaten and dragging his broken form to his landing craft, we are given back control as the player over Stalker only to sell the effect of the powerlessness, physically, he has been reduced to.

And how, in that moment, as a person, he has more power than he has in a thousand years. Because he has chosen to break the endless spiral of grief he's been trapped in for a millennium and go against what he was crafted into to, once again, choose to love and protect instead.

Ballas tried to shape him into a tool of nothing but bloodshed because he hated how Sorren had defined himself with love in a way Ballas never could and, in that way, attained the love Ballas always saw himself as unfairly denied. He tried to destroy every bit of that love and every scrap of that man. But he couldn't. He could not destroy the child that Jade and Sorren created and he couldn't ever fully stamp out the love between them. And, even in the deepest depths of hatred and despair that Stalker fell into, the caring and loving man he was remained, never able to be destroyed.

Slowing those steps down and forcing the player to hold the command to keep going forward the entire time gets that feeling across in a way that is so poignant and part of what makes interactive media like video games such a powerful and unique medium.

He is reclaiming both his past and his future. Reclaiming the parts of himself defined by love. He is rejecting that easy path of wallowing in misery that he's chosen for so long and instead dragging himself forward, one limping, painful step at a time, towards something that actually matters to him.

And trusting the universe to stand aside to let him.

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woods...

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Shout out to everyone who found out they’re objectum or into robots bc of tenna

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Hiii, I was just wandering if you wouldn’t mind blabbing about the symbolism and stuff behind some of your design choices with the horse men that you might not have mentioned. Like with pestilence and death specifically I feel like there’s a lot of symbolism I’m picking up on without fully understanding. Like with Death’s sickle, both a homage to the classic scythe and a nod to the “reaping/harvesting” of souls. And with pestilence I feel like there’s something that I’m skirting around without grasping. The multiple legs strike me as a deliberate similarity to insects, and if I’m right I think that the rider is bound in a body bag type deal, similar to how disease and pestilence is so often both spread through the improper disposal of body’s, and how wide spread pestilence leads to mass graves filled with disease and the horrible anonymity that comes with being just one face in a pit of hundreds etc? All of this is, ofc, to say that I’ve adored your series of the horsemen so far and would go absolutely rabid for some insight on some of your design choices<3

My horsemen of the apocalypse! I will add the original commentary and some extras, less about the symbolism and more about what brought me to design them the way I did.

The symbolism is for you to chose, there is no wrong answer.

WAR

I can't bring myself to represent war with a cool knight. It's horror. War is a bound child crowned with shrapnel, tied to a wounded horse that is being pulled forward by unseen people.

I've read a handful of books regarding war. A lost quote said that it should be shown as horror, it should make generals vomit, it should make you sick. I haven't seen war but my family has.

It was the first horseman I've designed, and it was in my sketchbook for months (maybe over a year, maybe even more) before I had the courage to draw it. I was really scared about how people would react to a mutilated child.

Recommended reading: The Red Crown - Mikhail Bulgakov, a short story about a man coping with the loss of his brother in the war

FAMINE

Someone who lived thro a famine shared that their head was only occupied with thoughts of food. Famine consumes your mind. All animals were eaten. Neighbors gave their pets away cuz they couldn't do it themselves. People walked around town as if in a dazed dream, slowly

Recommended reading: The Last Witnesses - Svetlana Alexievitch, a collection of testimonials of people who were children when WW2 began. Some quotes below;

'''A cat! A cat!' Other children saw it and started chasing it. The educators were local habitants, looked at us as if we were insane. In Leningrad there were no living cats left...A living cat was a dream. Food for one month...We talked about it, but they didn't believe us.''

''During the first year of evacuation, we didn't notice nature, everything that was nature provoked in us only one desire - taste to see if it's edible. Only a year later I noticed the beauty of the Urals''

''I dreamt of catching a sparrow and eating it...''

''A candle burns and the shopgirl cuts the bread pieces. People follow her with their gaze. Her every movement...with burning eyes...crazed...and all that in silence.''

''People walked slowly through the city like shadows. Like in a dream...a deep dream...As in, you see it, but you think you're seeing a dream. Those sluggish movements...floating...As if a person walked on water and not on land.''

''In Leningrad there are a lot of monuments, but one is missing that should exist. They forgot about it. The monument to the dogs of the seige. Dear doggy, forgive me...''

I don't like talking about it. It made no sense to draw Famine with a horse.

PESTILENCE

Based on the notes of a doctor who said the most frightening thing about viral disease was how it didn’t frighten. People didn’t know or didn't care. They lived and spread until it was too late and they became another name on the record

The clothing being made out of shredding plastic is no coincidence; pollution is a form of pestilence too

Recommended reading: Notes from a Countryside Doctor - Mikhail Bulgakov. Roughly translated quote below;

''Ah, I verified that here syphilis was frightening precisely because it did not frighten. That was why I evoked that woman.* I remembered her with a kind of affectionate respect: because she had been afraid. But she was the only one!''

*Early in the chapter, doctor mentions a woman that appeared in the clinic with a letter from her soldier husband, where he wrote that he had syphilis and told her she should go to the doctor too.

DEATH

Recommended reading: Voices of Chernobyl - Svetlana Alexievitch. The Death of Ivan Ilitch - Lev Tolstoi

“Death is the fairest thing in the world. No one's ever gotten out of it. The earth takes everyone - the kind, the cruel, the sinners. Aside from that, there's no fairness on earth.”

Death is the only horseman that doesn’t need to mount their horse; they will reach everyone eventually. Who is the saddle for then? Open ended question because this one you have to figure out personally

Many people pointed out how the horse is a Clydesdale. Good eyes! I purposefully asked a friend to guide me towards what type of horses are the sturdiest and most-friendly looking. I drew the horse grazing. It's not injured, it doesn't gallop. It's grazing peacefully because life moves on.

This is the only design that had a painting serve as a base - The Reaper, by Alexey Venetsianov. Not much or nothing at all is written about, I saw it in a book. It is a literal reaper but it haunted me, as if it's portraying more than a person.

The choice to make it a woman was due to a book about a crematory (Smoke Gets in Your Eyes - Caitlin Doughty) that connected women to death because everyone born is bound to die.

Ahhh, I don't want to give it all away. It's fun to figure things out. About them all. From the enviroment, to the movement, to the horses themselves. Many people even mentioned details that I did not notice and didn't add purposefully that were so inspired and amazing. I truly mean that the interpretations of the public enrich the works even more than my own words. And it's an honor to share that work with everyone.

Thank you anon!