#between the artist the creation and the viewer

[ateez-himari]

ROAD TO KINGDOM; NEW MCS

Mentor Taemin finally stands side by side with his protégée as co-hosts.

September 23, 2024 (1:16PM)

MNet's new reality show 'Road to Kingdom : Ace of Ace' welcomed new masters of ceremonies (MC), with one of them being SHINee's Taemin and although this already came as a surprise to the cast of young idols, they were even more shocked to see none other than ATEEZ's lead vocalist, Himari, step out alongside him. While the two artists on their own are revered for their talent, the industry has recognized them an untouchable force when together, as the soloist has been entrusting the creation of his tracks to his junior for the past four years, each more successful than the last.

'The show is already concluded, she IS the Ace of Aces.' Said YOUNITE leader, Eunho. 'Everyone's heard her name at least once from their instructors.'

The group interviews revealed that due to never having interacted with the producer aside from watching performances that solidified her reputation as a stage demon, intimidation was palpable in the room until their senior began speaking with an easy feline smile, surprising most with a bubbly outgoing personality. ONEUS on the other hand who have been long terms friends with ATEEZ were overjoyed to see the maknae once again, with each member posting cute selcas on their respective social media profiles.

ATEEZ had previously participated in 'Kingdom : Legendary War' and experienced mistreatment at the hands of staff members along with the network themselves, their maknae making it clear by planting a knife marked with the word 'justice' in the middle of a crown during a 2021 performance, which many believed to represent the show. The fact that they invited the vocalist onto set regardless looked much like a victory to Atiny as despite the repercussions suffered as a result of netizens finding out about what happened behind the scenes, it seems they were in need of someone who they had disregarded years ago.

'Justice Will Prevail' was written on their Captain's fan during the 2021 Gayo Daejeon and an exact replica of that fan could be seen on her Kanzashi (hair pin) during the first episode.

Amongst many adorable interactions captured backstage, it was the one between Himari and The New Six member, Junhyeok, that fans fawned over the most, where the younger idol seemed very hesitant to approach his senior despite making an entire praising speech to the members while wrapping up filming for the day. When coming across the two MCs talking in the hallway, the junior bowed rather sheepishly while mumbling nervously about admiring the artists greatly and once this discomfort was understood by the vocalist she began making friendly conversation right away, their exchange ending with a selfie along with a warm hug, which he would not stop talking about according to bandmates.

The network has informed viewers that the artist's presence might not be constant throughout the show due to the possibility of group schedules overlapping with filming dates, but from what netizens have observed, the episodes in which she co-hosts will by far be the most animated ones due to her dynamic with mentor Taemin. Road to Kingdom : Ace of Ace will air every Thursday at 9:30 pm (KST).

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[heavywithfire]

I truly will never understand people’s disconnect with the idea that Bad People can make Great Art.

[evertomorrowart]

Best of YouTube 2023

Yes, I did spend the first week and change of January on this. I wish I could have had it done for New Years, but too many people came out with incredible work in December, so waiting turned out for the best.

What these creators do are a huge influence on my life, I would honestly have difficulty doing what I do without them. That isn't to say that my favorites of the year are *only* on this image--It was almost impossible to narrow down my favorites. Many creators I wanted to include couldn't fit on a single page, and too many of them made more than one video I wished I could draw too!

But, to all of you, thank you for what you do. You're an inspiration.

For those who don't know, further is an explanation.

At the bottom center is an artistic masterpiece by Defunctland: "Journey to EPCOT Center: A Symphonic History." Over the last several years, Defunctland has risen from delightfully-entertaining commentary on decommissioned theme park attractions to occasionally dropping profound statements on the creation of art itself. "Journey to EPCOT Center: A Symphonic History" is worth treating like the cinematic experience it is: No second screen, you sit your ass down in front of a TV, set down the phone, and then you *watch it.* Any Disney, theme park, or independent film fan needs to pay attention to this one.

Bottom left is Caelan Conrad with their piece "Drop the T - The Deadly Consequences of Gay Respectability Politics." While I do think they've done more visually or artistically-daring pieces before, "Drop the T" is one of the most important videos released on YouTube in today's current climate of hate. We as queer folk (and our allies) need to understand how integral every identity of the queer experience has been since the start of the Civil Rights movement (and before!). While we are not identical, we *are* inseparable, and we deserve having our real history easily accessible.

TERFs and other conservative mouthpieces need not reply. Your opinions are trash. 😘

I cannot stop watching and rewatching this video by @patricia-taxxon, "On the Ethics of Boinking Animal People." It's not just a defense of furry fandom and its eccentricities, it's a thoughtful and passionate analysis of what the artform achieves that purely human representation can't. Patricia goes outside of her usual essay format to directly speak to the viewer about the elements that define furry media (the most succinct definition I've ever heard) and just how *human* an act loving animal cartoons really is.

As an artist who can draw furry characters, but never really got into erotic furry art, this video is a treasure. Why did I choose to have her drawn as a Ghibli character, hanging out with one of the tanukis from "Pom Poko?" Guess you'll have to watch, bruh.

Philosophy Tube continuously puts out videos that I would put on this list--I'm not even sure that "A Man Plagiarised my Work: Women, Money, and the Nation" is the best work she released in 2023. However, this video got many conversations going between myself and my partner, and the twist on the tail end of the video shocked us both to such a degree that I had no choice.

At the very tail end of the year, Big Joel released "Fear of Death." On his Little Joel channel, he described it as the singularly best video he's ever done, and I'm inclined to agree. However, for this illustration, I ended up repeatedly going back to a mini-series he did earlier in the year: "Three Stories at the End of the World." All three videos are deeply moving and haunting, and I was brought to tears by "We Must Destroy What the Bomb Cannot." While it may be relatively-common knowledge that the original Gojira (Godzilla) film is horror grappling with the devastation America's rush to atomic dominance inflicted on Japan, Big Joel still manages to bring new words to the discussion. Please watch all three of the videos, but if, for some reason, you must have only one, let it be "We Must Destroy What the Bomb Cannot."

Y'all. Let me confess something. I hate football. I hate watching it, I associate seeing it from the stadiums with some of my worst childhood experiences, I despise collegiate and professional football (as institutions that destroy bodies and offer up children at the feet of its alter as a pillar of American culture)--

I. L o a t h e. Football.

But.

F.D. Signifier could get me to watch an entire hour-plus essay on why I should at least give a passing care. AND HE DID IT. I might think "F*ck the Police," the two-parter on Black conservatism, or his essay on Black men's connection to anime might be "better" videos, but this writer did the impossible and held my limited attention span towards football long enough to make a sincere case for NFL players--and reminds us that millionaires can *in fact* be workers. That alone is testament to his skill.

Sit down and watch "The REAL Reason NFL Running Backs Aren't Getting Paid." Any good anti-capitalist owes it to themselves.

CJ the X continuously puts out stunning, emotional videos, and can do it with the most seemingly-inconsequential starting points. A 30 second song? An incestuous commercial? Five minutes of Tangled? Sure, why not. Go destroy yourself emotionally by watching them. I'm serious. Do it.

Their video Stranger Things and the Meaning of Life manages to to remind us all why the way we react to media does, in fact, matter. Yes, even nostalgia-driven, mass-media schlock. Yes, how we interact with media matters, what it says about us matters, and we all deserve to seek out the whys.

Folding Ideas has spent the last few years articulating exactly why so much of our modern world feels broken, and because of that his voice continuously lives rent-free in my brain. While the tricks that scam artists and grifters use to try to swindle us are never new, the advancement of technology changes the aesthetics of their performances. Portions of Folding Ideas' explanations might seem dry when going into detail of how stocks work in This is Financial Advice, but every bit of it is necessary to peel back the layers of techno-babble and jargon and make sense of the results of "Meme Stocks."

Jessie Gender puts out nothing but bangers, her absolute unit of a video about Star Wars might be my new favorite thing ever, but none of her work hit so profoundly in 2023 than the two-parter "The Myth of 'Male Socialization'" and "The Trauma of Masculinity." There's so much about modern life that isolates and traumatizes us, and so much of it is just shrugged off as "normal." We owe it to ourselves to see the world in more vivid a color palette than we're initially given.

Panels drawn after Kate Beaton and "Ducks: Two Years in the Oil Sands."

"This is Not a Video Essay" is one of the most intense and beautiful pieces of art I've ever put into my eyeballs. Why do we create? What drives us to connect?

I don't even know what else to say about the Leftist Cooks' work, it repeatedly transcends the medium and platform. Watch every single one of their videos, but especially this one.

The likelihood you are terminally online and yet haven't heard of Hbomberguy's yearly forrays into destroying the careers of awful people is pretty slim. Just because it has millions of views doesn't mean that Hbomberguy's "Plagiarism and You(Tube)" isn't worth the hype. Too long? Shut up, it has chapters and YouTube holds your place, anyway. You think a deep dive into a handful of creators is only meaningless drama? Well, you're wrong, you wrong-opinion-haver. Plagiarism is an *everyone* problem because of the actual harm it creates--the history it erases, the labor it devalues, the art it marginalizes--which you would know if you watched "Plagiarism and You(Tube)".

Watch. The damn. Video.

In fact, watch all of them!

Thanks for reading this if you did.

[cboffshore]

"Bridal Portrait of Uncertain Origin"

Artist unknown, circa the Fall of the Preeminent (estimated)

Oils on bespoke canvas, silk tulle, gilded oak frame

Shortly after the last Yin-Yang Eclipse prior to the Merge, this portrait was discovered in the attic of the Temple of Airjitzu, despite no records of the portrait ever being displayed inside. Indeed, "Bridal Portrait of Uncertain Origin" lacks any solid provenance or provable history. The materials and techniques used only further obscure the truth; perhaps the only thing certain about it is that it exists.

Examination of the structure of the canvas and gilded wooden frame indicate classical techniques from the end of the Era of the Stone Warrior; however, chemical analysis of the paints, varnish, and other materials used to finish the base revealed compounds identical to substances readily available in civilian art supply establishments of pre-Merge urban Ninjago, specifically those available shortly before the portrait's discovery.

Further complicating matters, the image itself is a web of self-contradictions and mismatched details. The subject's pose is highly informal, but the portrait itself - from the level of detail in the oil paint to the larger-than-life scale - is lavish enough to suggest a formal reason for its creation. The subject's attire, too, is highly unusual. Of all known ceremonial attire in the realms, the blues, sharp lapels, and floral motifs rendered here most closely match traditional Djinjagan royal wedding garments (hence the portrait's given title). However, the presence of only two arms, human legs emphasized by a jumpsuit, and the highly unusual structure of the outfit preclude it from being truly Djinjagan in origin and match no other known ceremonial garments from any realm.

Despite all of these bizarre qualities, perhaps the most intriguing part of the portrait is the silk tulle veil flowing out from the painting to drape over the edge of the frame. Independent analyses by multiple art historians found absolutely no point of the connection between the veil and the canvas; the fabric seems to proceed from the image itself, as if the frame is in fact only a window sill separating the viewer from the bride. Furthermore, chemical analysis of the veil revealed trace quantities of organic Latrodectus sotoii venom - a toxin found only on one island in all sixteen realms, which was nowhere close to the portrait's point of origin. Combined with the spiderweb embroidery on the veil, as well as the subject's trio of spider shaped brooches and venom-coated raised hand, the presence of this toxin may be the most reasonable thing about this portrait.

(Now: notes from the artist.)

The process for this one was utterly unlike any other artistic project I've ever done. This all started with me thinking back over a past Skybound analytical piece of mine and thinking how fun it might be to try putting it on an actual person instead of the template croquis I designed it on. (Also: seeing how my texturing methods have evolved!) One Dallon Weekes photo and a Reel about quick contrapposto armature doodling later and I was off to the races.

Initially, this was only supposed to be a souped up edition of the original look - the second image shown just above these notes. Then, while I was trying to figure out how I wanted to display the veil, I wondered: wouldn't it be neat to let it drape out of the frame? Except for I didn't have a frame involved at that point.

At which point I decided, well.... let's make a frame happen. There was already a decidedly haunted portrait energy coming off of this thing (fully intentional, but that's what happens when two of the albums you associate most strongly with your Skybound work are Vices and Virtues and Violent Things), so I thought: let's put it on display. Let's let the veil creep out to meet actual gallery air. Furthermore, why not give it a scary ass, borderline SCP ish existence? I do love an excuse to try and write a museum plaque.

Put another way: If you walked into a gallery and saw an oversized portrait of you on one of the worst days of your life that never happened, except for all the details were wrong (but just right enough to suggest the artist knew what she was doing), would that be fucked up or what?

Some other assorted notes about this:

The design of the gallery space itself was inspired by an image of Crystal Bridges, an art museum in Arkansas that I'm hoping to visit later this year on a trip I'm taking to that area. I've had a family friend hyping it up for years now, and I've looked into it a lot; it's an incredible space. In the fictional lore of this painting, it ends up in a Crossroads art preservation institute of some kind that hangs on to art and artifacts from throughout the realms that crashed together in the Merge. (I couldn't quite squeeze that into the plaque writeup without sounding clunky.) Crystal Bridges, an American art museum with a dizzying range of works, inspired that idea and seemed the most appropriate place to base my fictional gallery on. Here's the image I used as reference, taken from a Google result from their site:

There is, in fact, text on that plaque on the wall. It's too tiny to read, but I promise that's text. Barring a few minor changes, it's the same as in the writeup; I typed it out, screenshotted and removed the background, and laid it out on the plaque. Much easier than trying to draw out teeny individual words.

Something else I couldn't fit into the plaque but tried to imply via the details was that this piece survived whatever collection it was originally in and made it through the Merge inexplicably intact, much like Nya's memories of the deleted timeline still hanging on even after the full reset. Weird as some stuff in this world is, there truly is no escaping it. Better get some nice lighting on it and try to get to the bottom of it. (I do also think it's funny how I bent over backwards trying to help this unnamed plaque author curator character trace every possible origin path when the motive for making this was just... fun. I just did this for fun and then I tried to make it look so grand and terrifying.)

The outfit in the portrait is faithful to the original design, with a few tweaks: the web collar is now gold to stand out against the veil, the veil itself is much longer, there are now two more spiders on the skirt, and there's a birdcage-inspired crinoline under the skirt. That last one was a technical decision, as the lace this time around didn't feel like it could hold itself up. Also, it's a convenient source of more symbolism if you need one.

That's about all the notes I have for right now - if I think of others, I'll be sure to add them. If you have any questions or comments, the inbox is always, always open.

Thank you for stopping by the exhibit.

[benzakii]

my debut from the shadows and love letter to the fandom

this is my first attempt at graduating from lurker status..

dear kidstar and soma content contributors ,

while you don't know me, i've been familiar with you all for a REALLY long time. that sounds so creepy but i've been a silent supporter, saving your art and rereading your fics.

as i've watched the fandom get smaller and the archives get dryer year after year, i've been increasingly grateful to those whose passions haven't died. your content has gotten me through a lot of hard times and has allowed for me to maintain my own passion through consuming your great works.

even though i've had plenty of ideas and head cannons of my own, i've been content as a viewer. i check the archives every other day with baited breath hoping for any chapter updates or new stories but again, they've become few and far in between. and that's okay. we all have our own lives to live. but in that same breath, i don't think it's fair for me to expect people to create, when i myself have been hoarding my own ideas and (very few) creations. and while i am not (ever) a fan of my own work, someone else may appreciate some more contributions to the fandom.

all this to say that i'm gonna use this blog to try to contribute more and publish any of my prior creations even if i'm inconsistent and they're imperfect and incomplete. i'm also doing this in hopes to rekindle my own dead passions and as a way to honor all of my countless ideas that have now passed haha.

anyways, ill stop my rambling and i'm looking forward to being apart of this.

ps. i would @ specific authors and artists but that makes me too nervous lol, maybe later.

[atrophiedemotion]

alien stage & the predictability of fandom

psa: this is all in good fun and in the name of media analysis, i am not trying to police enjoyment of media or fandom. this is just smth to make people think, and point out correlations between the alnst universe and fanon interpretation!

alien stage is a very interesting and thought provoking piece of media in that it, in universe, is literally a piece of media. we, the viewer, are watching the same thing the alien viewers in the alien stage universe are. we are merely observers in the same way the in-universe alien stage fans are.

this correlation between fictional viewer and real viewer is very fun to think about, especially when in extra content we even get to learn a bit about how alien fans interact with alnst- and it doesn't seem much different than how we do.

a big piece of alien stage is the fact that everything the characters experience; their love, misery, pain, and loss, is all commercialized in a way they cannot consent to and cannot control. they are raised and kept alive solely to be entertainment. (alnst, under it all, is also probably a nudge to how celebrities/ccs/people in the public eye are ripped of a lot of their autonomy)

and, well... how are we, as alien stage fans, much different than the in-universe alien fans of alien stage?

the more i think about it, the more it becomes clear that for the most part we aren't.

fanon in general has this tendency to lean towards light, funny, almost purified versions of characters and events. which makes sense, right? fandom is used for escapism for most people. it being fun and silly as a way to celebrate characters outside of their sometimes darker universes makes people happy, and there's absolutely nothing wrong with that.

in the instance of alien stage, though there's still nothing wrong with wanting to bring lightness to these characters (they definitely deserve it), there is something to be said about it. about the way fans often mischaracterize or reduce characters down to certain defining traits. which, again, common in fanon.

but in alien stage... that's exactly what the characters have to deal with in-universe. their stories being talked over, discussed and fawned over without having a single say in it. and even when they do try to have a say in it (till's incessant 'rebellion', mizi attacking luka, ivan breaking his persona, sua silently sacrificing herself, etc), their attempts are only seen as more drama for the aliens to revel in.

i think a big part of alien stage is the fact that the fandom (for the most part) acts exactly as one would expect them to. though there is deep discussion, it's typically overshadowed by fluff and jokes. the characters are simplified and stripped of their intricacies that make them so painfully alive and human in the material.

mizi, our main character, starts out ignorant to the reality of the world around her and has her entire universe shattered in front of her, and im not just talking about sua. everything she's ever known is shown to her to be a fabrication, a lie she thoughtlessly bought because she was a sheltered child. her ptsd, anger, distress, misery, and character growth through discovery of the truth are often overlooked in favor of 'cute pink lesbian who will do anything for her girlfriend including a surprising right hook'.

till, the only current participant in alien stage who is outwardly uncooperative and resentful towards the segyein, is constantly subjected to horrific abuse and only finds solace in creation of art and his idolization in mizi. he remains contrary to the aliens and his owner as valiantly as he can but is seen as a 'tortured artist' to them. his strong will, caring nature, and passion somehow translate into a fanon 'pathetic wet cat tsundere twink'. (it's particularly painful to me that till's distressed attempts at autonomy turns into a pathetic try at punk rebellion in fanon but. i digress.)

ivan, possibly the most complex and contradictory character (as of now), struggles with horrible self worth issues and feeling inherently different from his human peers and channels it into a miserable unrequited love because till has the fortitude to fight back when ivan doesn't. he masks his entire self to survive while yearning for freedom and expression, but never allowing it for himself. his self loathing, intelligence, masking, and apathy are usually ignored and turned into 'hot emo yearning gay yandere'.

sua, the character we have the least time with but who leaves the biggest lasting impact, was raised by her segyein as a doll and not a human and never had any brightness in her life before she met mizi and started to see the world in a different way. she gives everything up for the person who taught her how to live in a world where she was seemingly often bored and unmotivated. her unconditional love, heartbreaking past, and somewhat flawed thought processes tend to be numbed down to 'deadpan snarky protective lesbian girlfriend'.

(and ofc similar things could be said about luka and hyuna but i dont feel like i have enough knowledge about them so i will leave that to y'all)

all of these mischaracterizations/simplified characters are typically done in an unserious way, usually harmless, and at the end of the day are for fun, so why does it matter?

because that is exactly what the alien viewers of alien stage do. misunderstand the cast and simplify them to fit their view. consider their onscreen tragedies their personal form of entertainment.

i'm not saying this to try to discourage people from doing this and enjoying alnst in whatever way they want, im saying it so that people can take a step back and think about this in the way that the creators likely intended. alien stage is a statement on media in general, not just itself. and it so so interesting to see its very own fandom play into the exact same thing it subtly tries to bring attention to.

[reverieparacosm]

Art's Silent Language (Lukai Hwei x GN!Reader)

Warnings: none, just a lot of fluff :>

Chapter 1: The Color of Love

(part 2 here)

Summary: In the art studio, Hwei and you discover similarities in your works, leading to a mutual fascination. As you observe each other from afar, an unspoken connection begins to emerge. Hwei's assistance with your artwork adds tension, as you both yearn to unravel the enigmatic depths of each other's artistic abilities.

In the hushed sanctuary of the art studio at the Temple of Koyehn, a tiny Ionian island nestled in the embrace of the cerulean sea, Hwei stands before his canvas, brush in hand. Soft sunlight streams through the stained glass windows, casting an ethereal glow upon him and illuminating the worn wooden floors beneath his feet.

The delicate hues dances upon his face like whispers of forgotten dreams. His eyes, ever-shifting in color, mirror the emotions that churn within his soul. In this sacred space, where art transcends mere expression and becomes a language of its own, Hwei feels an inexplicable sense of belonging.

His fingertips, stained with vibrant colors, hover hesitantly over the canvas, as if hesitant to disturb the ethereal beauty that his mind's eye has conjured. A symphony of emotions swirls within him - curiosity intertwines with anticipation, while a gentle flame of excitement flickers in the depths of his being.

Hwei's gaze wanders to you, while you are engrossed in your own artistic endeavor. Curiosity sparkles in his eyes as he observes your concentrated expression. Recognizing your commitment to your craft, he admires the dedication and passion evident in your focused brushstrokes.

As Hwei watches, he catches glimpses of the artwork taking shape under your skillful hand. His interest piqued; he finds himself drawn to the subject matter that unfolds before him. With each stroke, you bring to life a scene that echoes the beauty of nature, much like Hwei's own creations.

The air in the studio seems to hold its breath as Hwei and you secretly observe each other in a silent dialogue of curiosity and wonder.

Hwei's heart quickens with an inexplicable sense of familiarity, as if the universe had conspired to bring you together in this space.

Noticing your intricate details, Hwei's fascination is evident as he gazes at your drawn bridge. He appreciates the craftsmanship, recognizing the sturdy blend with nature. His admiration widens at the skillful portrayal of the water's surface, reflecting vibrant water lilies and creating tranquility. The way you capture the delicate ripples, and the play of light creates a sense of peace, inviting the viewer to immerse themselves in the scene.

Hwei marvels at the lush foliage and attention to detail, bringing the natural world to life. The captivating water lilies, with their delicate beauty and vibrant colors, draw Hwei's attention, appearing almost lifelike on the canvas.

As an invisible force that defies explanation draws him closer, Hwei's heart stutters in his chest. Clearing his throat, he breaks the stillness of the studio with a voice barely more than a whisper.

"You...your art," Hwei begins, his voice trembling with awe.

He takes a hesitant step closer, his eyes locked on your masterpiece. The air between you seems to shimmer with an invisible energy, as if the very essence of creativity has woven itself into the fabric of your hearts.

You glance up from your work, your gaze meeting Hwei's with an intensity that mirrors his own.

What Hwei doesn't know is that you admire him. You have been observing him from afar for some time now and you see him as one of the best artists of your time. The way he expresses his art is breathtaking. But you have the feeling that he is holding back.

He seems to be hiding something.

He paints so beautifully. The inside of his mind must be a terrible place.

You study his work within the walls of your secret art sanctuary. Within the intricate brushstrokes and vivid colors, you discovered a hidden depth in Hwei's art. Yet, a sense of caution lingers within you. The last thing you want is to come across as weird or creepy, especially to someone whose talent and passion you admire so deeply.

As the allure of Hwei's art becomes increasingly irresistible, the secret admiration within you reaches a tipping point. The desire to confront the artist, to express the profound impact his work has had on your own soul, grows too strong to ignore. The time for secrecy and hidden admiration has come to an end.

But the fact that you are studying his art should remain your own little secret - for now.

He finds himself caught in the depths of your gaze, his breath hitching in his chest. You feel a gentle fluttering in the depths of your soul as you meet Hwei's searching eyes, a magnetic pull drawing you closer to him.

His eyes are a light pink with a mix of blue.

"Can I help you?" you ask.

"I... I've been watching you, admiring your work," Hwei confesses, his voice filled with admiration. "Your art is like nothing I've ever seen before. It's powerful, evocative, and it speaks to something deep within me."

A soft smile tugs at the corners of your lips, a glimmer of appreciation sparkling in your eyes.

"I've seen your art too," you reply, your voice gentle yet filled with sincerity. "There's a rawness, a vulnerability to your work that resonates with me. But I sense that there's something you're holding back, something you're afraid to fully express."

Hwei's eyes widen in surprise, his breath hitching in his chest. He had never expected you to perceive the hidden layers of his art, the unspoken emotions he had concealed within his creations.

Biting the inside of your cheek, you realize that you may have spoken too boldly, revealing more than you intended. The desire to confront Hwei directly about your findings in his art was not your initial intention.

"You can see that?" he says, his voice filled with a mix of astonishment and relief.

You nod, your gaze filled with understanding. "Art has a way of revealing truths, even the ones we try to keep hidden. And I believe that true artistic growth comes from embracing those truths, no matter how difficult they may be."

Hwei's pulse quickens as your words sink in. The invisible barrier that had held him back, the fear of exposing his innermost self to the world, begins to crumble.

"I've been afraid," he admits. "Afraid of being seen, of being judged, of exposing the rawest parts of myself. But seeing your art, feeling the connection it evokes, I can't help but want to break free from those chains."

"Art is a journey, Hwei," you say softly, your voice carrying a soothing warmth. "The crashing waves care not for who hears their roar, and towering peaks feel no shame in blocking the sun's gaze. So too should you refrain from diminishing your brilliance or talents to appease the discomfort of others. As the deep blue sea and high stone sentinels remain true to their nature without apology, so should you remain devoted to your authentic self without need for pardon."

With his gaze lingering on the canvas before him, Hwei's eyes shift hues like the ever-changing tides. With vulnerability in his voice, he begins recounting the pivotal moment that shapes his journey.

"I find solace in the art form known as paint magic," Hwei begins, his voice carrying a weight of both reverence and caution. "It is a medium that allows me to influence the emotions of those who behold my creations - a power that demands strict control and discipline."

He pauses, his expression clouded with a mingling of regret and longing. "The world doesn’t make sense, so why should I paint artworks that do? I find myself teetering on the edge of a precipice."

The human mind is truly the scariest thing of all.

The weight of Hwei's confession lingers in the air, carried by lingering words. Continuing, remorse tinges his voice. "During a demonstration for the temple masters, I have painted Koyehn's sea. I lost control."

Hwei's gaze falls upon his artwork. He studies the painting intently, his critical eye taking in every brushstroke and detail. The frown on his face deepens, revealing a hint of dissatisfaction with his own creation.

As he contemplates his work, Hwei's attention is diverted by the sight of birds gracefully soaring through the vast expanse of the sky. A wistful expression crosses his face, tinged with a touch of envy for the freedom these winged creatures possess.

Hwei absentmindedly reaches up to play with his hair.

The memory haunts him still, the tempestuous sea of emotions threatening to drown his resolve. "My awakening infuriates the temple masters," Hwei confesses, his voice trembling with fear. "They recognize the potential danger of such unleashed power. While they cannot bear to banish their heir, they emphasize the weight of my responsibilities, the need to temper my abilities."

A shadow of sadness crosses Hwei's face as he recalls the aftermath of that moment. "Haunted yet fascinated by the depths of my own power, I continue to explore in secret, under the cover of night. The fear of my full potential being exposed consumes me.”

Enthralled by the captivating sight of the iris flower beside him, Hwei's gaze becomes fixated upon its exquisite beauty. As his fingers brush against the delicate petals, a palpable sense of melancholy washes over him, causing his heart to sink. The vibrant colors that once adorned the flower begin to slowly fade, as if drained of their vitality by his very touch.

With a tinge of sorrow, he observes as the once-vibrant colors of the iris gradually lose their brilliance, their fading hues catching his attention. The petals, once bursting with life, now appear to wilt and wither, as if in response to his mere touch. Hwei's fingertips, lingering momentarily against the delicate bloom, withdraw instinctively as he realizes the unintended effect his presence has had on the flower's vitality.

Hwei, taken aback by the unintended consequence of his presence, quickly withdraws his hand, as if fearing further damage to the delicate bloom. A mixture of wonder and regret flickers in Hwei's eyes as he turns his gaze away from the fading iris. His gaze meets you again.

"I wish, they would only take as I am. For me, I paint because it makes me feel like someone's listening - or I am finally listening to myself," Hwei admits, his voice etched with longing.

There is a profound sadness in Hwei's eyes, a reflection of the burden he carries. He longs for the day when he can fully embrace his power without the fear of its consequences, when he can share his artistry with the world without reservation. But until then, he remains a hesitant guardian of his own potential, forever grappling with the delicate dance between restraint and liberation.

You listen intently, captivated by Hwei's tale and the depth of his struggle. As the weight of his words settles upon you, you feel a surge of empathy for his predicament.

You think to yourself; Hwei, you cannot make everyone think and feel as deeply as you do. This is your tragedy, because you understand them, but they do not understand you.

But you would never say that out loud.

There is nothing more intimate in life than being understood.

"Why do you share this with me?" you ask, your voice filled with genuine curiosity. "Why do you entrust me with the knowledge of your fears and the secrets of your power? Is there something you seek or hope to find in our conversation?"

Hwei takes a moment to consider your question, his eyes searching your face for a connection. A faint smile tugs at the corners of his lips, gratitude mingled with a hint of relief.

Nervously, he touches his neck, "I think I fall a little bit in love with anyone who shows me their soul," Hwei whispers, his voice soft yet filled with a hint of longing. His gaze bores into the depths of your eyes, searching for that rawness, that unguarded essence that he so deeply appreciates.

Aware of the challenges you encounter due to your rebellious nature, constantly sketching objects that displease the temple masters, he understands the troubles you face. The thought of your provocative drawings excites him, as he admires your audacity and willingness to challenge the norms. Hwei finds comfort in the fact that you are unafraid to express yourself, even if it means facing consequences.

He pauses, allowing the weight of his words to sink in before continuing. "I have carried the weight of my fears and the burden of my power alone for far too long. But in sharing my story with you, I find solace in the possibility that I am not alone in this world."

Unable to resist the temptation, you finally ask, your voice betraying a hint of nervousness, "Hwei, would you... would you mind helping me with my artwork? Your skills are extraordinary."

Hwei moves closer, his footsteps echoing softly in the studio.

As you watch Hwei walking gracefully towards you, you couldn't help but be captivated by his exquisite beauty. What caught your attention the most is his stunning teal hair, a vibrant hue that seems to shimmer under the light.

Hwei's hair cascades down in soft waves, framing his face perfectly and drawing attention to his striking features. It was a color unlike any you had seen before, reminiscent of a tranquil ocean on a sunny day.

You notice Hwei's choice of attire - a comfortable loose tunic that drapes effortlessly over his slender frame. The fabric seems to embrace him, allowing for freedom of movement while still maintaining an air of elegance.

In that moment, you couldn't help but admire Hwei's ability to effortlessly blend beauty and comfort.

As he approaches, you could feel his warm breath on the back of your neck, sending shivers down your spine. His proximity is both exhilarating and unnerving, stirring a mix of anticipation and unease within you.

Without a word, Hwei gently reaches out, his fingers barely grazing your arm before moving to rest on your hand. The touch is light, yet it sends a surge of electricity coursing through your veins. His touch guides your trembling hand towards the canvas, his movements fluid and confident.

"Let your instincts guide you," he murmurs, his voice as soothing as a whisper. "Feel the brush in your hand, let the colors come alive. I don’t believe that I am of much help, but I can try my best."

Hwei continues to guide your hand, a delicate dance unfolds. His touch is both commanding and delicate, as if he holds the secret to unlocking the depths of your creativity. With each stroke, your apprehension melts away, replaced by a newfound confidence that surges through your fingertips.

During your silent collaboration, Hwei's voice breaks the silence once more.

"I can feel your breath quicken," he says, his voice laced with intrigue. "You're becoming nervous."

His observation struck a chord deep within you, and you realize he has seen through the façade of composure you desperately tried to maintain. Your heart pounds in your chest, each beat echoing the intensity of the moment. The realization that Hwei's presence has stirred such a profound effect on you only serves to heighten your anxiety.

As Hwei senses the nervousness radiating from you, he puts his hands on your shoulder.

With a gentle movement, Hwei turns you to face him, his eyes locking with yours in a soft yet reassuring gaze. He reaches out and takes both of your hands in his, his touch warm and comforting.

The connection between you deepens as he leans in closer, his breath mingling with yours in a shared rhythm.

"Take a deep breath," Hwei whispers softly, his breath brushing against your ear. His fingertips trace intricate patterns across your palm, leaving a trail of warmth in their wake.

•───────•°•❀•°•───────•

As the session draws to a close, your artwork now transforms, Hwei releases his hold on your hand. You turn to face him, your voice a mere whisper, "Thank you, Hwei. Your guidance... it's been an incredible experience."

A knowing smile tugs at Hwei's lips as he regards you, his eyes filled with appreciation and something deeper, something you couldn't quite understand.

"You have a talent within you, waiting to be unleashed," he replies, his voice rich with admiration. "Embrace it, and let it carry you to places you never imagined."

Just as you are lost in the flow of creation, a sudden interruption shatters the tranquility. A temple member, dressed in customary robes, rushes into the studio, his face etched with urgency.

"Hwei," the temple member calls out, his voice breathless. "You are needed immediately. An important matter requires your presence."

Hwei's expression shifts, surprise and concern washing over his face. He glances at you, his eyes filled with regret, as if he wishes he could stay longer.

"I apologize," Hwei says, his voice tinged with disappointment. "It seems duty calls. There are matters within the temple that require my attention."

You nod, understanding the weight of his responsibilities. Though a pang of sadness tugs at your heart, you know that Hwei's commitment to his role is unwavering.

"I understand," you reply, your voice filled with understanding. "Your duty comes first."

Hwei's gaze softens as he takes a step closer, his hand reaching out to gently brush against your cheek. His touch lingers for a moment, as if imprinting the memory of his presence upon your skin.

"I will return as soon as I can," he whispers, his voice filled with a promise. "Until then, continue to let your art speak the language of your heart.”

With a final, lingering look, Hwei turns and follows the temple member out of the studio, leaving you with emotions swirling within you.

And, for a moment, you see the color of love.

In his eyes.

[akai-anna]

Rambling post about The Art TM

Firstly, a special thank you to @livmadart who fuelled my motivation with her lovely tags on my art to finish making this post as soon as I could (life just likes to get in my way). You are such an amazing person and artist (by the way, everyone should totally check out Liv's BDay piece for our favourite little menace BECAUSE IT'S GORGEOUS), and your words always mean a lot to me (even if I'm not the best at communication, for which I apologize, still love and adore you, despite the awkwardness and sporadic talks).

The Idea

My art was inspired by the amazing @detshin's piece. Ever since I've seen it, I felt the urge to make a companion piece for it; I adore the composition and the symbolism in it to bits.

The Concept

I also wanted to take my own spin on the piece. From the start I wanted:

Conan's eyes not being covered (because he can see)

Conan looking at the viewer like he is looking straight into your soul. No thoughts, head empty why, it just felt right.

His mouth to be the one that is covered in some way. The sheer symbolism of his mouth being obstructed (but cannot speak) just made my heart ache so badly.

Changing the outfit based on this musing of mine.

As for the rest, it came about when sketching around, and waiting for that CLICK in my brain. And the forget-me-nots covering his mouth was that CLICK: SYMBOLISM IS MY LIFEBLOOD.

The Materials

I had 2 techniques in mind: watercolours and soft pastels. Ultimately I decided on soft pastels because

I haven't worked with pastels in YEARS, yet I adore the technique

I haven't used these pastels since I got them from an attic cleaning that we did for an old lady last year-ish (they would have been thrown away, after YEARS OF DISUSE and my heart couldn't take it, SUCH BEAUTIFUL MATERIALS TO WASTE AWAY)

I felt that what the material has to offer suited this particular piece: the vibrant colours offering a certain contrast to the original piece, and a certain feel (especially on the right paper) to the texture.

After some testing, I decided that going with a dark background works better: it made the colours more vibrant, and the slight texture of the paper did its magic. + Dark VS Light background colour was another nice contrast between the two pieces.

The Making

At first I didn't know what to use to sketch with, so I tested a couple things, and ultimately went with a white pencil: easy enough to erase if needed but also visible enough to see on this particular paper I had.

Looking up and studying tons of reference pictures for various things (sometimes with more, sometimes with less luck): the pose, facial features, the flowers... I have a whole folder of 'em LMAO

Actually drawing that sketch LOL

Then came the colours, which I tested on a separate piece of paper, to see which ones I want to use... After that I added the main blocks of colours.

And when I liked it, proceeding with the actual colouring: mixing all the different colours and layering them. In some places I used 4-6 colours (or more, depending how you look at it), while I used only 2, but mostly 3 in others.

Lastly: I used hairspray as a fixative, which slightly changed the quality and texture of the pastels and colours. (See below.)

The Feelings

As mentioned above, it has been years (I think around a decade actually, what the fck) since I used soft pastels, so it was a bit of a challenge to get back into using the material (and I'm not as experimental and confident I want to be yet, and likely fried my brain a little in the process). Also tons of fun, though! I forgot how much fun is there in the process of creation, and this piece brought that back into my life.

[diejager]

spreading the adriana imai/skull merchant agenda, i'm here to request <3 adriana imai x fem reader? if you need inspo msg me!!

Chiaroscuro

Pairing : Adriana Imai x fem!reader

Cw: blood, gore, canon-typical violence, torture, murder, death, kidnapping, The Skull Merchant is a simp, tell me if I missed any. Wc: 1.3k

A being of intelligence and cunning, Adriana knew what she wanted and how to get it, a creature of plans and technologies. She was a genius at her craft, wringing head after head to her growing masterpiece - a modern Leonardo. Her ingenuity and patience for attention seemed to win her everything she wanted: fame, money, blood and a reputation with the darker side of the world. Adriana took and took, pinning her eyes on something that had caught her attention and planning her way to get ahold of it.

She's a demon of two sins. The greed for money and the lust for fame. The greed for heads and the lust for blood. One was a means to an end and the other was the reward she reaped from the former. With money came fame. With deaths came blood.

She wasn't exempted from human attractions - distractions in her case. She liked pretty things, objects of fragility that hid secrets. She also liked dangerous things, making a hobby of stealing from others. She valued what she took, either pretty or dangerous, the pride she felt grow when they became hers.

Perhaps that's why she liked you so, the little artist that painted the most majestic piece of art she'd ever laid her eyes on. The graceful strokes of red and salmon, blended with the dark brown and black that struck the viewers with awe and adoration. The sticking contrasts of light and dark in your paintings made it come to life, like an image of your thoughts and imagination. The creation of a beautiful mind displayed for the world.

Every piece, every collection, every test was bought in her name. Her penchant for beautiful things had forced her hands into buying your work. She was your most beloved patron, a supporter of your work in the time of contemporary art that showed expressionism and conceptual art in waves. It prioritized newer art styles rather than the older ones, pushing back baroque, sfumato, chiaroscuro, classicism, etc

She wanted to know how your mind worked, how your technique made it looks real and how you came to this. She knew you were a freelancer, painting only whenever you felt the sparks of inspiration in your soul. She knew you came from a low-income family from a low-security area - much like herself. She could see the correlation between your art and your life, the darkness and the crimson in them, the heaviness and the dread from the simplest depiction of blood, and the trepidation and thrill from the bodies.

She wanted you, she wanted your mind, she wanted your hand, she wanted your paintings. You, it was you. You were the cause of her obsession, of her hunger, of her doom. You filled her thoughts as much as your paintings did. She wondered what she would find if she cracked your skull and peered into the soft tissues of your brain. Would it be the secret to your prodigious work? Would it be the answer to her obsession? Would it be the answer to your life? Would it be the link she felt between you both?

She couldn't stop herself, she'd gone as far as watching you and following you. In the darkness of the night, she would watch you tread carefully between alleys, and stalk you as you made your way through the city. Then she would watch you at home and your workshop, through the lenses of the surveillance cameras, Adriana watched you skip stairs with a heavy bag, an excited smile gracing your lips and a new, blank canvas under the other arm.

Your colour of choice was red, a deep crimson that reminded her of the ichor that breathed life into their bodies. A beautiful, glistening red that seemed a little too water to be acrylic or oil paint. Cans of freshly-opened or used paint littered the floor and walls of your workshop, red spilling from the edges, rolling down steadily when you cracked the lids open. Like blood, it stained the floor with red and brown spots.

She watched you dance around your canvases, hands twisting and bending like the body of a dancer, gracefully and fluently. In a fortnight, you'd have it finished, protected under a thin veil of cloth that hid it from prying and ecstatic eyes until the moment of unravelling. Be it flowers, a river, a plain, a forest, a person or a sky, it would be grand with the red shades.

If you needed black, you'd pour black. If you needed pink, you'd pour white. If you needed salmon, you'd pour yellow. You added your precious red to everything you used, the corners of your lips perking in a satisfied and awed smile.

Adriana wondered what was so special about your red, or why you returned with new cans every time you started a new painting. You always returned late with two freshly-opened paint cans and a canvas. It was suspicious, and it drove her insane.

Could she make you smile like that? Could she make your lips curve elegantly and prettily? If she was special, you'd approach her, no? She wanted to be like those random people from around the world that came to see your exhibitions and made you turn your head or catch your eyes. She wanted to be like them, but then, they all disappeared, as if they never existed (of course she knew they did, their physical form might've vanished, but their history and existence would never go unnoticed by her).

It made her curiosity perk. It drove her insane. She dared to follow you closer, threading a thin line of darkness behind you. Darting between shadows and corners like a common thug, it was self-degrading yet fulfilling - a means to an end.

Your secret. Their disappearances. The red paint. Your smile. Your inspirations.

It was filling, the moment Adriana caught a glimpse of the syringe tucked into the hem of your sleeve glinting under the yellow streetlight. Her heart swelled, her black, wretched heart pulsed with triumph and adoration. The red, the paint, it was blood. Your inspirations, the image you created through their last words, through the pain and sorrow they showed. Your secret, the murderous tendencies you felt when you painted.

She was thrown off her feet, the supporting pillars of her life falling apart as she followed you back. She had your secret, the dark secret you kept close to your heart was known to her and her alone. She truly had something that connected her to you. She wanted to be a part of your life, in the best ways she could.

She could hunt, capture and kill. You would bleed them dry and paint them in the throes of agony, making the most beautiful masterpieces known to her (the world too, she surmised, seeing that so many people came to see your work).

Adriana liked the sadistic grin when you cut their skin, watching the ichor bleed from the wound and into your new can. The gleam of your exacto knife under the white lighting of your basement and the dread in the eyes of your new inspiration was spine-chilling, making her knees weak and her mind dream.

She wanted to be behind you, an arm wrapped around your hip, body flush against yours as she led your dominant hand - holding a knife from her collection - near the skin of the person you caught together. Driving her knife into their heart, fingers intertwined and face mere millimetres from one another, close enough to touch, but too far to kiss. She wanted to be a part of your story and work.

"Hello, Miss Imai," you greeted her, head bowing lightly. Your smile illuminated the room, making you the center of her attention (not that it wasn't since she first stepped into the gallery). "I was wondering if you could join me tonight. I'd like to personally thank you for being my most loyal patron amongst them all."

The eager gleam in your eyes showed her your thoughts, the need to have her, to show her your work, to bring her into your life. You knew. You knew and she couldn't be any happier.

"You know," Adriana breathed, almost worshiping.

"Of course, you're my favourite, after all."

"Yes, please."

[eurothug4000]

FORBIDDEN SIREN INTERVIEW WITH MIKI TAKAHASHI (CONCEPT ARTIST ON SIREN)

Thank you to Bokeh Game Studio and Miki Takahashi for taking the time to answer my questions!! I featured some of the answers in my latest video on the first Siren game, but here's the full interview for everyone to read:

1. What kind of directions did you receive when asked to design the Shibito? And what aspects of the designs in particular do you feel come from you and your style specifically?

2. How did you approach combining humans with sea creatures in the context of horror? I imagine you could take that idea but also end up making it look too cool or even quite funny, so how did you ensure they stayed creepy?

(Answering both 1 and 2)Regarding the combination of humans and sea creatures – as there was the aspect of the “Sea Sending” ritual in the story, the Art Director requested that sea creatures be incorporated into the Shibito’s design.

However, I preferred to detach myself from a traditional horror design. There are many monsters with decaying bodies, big mouths, fangs, and glaring eyes seen in other works. I also felt that if the creator’s intention of trying to intimidate viewers becomes too obvious, the result would be less interesting.

The Shibito is a physical manifestation of God’s blessing. They are not zombies, but rather bodies that are being reborn. This is why I incorporated the colors and shapes of lively, beautiful sea creatures in the design.

I also believe that ultimately in horror, there is a fine line between humor and pity. The final design was an outcome of pursuing this line.

3. What was your favourite Shibito design and why? Were there any particular Shibito concepts you made that you really liked but didn’t end up in the game?

I would say that Mina Onnda’s Shibito Brain is my favourite. This is the first Shibito I had designed, and I remember Toyama liking it. This therefore allowed the overall approach of the Shibito’s design to be clearer in my head.

4. Datatsushi’s appearance resembles a Shakoki-dogu. When it came to the design process, were the real-life counterparts the origin or starting point of a design? Or did they only come in during the later stages of creation to finalise details? I’m interested in how the relationship between reality and fiction worked during development!

Thank you for spotting the resemblance of the Shakoki-dogu! The design was inspired by the

beheading of Datatsushi. The reason for it… I think I will leave it up to your imagination.

5. What did you learn from your time working on the first Siren game? Are there any particular memories you’d like to share?

Through thoroughly incorporating the world and atmosphere of the game, I discovered how rewarding it is to create a convincing design. I find that the stories and settings that aren’t present on-screen are the most important aspects. I believe these give depth in the overall design of a work and stirs the imagination of the viewer.

[coldresolve]

tbh i didnt mean “not wanting to be criticized” i meant “not wanting to search up things and dive into stuff”. Rolling your head on the keyboard and relaxing while creating something is not the same by any means. I was also thinking more of visual art when i wrote that, since “art” is usually used in that sense these days. I do write and i do “research” (not like actual research articles tho) but i couldnt care less about political or any “other” interpretations. I know ur on the mindset of “all art is political” but nah. I just like creating. I dont even ever look ar politics. No news, no social media, nothing, i dont care, i dont interact, i dont listen. Not something that i care about. And im not the only one. And thats also fine. Art and creativity and the act of creation means different things to different people and noone can make a blanket statement with saying “its always political” or “it always has a »deeper« meaning”.

I also dont think “no deeper meaning” means its “shallow” or “lacks depth” (eventho this sounds contradictory), it just means that what might mean something to the artist, doesn’t necessarily mean anything for others and interpretating it in all kinds of ways is the viewers own opinions (also fine, but my point stays that it wasnt “meant” to be interpreted in any way other than how the artist meant it). Like idk how to explain this but just because you (or anyone) thinks about art in such a “deep” and “layered” way its not always like that. Not by far.

Woodworking is art. Pottery is art. Even architecture is art. All those art forms usually dont have any “statement”, or if they do, its not as common. Its relaxing and soothing to just… create. And im not saying “oh just start woodworking without any research”, that would most likely be a safety hazard. What im saying is not knowing about all these political bulshits and not CARING about them either doesnt make the art less valid?

I used these examples because writing and drawing is usually more “political” for a lot of people (including you I know) but for many people its just the same as a piece of pottery or wood statue they work on to relieve stress. And the way you talk about art/writing makes it seem like those people are “less than”. Because they dont do research, because they dont use themes or whatever all those things. No, you dont have to do all those if you just wanna create. Its gatekeepy af.

And tbf at least they are creating it themselves, even if it doesnt fit your standards. At least they arent using some ai. In these times we need to encourage people to create more than ever instead of gatekeeping art and writing and talking down to people who arent as sophisticated as you are.

Because your writing and art is insane but man that shits stressfull. I just want to relax and turn my brain off and create some art to soothe my nerves… not all this political implications lol

My opinion and i know you disagree but anyways. You said you like “criticism” so thougth i would share my thougths too.

hope you dont mind if i break it up by point. below the cut cause youve said a lot and i say a lot, ayy

you wanna have mindless fun and dont care if it comes at the cost of spreading harmful misinfo, bigotry or stereotypes, i got it. i read you loud and clear. im also criticizing you for it, which according to this, you shouldn't have a problem with

so when you said in the last ask that you don't care about 'pushing bad stereotypes', you meant visually...? are you drawing racist charicatures or sth lmao

you're right, i do think all art is political, but politics isnt just men in suits arguing about taxes yknow. a political ideology is a prescriptive worldview, that's it. broadly speaking, it's about how you see the relationship between the past/present/future, resources and power, who has them and who don't, and does that align with our ethics, etc. why things are the way they are and how they ought (/not) to be. how you see the world, other people and yourself necessarily shows up in self-expression, that is what self-expression is. it's inherent to art, and you can't get away from this by simply going 'not true' - what you're telling me here is just that you've decided you personally don't care. which is your right i suppose

just like i have a right to be able to think of this 'heres all the ways i'm extremely apolitical' section as you just declaring a privelege. lots of people - especially this site's userbase - don't get the luxury of being able to look away, because their existence itself is highly politisized. either you pay attention or they start sending you and your friends to camps, babey. deciding to be apolitical is a Very political act

you're not sticking fully to topic here. i never talked about depth, i talked about engaging with art uncritically, which are two different things. i do hold the former as an opinion but this is already long, send a different ask if you want me to get into it lol its mostly just me being a judgy bitch abt popular culture

to the relevant stuff, im just gonna reiterate that the themes you put in your work exist whether you want them to or not. death of the author, that whole thing. if you portray poverty in a way that suggests poor people are just being lazy, or that black people are violent, or that gay people are predatory, if you essentialize these traits in any given work, that is the statement that depiction makes, regardless of whether the artist actually believes it's true or not. that's just how biases work in fiction. it's not gonna stop existing because you stop paying attention to it.

funny you should mention woodworking - hi, im a cabinetmaker and i love talking about my craft. cool facts: scandinavian woodworking tends to use sustainable/local wood, minimalistic and semi-rustic designs with a focus on elegance and simplicity, and mostly uses natural finishes. american wwoodworking is a bit flamboyant and grand, frequently uses exotic woods for details, bulkier designs, with a focus on sturdiness and practicalty, and mostly uses glossy/shiny finishes. japanese woodworking is all about precision, subtlety and a world-famous tradition of the craft spanning back millenia, using wood from species that allow for chisel work with a precision that's down to the width of a human hair, occasionally stained with some nice colors (asia generally loves wood stain). ikea's woodworking uses cheap materials and cost-effective factory production, focuses on the mass marketability of their furniture, and has a legal team to deal with worker's rights abuses and forced labor cases. if you can read nothing about priorities and worldview into any of this, i don't know what to tell you. alas its true. your chair is indeed political

this doesn't mean you can't also use any chair to simply sit down in. these two aren't mutually exclusive.

pottery is the same. architecture is the same. in fact, tell any former soviet country that there's no politics in architecture lol they'll look at you weird

never said your art isn't valid or whatever, idek what that means in this context. i just said i can still criticize your racist charicatures regardless of how much mindless fun you had making them lol

(in case its not obvious i dont think youre making racist charicatures or all that shit, im going to the extremes to illustrate a point ykwim. im guessing you'd be fine with me critizising racism in fiction - in fact i don't actually believe you'd disagree with any of the things i've said if i'd framed it in terms of racism, or at least i hope not lol i dont know how far your take goes. im challenging a double standard ig)

"because they don't use themes" mhm, youre one of the ppl who dont know what a theme is, which ig is pretty valuable for context. art necessitates making decisions about what you portray and how you portray it. those decisions say something about your thought process, which your audience is able to draw conclusions about, or at least interpret from. art is a form of communication. if you create art, you are communicating. it means something. there is a message, usually more than one. that's what themes are. can be as benign as "damn hangovers kinda suck" or some grand statement about the nature of being human, doesn't matter. both of those things are themes

i don't think any person is "less than", i'm criticizing people's approach to art. person =/= person's approach to art. remember in my original post when i said that criticism is not the same as personal attacks? or cultural elitism?

im not particularly sophisticated, i just like abstraction cause im mentally ill lmfao. and i do want to encourage people to make art. i just also hate consumerist brainrot, so

its not that i cant relate to wanting to turn your brain off sometimes and just watch some sloppy horror movie or whatever, i do that too. but i also recognize that said sloppy horror movie can be criticized in seventy thousand different ways, and at least being aware of that instead of mindlessly consuming probably leads to a more wholistic appreciation of the art you create and engage with.

this is sliding into opinion territory like the sidenote in my last answer, so beware, but. if 'mindless fun' is the only way you engage with art, you're missing out, i'm sorry, Facts*. you're treating art like content to be consumed to distract you from the real world, not as something thats supposed to inspire or motivate or make you think about/understand things. it's reductive of what art has the potential to do, the ways it can help you grow. it takes effort to change your approach and i get that, but it gets easier once you've done it enough, and it is very worthwhile imo. just sayin'. im genuinely being an optimist about art here

*= opinion lol. but its a strong opinion which is basically the same as a fact**

**= irony

anyway i genuinely enjoy having these sorts of conversations just for the record. am able to disagree with someone without assuming they're a bad person or whatever. i understand if youre not interested in talking continuing but youve been fairly respectful or whatever so thats nice, love and peace✌️

[the-cheapskateler-show]

“We interrupt this broadcast to bring you a very important message…”

((Everything beyond this point is out of character!!))

Hello everyone, Cheapmod here! Many of you reading this probably have not met me, so hello! Nice to meet you! 👋 You can call me Py if you’d like!

Right off the bat, I just want to make sure nobody worries since this post got kinda long. Here’s the gist of it!: Cheap’s blog is going to be continuing! It has not ended, and it won’t be for some time. I want to thank you all for sticking around and giving this blog so much love, and I encourage you to seek out additional askblogs you would enjoy cause there are many out there to love!

Okay with that out of the way, some further context for that and other things I just wanted to take the chance to say while I’m speaking out of character.

First, Im so sorry to anybody who’s been worried about Cheap, the state of this blog or me. I promise, we are both okay and this blog is continuing!

I just took an unanounced break from ALL my projects to focus on approaching art and writing more healthily. I was on break for longer than I thought I might be but I have not stopped thinking of Cheap and all of you out there. I am planning on returning to bring Cheap back to everyone soon! As a heads up, I will be experimenting more with the art style for this blog just to see if I can make things a little more quick and fun for myself!

As for the esteemed host of the show, Cheap is doing just fine! Nothing has happened to him since the last update. I would like to note that the real life passage of time will not always affect him. I will need to take breaks like this every now and then for my own sake and other priorities. If that happens, we will generally pick up right where we left off! I’ve also got many fun and interesting things planned for this blog, so I couldn’t possibly stay away for too long!

Now for something very important…you guys!!

I cannot thank you all enough for the incredible reception Cheap has recieved!! It means so much more to me than I can possibly express in words and seeing every last bit of it has really warmed my heart 🥺 Thats why its very important that I come back and make sure all the wonderful questions, comments and compliments you’ve sent in are responded to and addressed in time!!

As WELL I am so delighted that I have been seeing some incredible pieces of fanart from you guys!!!! I REALLY want to thank you each individually as i have been doing so far!! The reason I haven’t said anything yet about any fanart is because I want to give each one the dedicated attention it deserves!!! And that will be coming soon and coming first with the continuation of the little intermission we started on for giving these works a highlight!

All fanmade creations will be tagged as: #viewer-art-showcase! and I encourage everyone to check out the pieces there and especially the artists behind them!! I will be providing a link to this tag for easy access in blog description soon after this post goes up.

Another thing I’d like to mention before I wrap up here is I am posting this on an significant day for Cheap! On this day, Nov. 26th 11 years ago, I started Cheap’s first blog! With some hiatuses and pauses in-between, Cheap will have been around for 11 years. I can hardly believe it! I’m very happy to be running his blog again with this little revival here and Im so happy I made a character who has had a chance to develop so much and endured as one of my favorite OCs. It is in large part thanks to all the support and attention he’s received through all these years across all his blogs that I bring him to you all today and im so grateful to all new and longterm fans. I hope you will all continue to enjoy Cheap’s shenanigans as much as I do! Thank you!!

Lastly, I just want to encourage everyone reading this to check out ANY of the other ask-blogs that Cheap interacts with on here! I realized its not very easy to visit these blogs due to the way i’m answering asks with screenshots, so I will go back and provide @ mentions and links to previous posts.

But better yet, there are SO many awesome askblogs out there to discover well outside his blog so make sure you don’t miss them!! A great place to check out is the #lerkimpails tag for new and returning askblogs! If there are any other newer specific tags for askblogs in use that you know of, feel free to drop those in the replies of this post-im still a bit of a fandom oldie here… heh heh.

There are so many creative askblogs out there to discover and meet and they can all always use more attention and asks. This fandom and even this little corner of it are what they are because of the collective efforts of everyone on this platform inspiring and supporting one another, so be sure to make others feel welcome and appreciated and just go enjoy what they have to offer!!

Thank you everyone for reading this far! I mostly want to leave the hosting on this blog to Cheap, so there wont be many OOC posts like this, unless theres anything i really gotta clarify. Still, you will find me around in the tags now and then for sure. 🦋✨

We will get this show a-rolling again real soon! Hope to see you all then!

Cheapmod-Py

[damnfandomproblems]

I think one issue with the AI debate (which is apparent with this exchange) is that even if their heart is ultimately in the right place, some anti-AI folks would prefer to insult and scold rather than to educate.

I'm currently anti-AI myself, though about a year ago when it was just starting to blow up I was somewhere between pro and neutral to AI, because the way a lot of anti-AI arguments were presented just didn't make much sense to me at the time.

There was a lot of "its ugly!!" which is, for one thing, is EXTREMELY objective, and from my perspective, not always true. There was a lot that I found interesting or even beautiful. (One thing I still think even today, despite my disillusionment with AI is that it's the closest thing I've ever seen that accurately represents the real uncanniness of dreaming, although this is usually unintentional.)

I didn't like the "it's bad because it doesn't MEAN anything!" or some out-there woo-woo "it wasn't Created with the Divine and Blessed Soul of the Human Spirit" type stuff, because a part of what art is about is what meaning the viewer brings to it. Maybe the computer doesn't understand what symbolism is, but I could still find it whether it was meant to be there or not, and in this way, something that "no one made" is elevated to something a little bit higher.

And while I was more convinced by the argument of theft of individuals art, I still thought, "well, it's not like people are going to pass it off as their own creation! it's more of a starting off point, like an inspiration board! of course people are going to CHANGE it and actually make it their own, and that's a transformative work!" And this final point got proven wrong very, VERY quickly, because people WERE releasing clearly jacked-up images as "their own creations" with no regard to the artists whose work it came from. All it did was make people extremely lazy, because look at all the AI images with screwed-up text, the part that would be the EASIEST thing of all to fix, no artistic skill required, just ten seconds in any editing program and the ability to give half a shit. People either didn't even notice they were posting absolute nonsense, or didn't care, because they thought no one else would.

And not just people, but businesses, corporations. In such a short time, people's standards for quality control has dipped below zero. Quantity over quality, now half of any Google Image search is AI. When misinformation gets passed along faster than ever and no one ever thinks to question it, let's just create misinformation at an exponential rate! Now every website has its own AI feature it wants you to try, phones have AI generators built in, everyone is racing to capitalize off a technology we haven't even figured out ethically.

And then, most important of all, is the environmental impact. Like yeah, you might not feel like you're doing art theft with your character AI chats, since you keep it to yourself and don't profit from it. But if they have to cut down a tree every time you want to pretend to talk to your blorbos, isn't it just easier to open up your Notes app?

I don't think AI will never work, I think someday someone will be able to figure out a compromise that doesn't steal artists work and doesn't overheat the planet, where it actually can be a tool artists enjoy using instead of something to replacing artists entirely. But I don't believe that day will come very soon, when potential for quick profit reigns over all else.

Posting as a response to a previous problem.

[mikavaartist]

The Evolution and Impact of Contemporary Art

Contemporary art, a vibrant and dynamic field, transcends traditional boundaries to explore new mediums, themes, and techniques. It encompasses artworks created from the mid-20th century to the present day, reflecting diverse cultural, social, and political landscapes. This article delves into the multifaceted nature of contemporary art, its evolution, and its impact on society.

The Evolution of Contemporary Art

Contemporary art emerged in the post-World War II era, a time marked by rapid technological advancements and significant socio-political changes. This period saw a departure from the conventions of modern art, embracing a more experimental and inclusive approach. Key movements that paved the way for contemporary art include Abstract Expressionism, Pop Art, Minimalism, and Conceptual Art.

Abstract Expressionism

Abstract Expressionism, primarily an American movement of the 1940s and 1950s, emphasized spontaneous, automatic, or subconscious creation. Artists like Jackson Pollock and Mark Rothko focused on expressing emotions and ideas through abstract forms and bold colors. This movement laid the groundwork for future artists to explore new ways of conveying meaning beyond traditional representation.

Pop Art

In the 1960s, Pop Art emerged as a reaction to the elitism of Abstract Expressionism. Artists like Andy Warhol and Roy Lichtenstein drew inspiration from popular culture, mass media, and consumerism. Their works often featured everyday objects, celebrities, and advertisements, challenging the distinction between "high" and "low" art.

Minimalism and Conceptual Art

Minimalism and Conceptual Art, emerging in the late 1960s and 1970s, further expanded the boundaries of contemporary art. Minimalist artists like Donald Judd and Agnes Martin focused on simplicity, using geometric forms and industrial materials. Conceptual artists like Sol LeWitt and Joseph Kosuth emphasized ideas over aesthetic value, often creating works that required audience interaction or interpretation.

Themes and Techniques in Contemporary Art

Contemporary artists continue to explore a wide range of themes and techniques, often addressing critical issues such as identity, globalization, technology, and the environment. Their works challenge viewers to rethink their perceptions and engage with complex social and political narratives.

Identity and Representation

Identity is a recurring theme in contemporary art, with artists exploring race, gender, sexuality, and cultural heritage. For instance, Kehinde Wiley's vibrant portraits celebrate Black identity, while Cindy Sherman's self-portraits challenge traditional notions of femininity and self-representation.

Globalization and Technology

The impact of globalization and technology on society is another significant theme. Artists like Ai Weiwei and Hito Steyerl examine the implications of digital culture, surveillance, and the global flow of information. Their works often incorporate digital media, video, and interactive installations, reflecting the increasingly interconnected world.

Environmental Concerns

Environmental issues are also prominent in contemporary art. Artists like Olafur Eliasson and Agnes Denes create works that highlight the urgency of climate change and the human relationship with nature. These pieces often use natural materials and immersive installations to foster a deeper connection with the environment.

The Impact of Contemporary Art on Society

Contemporary art plays a crucial role in shaping cultural discourse and fostering social change. By addressing pressing issues and challenging societal norms, contemporary artists encourage critical thinking and inspire action.

Cultural Dialogue

Contemporary art facilitates cross-cultural dialogue, promoting understanding and empathy among diverse communities. Exhibitions and biennials, such as the Venice Biennale and Documenta, bring together artists from around the world, creating platforms for cultural exchange and collaboration.

Social Activism

Many contemporary artists use their work as a form of social activism, raising awareness about human rights, social justice, and political oppression. For example, Banksy's provocative street art and JR's large-scale photographic installations draw attention to marginalized communities and global inequalities.

Public Engagement

Contemporary art often extends beyond traditional gallery spaces, engaging with the public in innovative ways. Public art installations, participatory projects, and community-based initiatives create opportunities for people to interact with art in their everyday lives, fostering a sense of collective ownership and participation.

Conclusion

Contemporary art, with its diverse range of themes, techniques, and perspectives, reflects the complexity of the modern world. It challenges conventional boundaries, fosters cultural dialogue, and encourages social change. As we continue to navigate an ever-evolving landscape, contemporary art remains a powerful tool for understanding and engaging with the world around us.

[tmarshconnors]

Botticelli’s Map of Hell

Our modern vision of hell is deeply rooted in the literary and artistic works of the past, with one of the most significant contributions being Sandro Botticelli’s Map of Hell. This masterpiece, created approximately 700 years ago, offers a visual representation of the infernal realms as imagined by Dante Alighieri in his epic poem, "The Divine Comedy." The symbiotic relationship between Dante's literary creation and Botticelli's artistic interpretation has profoundly influenced how we perceive hell even today.

Dante Alighieri, an Italian poet, writer, and philosopher, penned "The Divine Comedy" in the early 14th century. The poem is divided into three parts: Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise). In Inferno, Dante embarks on a harrowing journey through the nine circles of hell, guided by the Roman poet Virgil. Each circle represents a different sin and its corresponding punishment, meticulously detailed by Dante’s vivid imagination and profound theological insights.

Dante’s vision of hell was revolutionary. It combined classical mythology, Christian theology, and medieval philosophy, creating a complex and terrifying afterlife landscape. His work not only reflected the religious beliefs of his time but also influenced future generations' understanding of sin, punishment, and the moral consequences of earthly actions.

About 150 years after Dante’s death, Sandro Botticelli, a renowned Renaissance painter, undertook the ambitious project of illustrating "The Divine Comedy." Among his works, the Map of Hell stands out as a detailed and haunting depiction of Dante’s infernal realms. Botticelli’s illustration, created around 1480, serves as a visual guide to the intricate and layered structure of hell described by Dante.

Botticelli’s Map of Hell is a parchment drawing that meticulously outlines the descending circles of hell, each with its unique torments and sinners. The precision and detail in Botticelli’s work capture the essence of Dante’s narrative, making the abstract horrors of hell more tangible and accessible to the viewers. His ability to convey the emotional and physical anguish of the damned souls adds a visceral quality to Dante’s literary vision.

The collaboration between Dante’s literary genius and Botticelli’s artistic mastery has had a lasting impact on our cultural and religious conception of hell. Even today, many of the common images and ideas associated with hell—such as fire and brimstone, eternal torment, and the hierarchical structure of punishments—can be traced back to Dante’s Inferno and Botticelli’s Map of Hell.

Modern depictions of hell in literature, art, and popular culture often draw inspiration from these medieval works. Whether in horror films, graphic novels, or theological discussions, the influence of Dante and Botticelli is unmistakable. Their portrayal of hell as a place of moral reckoning and divine justice continues to resonate with contemporary audiences, reflecting enduring questions about sin, punishment, and redemption.

Sandro Botticelli’s Map of Hell, based on Dante Alighieri’s "The Divine Comedy," remains a cornerstone of our understanding of the infernal realms. The interplay between Dante’s poetic vision and Botticelli’s artistic interpretation has shaped our collective imagination, defining hell for over seven centuries. As we continue to explore and reinterpret these works, their profound impact on our perception of the afterlife endures, reminding us of the power of art and literature to shape our deepest beliefs and fears.

[nitrosodiumfmp]

Behold, a First Look at Nharro

For being a pretty key character in Sinister's story (without him being asleep, the story would not happen), I haven't touched on Nharro much. This is my first piece of concept art for the Spirit King himself. I actually put a lot of thought into his design - much like the rest of Sinister, it doesn't look weird to look weird, it all has a purpose. Firstly, notice his pose, left hand raised upwards. (Left hand is noted because the word sinister means left-handed in Latin). This pose has been used, in some capacity, in Hinduism art, especially of the god Shiva.

Note the lower right (Shiva's right, at least) facing palm-outward to the viewer. Shiva is regarded as a god of both creation and destruction within Hinduism, and this parallels Nharro as the ruler of limbo, a realm between life and death. I've thought about this a lot and incorporated it into his design - not only is Nharro very symmetrical, but most things in his design are in groups of two, five and ten. I was thinking about how to represent the soul without connecting it to any specific religion (even my look into Hinduism was surface-level). What makes the human being different from any other animal (assuming animals do not have souls)? Our intelligence? But animals like dolphins are just as smart. Our genes? Perhaps, but we share nearly 99% of that with pigs and apes. I would like to point to the thing that has let us survive as a species: hands, specifically, five digits and opposable thumbs to allow us to master the tool. We have two hands, five digits on each, and ten across both. Look closer at Nharro's design if you haven't already - each curling line, each pattern of dots, practically everything comes back to that theme of two, five and ten.

You may have also noticed the pocketwatch tied to Nharro's ring finger by a chain. This is so he can count the lifetimes of the many souls entering his domain, but it also represents the mechanical aspects of Nharro's realm, the gears and moving parts. To him, the cycle of life and death is the perfect machine, multiple components (decay, growth, et cetera) working together. However, as Nharro's mind spirals into unconsciousness, so does the underworld. The immaculate order is gone, warped; gears now spin independent of any drive shafts or machinery, no longer obeying laws of friction nor thermodynamics. Warehouses of perfectly-ordered containers are now strewn in absurd patterns, stacked to the ceilings for no logical reason. The rusted hulks of boats pile up in the harbor, the carcasses of a once-orderly fleet of limbo-faring ferries. No wonder the Shipwright went mad.

Now let's look at Nharro's subordinates, the skeletons at his sides. They are dressed in cloaks; an idealistic artistic representation of a Grave Digger's garb, no longer torn apart by the ravages of time. The leftmost (our left this time, confusing I know) skeleton is carrying a spade, indicating that this one would fill the role of Grave Digger. Nharro has his hand rested on its skull; an act of affirmation to who are essentially his children. The other skeleton is carrying a large tome, and while it is not visible in the image, some messages in Latin are written.

Nharro spiritus est rex terram inter vitam et mortem.

Dominus maris in quem omnia flumina influunt.

Manes ad milites, sepulchra ad sutores, cryptas ad urbes.

Mortis in visione vitae.

I chose Latin because, beyond it being the go-to language for writing interesting messages without creating a conlang, it also contains the root of the word Sinister, as previously mentioned. The messages translate roughly to:

Nharro is the spirit king of the land between life and death.

Lord of the ocean into which all rivers flow.

Ghosts unto soldiers, tombstones unto cobbles, crypts unto cities.

Death in the visage of life.

Beyond being a nice bit of purple prose to fill the artwork, it describes my idea of Nharro and the wider afterlife quite well. The "ocean into which all rivers flow" is a metaphor I've wanted to use for a while in conjunction with Sinister - the afterlife's geography is very ocean-heavy, and the sea has always been a source of mysticism, from sirens and sea monsters to the supernatural implications of Davy Jones' Locker, and the various disappearances of ships throughout the ages. Plus, if you think back to the idea of Nharro loving the perfect cycles of life and death, look at the water cycle. Water begins in rivers and flows to the ocean, where it is "reincarnated" via evaporation. Sinister has you die over and over, and where do you evaporate, or respawn from, each time? The harbor. The ocean. My plan for traveling between levels has you on a boat - you're on your own water cycle in that sense. And what of "tombstones unto cobbles, crypts unto cities"?. Obviously this is a resting place functionally, but look at the level architecture. Everything is built out of gigantic pieces of stone, as if the afterlife was literally built out of ancient tomb remnants.

The artwork on the book is also related; though it's basically incomprehensible in the image I took. The first one is an ornate skull at the bottom of the first page, which doesn't have any meaning, but it's in line with the rest of the art design for the drawing. The next one represents a group of skeletons in a boat, crossing a stormy sea. This obviously relates to souls entering the afterlife by boat; the imagery originally comes from Charon and his ferry in Greek mythology, but it's also how souls canonically arrive to Nharro's realm in-game. The third image shows four buildings, standing tall. However, the remains of four skeletons are entombed within, making the skyscrapers appear more like sarcophagi. This relates to that line "crypts unto cities", on a more metaphorical level.

On Nharro's actual physical shape, I borrowed a lot from Moon Lord from Terraria.

The irregular head shape with multiple eyes, visible ribcage, and torso that tapers off is a very striking design, and something I have tried to mirror with Nharro. Obviously, his emaciated look comes from him being the god of death; of course he looks like a wizened corpse. Nharro's head was the first thing I designed of his character actually; I couldn't tell you what it properly represents, but it does somewhat resemble a coffin. If you look closely, a leering skull is visible in the centre, and this pattern is mirrored if you look at it upside-down, once more bringing things back to the themes of two, five and ten. In retrospect, it also looks very phallic, but given that sex is a key part of the life-death cycle (leading into birth obviously), it does still relate. Truthfully, it was an interestingly curved symmetrical pattern I could easily draw. Maybe it's different for everyone who looks at it. That is the key part of the project, after all. One thing can appear to be one outcome, and end up being another entirely. Nothing is as it seems. I think the Spirit King emulates that quite well.

(I am also aware that the name "Spirit King" is used by various characters, but it isn't Nharro's official title anyway).

I plan to have this drawing as a texture on a massive wall in the second level of Sinister, perhaps in some sort of church so I can lean into the more Gothic and fantastical elements of the art style. I could even make it transparent somehow and put it on a stained-glass window; now that would be cool. I have put masses of thought into this design, and so I really want to implement it somehow. I'd hate for all this effort to go to a character you don't even see.