#central composite design

[gigivas]

1K GIGI Prompts Collections 'Teal Bird on One Leg: Vibrant Flat Design' 5858 Free 10 pages out of 1000 pages

Get Free 10 pages MTMEVE00557G_118_0001 – 1K GIGI Prompts Collections – Teal Bird on One Leg, Vibrant Flat Design 5858 10PagesDownload 1K GIGI Prompts Collections ‘Teal Bird on One Leg: Vibrant Flat Design’ 5858 series provides two documents, one document is 10 pages of prompts in 1000 pages, available for free download. One document is the complete 1000 pages of prompts, this is a paid…

[whereishermes]

Mediterranean |Pierre Bonnard

In January 1910, Pierre Bonnard was commissioned to create a triptych that was nearly 14 feet tall for the prominent Russian collector, Ivan Morozov. The triptych was intended to be installed between columns on the landing of a grand staircase in Morozov’s home. Completed in 1912, the triptych depicted light-filled scenes of women and children on a terrace, inspired by Bonnard’s time at a villa…

[moluvies]

in your orbit ꔛ armin arlert x reader

a/n: made the banner in 2 seconds on picsart myb 🫡👍 i usually dont fw the modern/college au for aot but nerdmin has so much potential :3

words: 5.9k

cw: nerd!armin, college au, she/her pronouns and fem anatomy for reader, somewhat inexperienced armin #idk, armin is actually a nice person in this au, frat boy eren makes an appearance (obvi), armin gets drunk, reader gets drunk, SMUT!!, so drunk sex, mutual attraction, blowjobs, p in v sex, doggystyle, dirty talk, he whines and whimpers 😦‼️, MDNI !!

˚₊·—̳͟͞͞♡

The rec center was lively, as it usually was this time of day. You checked your phone to look at the time—3:56 P.M. Would it be weird to go in 4 minutes early? You wondered to yourself, anxiety getting the best of you. Especially when you couldn't hear even the smallest sound come from the small study room, though you told yourself maybe it was a soundproof design.

Armin Arlert, one of your classmates and now a member of the group project you had been assigned, was the one to set this meeting up. The group project from your astronomy class was a semester-long task, given to you during syllabus week and not to be turned in until finals. Half of the semester had passed and you hadn't even really met the rest of your group members—aside from Armin.

The two of you hadn't really talked, though. You followed each other on Instagram now and you sat at the same table as him in class (along with a few other people you didn't really know). Aside from that, the guy was practically a stranger to you. But you couldn't deny how you admired him. He always raised his hand in class, never sounding too full of himself or annoying like other people typically sounded to you in lecture. He was also helpful if you ever had a question, especially because you hated going to office hours with professors you hardly knew.

Armin had texted the group chat he made with all the group members a week ago asking if everyone had availability that Friday. A couple people said yes while others just put a thumbs up emoji to react to his message. He didn't mind if they didn't show to the first meeting, really. It was individually graded and if they didn't have availability to meet Friday they could have said so.

You took a deep breath, trying your best to compose yourself before you knocked once and then entered the tiny study room. It contained one table with 6 chairs around it, a TV you could connect your laptop to, and a trash can off in the corner.

And it also contained only one person—Armin.

"Hey," you greeted with a smile, shutting the door behind you and seating yourself down in a chair across from him.

"Hi, you made it," Armin smiled, looking up from his laptop as you entered. "I was just setting things up so we all have access to the slides, just in case anyone wants to make changes."

You nodded, putting your bag on the chair next to you and taking out your notebook and your own laptop. Armin turned his screen slightly so you could see the Google Slides presentation he'd already started.

“So,” he began, pushing his glasses up the bridge of his nose, “the project is basically split into three parts. We each pick a topic from the syllabus—we're focusing on one planetary system or celestial phenomenon—and then tie it back to a central question or theme. I thought we could go with, like… how different environments in space might support life? It leaves a lot of room for interpretation.”

“That actually sounds really cool,” you said, surprised by how easily the conversation was flowing. Armin was easy to talk to—calm, thoughtful, never pushing too hard. “I was kind of thinking about Europa. Like, that moon of Jupiter? There’s been speculation that it could have an ocean under the ice.”

Armin’s eyes lit up. “That would be perfect for your section. I was thinking of doing something about Titan, Saturn’s moon. We could compare how the chemical compositions of each moon might influence the potential for life—or even just how scientists are studying them.”

The hour passed quicker than you expected. Armin’s presence, though quiet, was reassuring. The two of you bounced ideas back and forth, shared articles, and even got a little distracted googling strange facts about different moons. At one point, Armin laughed quietly at a meme someone had edited into one of Titan's photos, and you felt your shoulders finally relax.

“No one else showing up kinda worked out,” you said as you started packing up your things.

“Yeah,” Armin replied, unplugging his laptop from the monitor. “Honestly, I don’t mind. We got a lot done. I’ll just post our outline in the chat and if they don’t contribute by the next meeting, I’ll talk to the professor. He said we could document that stuff.”

You both walked out into the early evening sunlight, your backpacks slung over your shoulders as the automatic doors of the rec center whooshed open.

As you and Armin stepped outside, the soft warmth of the sun casting long shadows on the pavement, he glanced over at you with a relaxed expression.

“Got any plans this weekend?” he asked, shifting his backpack on his shoulder.

You sighed, a little amused. “My friend’s been begging me to go to this frat party Saturday night. I haven't been to one since my first week of freshman year."

Armin raised an eyebrow, a small grin tugging at his lips. “At Delta Sig?”

You blinked in surprise. “Yeah. Are you in that frat?”

He laughed—soft, a little disbelieving. “God, no. Not even close. But my friend Eren is. Our friend Mikasa and I usually end up at those parties to keep him from doing something insane.”

You tilted your head curiously. “So… you do go sometimes?”

“Sometimes,” Armin admitted, his tone casual. “Delta Sig almost got shut down, actually. They had, like, a ton of hazing violations documented over the past decade. I tried convincing Eren not to rush, but he did anyway. Even after I showed him an article about it online.”

You laughed. “Wow. That makes me feel so great about possibly going.”

He smiled, nudging your arm lightly with his elbow. “If you do end up there, try to find me, alright?”

“Yeah?” you asked, a little surprised by the offer.

“I’m not a big drinker or anything,” Armin said with a small shrug, “but I’ll probably be hanging around Eren and Mikasa, keeping them out of trouble. If you go, say hi.”

You nodded, a little smile growing on your face and a flutter in your heart at the idea. “Okay. I will.”

ꔛ

"I look like an idiot," you whined, eyeing yourself in the mirror as you looked over your outfit. As a freshman, you might've worn something like this to these types of parties, but now you weren't sure anyone should wear this kind of outfit. The top was so low cut and the jeans were just simply not it, you weren't sure if you were going for slutty or casual.

"Come on, you look great," your friend, Hitch, said. Her dirty blonde hair was neatly styled and she wore an outfit combination similar to yours—tiny top with jeans.

"We look like we're matching," you replied, but with no malice. That could be cute, you thought.

"Ugh, you're right. Be right back."

You glared at the back of her head as she turned to presumably go get changed. Your hair looked nice, and so did your makeup. The outfit felt dumb but it wasn't terrible. So why did you feel like throwing up?

"Armin really said to come find you?" Hitch asked when she returned with a grin and different outfit, bringing up the conversation you had in her car when she picked you up. Hitch seemed to be a frequent partygoer to this specific frat, and had met Armin a few times at these functions. When you brought it up in the car, she confirmed that Armin hardly ever drank and mostly stayed near Eren and Mikasa.

"Yeah. He's really sweet, so I didn't expect him to even go to these," you replied honestly, applying more lip gloss. "It wasn't a surprise when he said he doesn't drink, though."

"I'm sure you guys will really hit it off then. You even turned down my 'getting ready shots'."

You rolled your eyes, and soon you were on your way, taking the short walk towards Greek row where the party was presumably already in full swing—Hitch insisting on being late so you two didn't look lame waiting for people to show up.

ꔛ

Armin was a mess.

He didn't know why, or how, but in the hours leading up to the party he convinced himself he was awkward and weird for telling you to come see him. He even went to Jean and Eren and begged for advice.

He had so much trouble reading you, but he knew you were kind. And pretty. What he didn't really know was—well, everything else. Did you drink? What kind of clothes would you wear? Would you care that he didn't like dancing?

None of the questions made sense, but neithed did anything in his mind. Why was he this stressed over a party? He was practically the babysitter when attending, and it's not like he personally invited you. He just said you should come see him. God, was that even more weird?

Somehow, some way, Jean and Eren convinced Armin to take some shots. Three shots, actually. To "ease his mind" and to "calm his nerves" apparently.

Now, there Armin was in the back of Eren's car, finding the way the streetlights passed the window and the bass of the music electrifying. Everything was warm and fuzzy, and he felt his head spin the entire drive.

ꔛ

The music hit you before anything else—thick, throbbing bass that vibrated through the concrete steps leading up to the frat house. Red cups were already scattered across the yard, and the dim porch light revealed clusters of people smoking and laughing.

"This is going to be fun," Hitch said, linking her arm through yours. "Come on, let's find your astronomy boy."

You felt yourself blush at the nickname. "He's not my—"

"Yeah, yeah," Hitch interrupted with a knowing smile.

As you squeezed your way through the packed living room, the scent of cheap beer and cologne made your nose scrunch. Bodies were pressed together everywhere, dancing and swaying to music that was way too loud for any actual conversation. You were starting to regret coming when Hitch suddenly squealed and pointed toward the kitchen.

"There he is! Armin's over there with Eren and Jean."

You followed her gaze, and sure enough, there was Armin—but not the Armin you expected. His normally neat blond hair was slightly mussed, cheeks flushed pink, and he was... laughing? Not the reserved, thoughtful chuckle you'd heard in the study room, but a full, uninhibited laugh that made his whole face light up.

"Is he..." you trailed off, not quite believing what you were seeing.

Hitch's eyes widened with delight. "Oh my god, I think he's drunk! This is amazing. I've literally never seen Armin anything but sober."

You made your way over to the kitchen, Hitch practically dragging you. Armin was leaning against the counter, talking animatedly with two guys you assumed were Eren and Jean. He was gesturing with his hands, something about... constellations? It was hard to hear over the music.

When he spotted you, his eyes widened almost comically.

"You came!" Armin said with such genuine excitement that it made your heart do a strange flip. He pushed himself off the counter—a bit unsteadily—and made his way over. "I wasn't sure if you would. But you did!"

"I said I would," you replied with a smile, surprised by how endearing his enthusiasm was.

"Hey, Armin," Hitch said, giving him a little wave. "Looking good tonight! Where's Marlowe at?"

"Marlowe? Oh! He's out back, I think. By the beer pong tables." Armin seemed to remember his friends then, turning back to the two guys watching with amused expressions. "Oh! This is (Y/N)," he said your name with such care it made your cheeks warm again. "She's in my astronomy group. We're doing Europa and Titan and life possibilities and it's really cool. And she's friends with Hitch."

The shorter of the two guys—brown hair, intense eyes—reached out a hand. "I'm Eren. This is Jean." He nodded toward a guy with an undercut and a smirk.

"Nice to meet you," you said, shaking hands with both of them.

"You're in Armin's class? Good luck with that. He's been talking about space for the past hour," Jean said, but there was affection in his voice.

Hitch was already scanning the room. "I'm going to find Marlowe. You good here?" she asked you.

"Yeah, I'm fine," you assured her, secretly relieved to have an out from being around her boyfriend. Marlowe was nice enough, but he was so serious it made conversations feel like job interviews.

"Don't wait up," she winked, then disappeared into the crowd.

Armin was staring at you with an expression of pure fascination. "Your hair looks really nice," he said, the filter between his thoughts and words clearly compromised. "Like—like starlight. Did you know some stars have different colors? Red giants, blue dwarfs—"

"You're such a nerd," Eren cut him off, but ruffled Armin's hair affectionately. "Even drunk you're giving astronomy lectures."

"How much did you drink?" you asked Armin, unable to keep the amusement from your voice.

"Three shots!" Armin held up only two fingers, then frowned and corrected himself. "Only three. They said it would help with nerves. I don't usually drink." He leaned in conspiratorially, lowering his voice but still speaking loudly enough for everyone to hear. "I feel weird. Like my brain is swimming."

Jean snorted. "Lightweight."

Eren reached into a nearby cooler and pulled out a beer, offering it to you. "Want one? Fair warning, I think we've corrupted your study buddy."

You hesitated. You weren't planning on drinking much tonight, but Armin was looking at you with such hopeful eyes.

"Please?" Armin said, swaying slightly. "I feel like an alien right now. Everyone's having fun and I'm just... vibrating on a different frequency."

The way he said it made you laugh. "Okay, fine. One beer. Maybe three, eventually."

Armin's face lit up again as you accepted the beer from Eren. You popped the tab and took a small sip, grimacing at the taste. Cheap beer was still cheap beer.

"Well, now that Armin's in good hands," Eren said with an exaggerated stretch, "Jean and I are gonna go find Mikasa. She texted that she just got here."

"Wait, you're leaving?" Armin asked, a flash of panic crossing his face.

"Relax, we'll be back," Jean said, already backing away. "Besides, you've got your project partner now."

Before Armin could protest further, they disappeared into the crowd, leaving you alone with a slightly swaying Armin Arlert.

"They always do that," Armin said, leaning back against the counter for stability. "Leave me places."

"Looks like I'm on babysitting duty," you teased, taking another small sip of your beer.

"No, no," Armin protested, reaching out and nearly missing as he tried to touch your arm. "You should have fun too. Not just—just watch me being weird."

"Who says watching you being weird isn't fun?" you replied, finding yourself genuinely enjoying this uninhibited version of him.

Armin stared at you for a moment, then broke into a wide smile. "You're really nice, you know that? And smart. Your Europa idea was so good. I went home and read, like, three papers about it."

"After our meeting? I thought you said you were going to meet Eren and Mikasa."

"I did! But after. I couldn't stop thinking about the project. And..." he trailed off, that flush on his cheeks deepening.

"And what?" you prompted, suddenly curious.

Armin took a sip from his cup—soda, you noticed—and looked around at the party as if gathering courage. "And I was kind of hoping you'd come tonight. I don't know why. I just... wanted to see you outside of class."

Your heart did that strange flip again. "Well, here I am," you said softly, not sure what else to say.

"Here you are," Armin echoed, his eyes meeting yours with surprising clarity despite his intoxication. "Want to go somewhere quieter? I can't hear myself think in here, and I have so many thoughts right now."

You laughed, finding his honesty refreshing. "Lead the way."

Armin grinned and pushed himself off the counter, taking your hand with a boldness you suspected was alcohol-induced, pulling you through the crowded living room toward the staircase.

As you followed him, fingers intertwined with his, you found yourself thinking that this was definitely not how you expected your Friday night to go—but somehow, it was exactly what you needed.

Armin led you up the stairs, his hand still holding yours as you weaved through small clusters of people gathered on the steps. You were glad for his guidance—the house was a maze of narrow hallways, dimly lit and pulsing with the bass from downstairs. Finally, he stopped in front of a door and turned the handle, peeking in before ushering you inside.

"Jean's room," he explained, closing the door behind you both. The music instantly became muffled, a distant thumping rather than the overwhelming roar from downstairs.

The room was surprisingly clean for a frat house bedroom—minimal clutter, a neatly made bed, and even a small bookshelf in the corner. You glanced around, suddenly feeling like you were intruding.

"Should we be in here? I feel bad taking his room," you said, hovering awkwardly near the door.

Armin shook his head, a small smile playing on his lips. "He won't even need it until like 4 AM. Trust me. He's either going to be downstairs until everyone leaves or..." He trailed off, looking slightly embarrassed.

"Got it," you laughed, understanding the implication. You took another sip of your beer, feeling the pleasant warmth spreading through your limbs as you made your way to sit on the edge of the bed.

Armin joined you, leaving a respectful few inches between you. "Better, right? I can actually hear you now."

"Much better," you agreed, finding it easier to relax now that you weren't surrounded by sweaty strangers. "So... you really went home and read scientific papers after our meeting?"

His face lit up immediately. "Yeah! There was this one about the chemical composition of Europa's ocean and how it might compare to Earth's deep-sea hydrothermal vents. Did you know there are organisms on Earth that don't need sunlight at all? They just use chemical energy from the vents."

You watched him as he spoke, his hands gesturing enthusiastically, eyes bright with genuine passion. The alcohol had lowered his usual reserve, but it was still Armin—brilliant, thoughtful Armin—just with his thoughts flowing more freely. You found yourself drawn to this version of him, the slight flush on his cheeks and the way his hair fell across his forehead when he leaned forward.

"That's actually fascinating," you said, taking another long sip of your beer. You were starting to feel it now, that pleasant buzz that made everything seem warmer, more immediate. "So you think there could be something like that on Europa?"

"It's possible! That's what makes it so exciting," he said, shifting to face you more directly. "We're just beginning to understand how diverse life can be. The universe is so much stranger than we imagine."

You nodded, feeling a pleasant heaviness in your limbs as you leaned back on your elbows. "I need to catch up to your level of intoxication if we're going to have deep space conversations all night."

Armin laughed, the sound soft and genuine. "Trust me, you don't. I feel like my brain is both racing and moving through molasses at the same time."

"That actually sounds kind of nice right now," you admitted, finishing the last of your beer. The room had taken on a gentle, swaying quality, and you found yourself increasingly aware of how close Armin was sitting.

"Here," he said, reaching over to take your empty can and placing it on Jean's desk. As he moved, his shoulder brushed against yours, and you felt a small jolt at the contact.

When he settled back beside you, he seemed to hesitate for a moment before lying back on the bed, staring up at the ceiling. You joined him, both of you lying side by side, shoulders almost touching.

"There are glow-in-the-dark stars up there," Armin pointed out quietly. Sure enough, faint green stars were stuck to the ceiling in no particular pattern. "Jean would die if he knew I told anyone. He says they were there when he moved in."

You laughed softly, still tipsy but feeling more sober now.

The dim glow from the ceiling stars cast a soft, ethereal light over Armin’s face as you lay beside him. The alcohol had settled warmly in your veins, making every sensation just a little more intense—the softness of the bed beneath you, the muffled bass of the music downstairs, the way Armin’s breathing had slowed into something deep and steady beside you.

You turned your head slightly to look at him, studying the delicate slope of his button nose, the way his eyelashes fluttered when he blinked behind his glasses. His cheeks were still flushed pink from the drinks, and his lips—soft, slightly parted—were just inches from yours. His hair, usually so neat, was tousled from the night’s chaos, falling in golden strands across his forehead. You had the sudden, overwhelming urge to run your fingers through it, to see if it was as silky as it looked.

Armin must have noticed you staring, because his eyes flicked to yours, and for a moment, the air between you stilled. His gaze was warm, hazy with alcohol but still so Armin, so full of quiet intensity.

Then, without a word, he shifted onto his elbow, leaning over you. His free hand came up, fingers brushing a stray lock of hair from your face, tucking it behind your ear with a tenderness that made your pulse jump.

You barely had time to process it before he was kissing you.

His lips were warm, slightly chapped, and tasted faintly of cheap beer and something sweet—maybe the soda he’d been drinking earlier. The kiss was soft at first, hesitant, as if he was still unsure if this was okay. But when you sighed against his mouth, fingers curling into the fabric of his shirt to pull him closer, he deepened it with a quiet urgency that sent heat spiraling through your stomach.

His hand slid from your hair to cradle your jaw, thumb brushing your cheek as he kissed you again, slower this time, more deliberate. You could feel the warmth of his body pressing into yours, the way his breath hitched when you nipped lightly at his lower lip.

“Is this okay?” he murmured against your mouth, voice rough.

You answered by tangling your fingers in his hair, pulling him back down to you. He groaned softly, the sound vibrating against your lips, and suddenly his weight was pressing you into the mattress, his hips slotting between your thighs in a way that made your breath catch.

The kiss turned hotter, messier—his tongue sliding against yours, his hands roaming your sides, tracing the curve of your waist before settling on your hips. You could feel the heat of his skin through your clothes, the way his fingers flexed against you like he was holding back from touching you everywhere.

Armin’s breath was hot against your lips as he kissed you again, deeper this time, his tongue sliding against yours in a slow, filthy drag that sent a shiver down your spine. His hands were everywhere—tangling in your hair, skimming down your sides, gripping your hips hard enough to leave marks. You could feel the heat of him pressed against you, the way his body trembled slightly with restraint, like he was holding himself back from just taking what he wanted.

You arched up into him, grinding your hips against his, and he let out a broken groan against your mouth.

“Fuck,” he panted, pulling back just enough to look at you, his pupils blown wide with want. His lips were swollen, his cheeks flushed, and his voice was rough when he spoke again. “I—I wanna fuck you. So bad.”

The words sent a jolt of heat straight between your legs. You could feel how hard he was already, the thick line of his cock pressing insistently against your thigh through his jeans.

“Yeah?” you breathed, your own voice shaky.

Armin nodded, biting his lower lip as his hands slid under the hem of your top, fingers brushing against the bare skin of your stomach. “Yeah. God, you feel—you feel so good. Can I—?”

You didn’t let him finish. Instead, you unzipped your jeans and grabbed his wrist to guide his hand lower, past the waistband of your jeans, letting him feel the damp heat of your panties. His breath hitched, fingers twitching against you.

“Fuck,” he whispered again, voice wrecked. “You’re—you’re already—”

You cut him off with another kiss, sucking his tongue into your mouth as your own hands wandered lower, palming the hard bulge in his jeans. He jerked against your touch, hips bucking forward with a desperate little noise.

“You too,” you murmured against his lips, squeezing him through the fabric.

Armin shuddered, his forehead dropping against yours as he let out a shaky exhale. “Shit—shit—keep doing that—”

You did, rubbing him slowly, feeling him throb under your fingers. His breath came in ragged gasps, his hips rocking into your hand, chasing the friction.

“You’re so hard,” you whispered, biting at his jaw.

Armin whined, his fingers digging into your hips. “Because of you—fuck, I—I wanna fuck you—”

His hand slid back down, slipping beneath your panties this time, fingers brushing through your slick folds. You gasped, arching into his touch, and he groaned against your neck.

Armin’s breath hitched when you suddenly switched positions and pushed him back onto the bed, his chest rising and falling rapidly as you straddled his thighs. His cock strained against his jeans, the fabric damp with pre-cum, and his fingers twitched at his sides like he wasn’t sure if he should touch you or not.

“You—you don’t have to—” he started, voice already wrecked.

You silenced him with a smirk, taking his glasses off which were slightly fogged up and folding them to put on the nearby nightstand, then popping the button of his jeans and dragging the zipper down agonizingly slow. His hips jerked up, chasing your touch, and you could see the way his cock twitched under his boxers, desperate for relief.

“I want to,” you murmured, hooking your fingers into the waistband of his boxers and pulling them down just enough to free him.

Armin gasped as the cool air hit his flushed skin, his cock springing free—hard, leaking, and so fucking pretty. You licked your lips, watching the way his stomach clenched as you wrapped your fingers around him, giving him a slow stroke.

“Fuck,” he whined, his head falling back against the pillow.

You didn’t tease him any longer. Leaning down, you dragged your tongue over the head of his cock, tasting the salty-sweet pre-cum beading at the tip. Armin’s hips jerked, a broken noise tearing from his throat as you took him into your mouth.

It was messy—you were both still a little drunk, your movements sloppy and uncoordinated—but that just made it hotter. You sucked him deep, your tongue swirling around his shaft as you bobbed your head, spit dripping down your chin.

Armin was losing it. His fingers tangled in your hair, not pushing, just holding on for dear life as he whimpered above you. “Oh—oh God—your mouth—fuck—”

You hollowed your cheeks, sucking harder, and his thighs trembled under you. His cock pulsed against your tongue, and you could tell he was already close—his breath was coming in ragged gasps, his hips twitching like he was trying not to thrust up into your throat.

“I—I’m gonna—” he choked out, his voice high and desperate.

You didn’t let up. Instead, you took him deeper, your nose brushing the coarse blond curls at the base of his cock, and that was all it took.

Armin came with a broken cry, his back arching off the bed as he spilled hot and thick down your throat. You swallowed around him, milking him through it until he was squirming from oversensitivity, his hands weakly tugging at your hair.

“Too much—too much—” he whined, his whole body trembling.

You pulled off with a wet pop, licking your lips as you looked up at him. His face was flushed, his lips parted as he panted, his chest rising and falling rapidly.

Armin’s chest heaved as he blinked up at you, dazed and wrecked, his cock still twitching against his stomach. His cheeks burned even redder as he stammered,

“S-Sorry—I didn’t mean to—fuck, I just—”

You cut him off with a kiss, licking into his mouth so he could taste himself on your tongue. He moaned, his hands gripping your hips like he was afraid you’d pull away.

“Don’t apologize,” you murmured against his lips, grinding down against his thigh, letting him feel how soaked you still were. “Just fuck me.”

Armin’s breath hitched, his cock already stiffening again at the words. His hands slid down to your ass, squeezing greedily as he nodded, his voice rough.

“Yeah—yeah, okay—turn around—”

Armin's hands trembled as he helped you turn around, his breath coming in ragged gasps against the back of your neck. You could feel the heat radiating off his body as he knelt behind you, his fingers hooking into the waistband of your jeans.

"Fuck," he groaned, dragging the denim down your thighs inch by inch, his voice thick with want. "Look at you—fuck—your ass is so perfect—"

The cool air hit your bare skin as he peeled your jeans off completely, leaving you in just your soaked panties. His fingers traced the curve of your ass, squeezing lightly before sliding between your thighs, rubbing over the damp fabric.

"So wet," he murmured, his voice wrecked. He hooked his fingers into your panties next, pulling them down slowly, his breath hitching as your pussy was finally exposed to him. "I'm gonna fuck you so hard."

His thumbs spread you open, and you could feel his hot gaze raking over every inch of you—your swollen lips, the way you dripped for him, the way your ass arched back, begging for him.

"Hang on, okay?" He said quietly, and you felt the bed shift with his weight. Then you heard the unmistakeable sound of a wrapper being opened. "Don't ask why I know where Jean keeps his condoms. He... likes to brag," Armin said sheepishly, making you giggle as you heard him whimper slightly as he presumably rolled the condom on.

Armin’s fingers dug into your hips as he lined himself up, the blunt head of his cock nudging against your soaked entrance. He hesitated just for a second, his voice shaky with drunken lust and nerves.

“Fuck—I—I might not last, I’m sorry—”

But you barely heard him, because then he was pushing in, slow, that perfect curve of his cock hitting every sweet spot on the way. Your breath stuttered as he filled you, thick and throbbing, and a greedy moan tore from your throat before you could stop it.

“Oh fuck—” Your hands fisted the sheets, your back arching deeper, chest pressing into the mattress. “Yes—just like that, Armin.”

Armin groaned behind you, his hips stuttering as he bottomed out, his grip on you tightening like he was afraid you’d disappear. “You feel—fuck—you feel so good."

You clenched around him, and he whimpered, his cock twitching inside you like he was already fighting not to spill. But you didn’t care—not when he fit this perfectly, not when every ragged breath he took sent sparks through your veins.

Your fingers curled into the sheets, knuckles white, as you rolled your hips back to meet his shallow thrusts. The new angle let you feel him even deeper, and you gasped, your back bowing as a shiver ran down your spine.

Armin choked out a whimper, his hands scrambling for purchase on your hips as he bottomed out, his thighs trembling against yours. “Y-You feel—fuck—so tight—”

You grinned into the mattress, rolling your hips to take him deeper, and he let out a broken noise, his nails biting into your skin. He was already unraveling, his cock pulsing inside you, and you loved it—the way he couldn’t hold back, the way he was falling apart just for you.

Armin’s hips snapped forward with a desperate, sloppy thrust, his cock sinking deep into your dripping cunt as a broken moan tore from his throat. His hands gripped your ass, spreading you wider as he watched, his dick glistening with your slick as it disappeared inside you again and again.

“Fuck—look at you—” he panted, his voice wrecked, pupils blown black with lust. “Taking me so good—your pussy’s sucking me in.”

You whimpered, your fingers clawing at the sheets as his cock dragged against your walls, the curve of him hitting that sweet spot with every rough snap of his hips. Your vision blurred, pleasure coiling tight in your stomach as he fucked into you with unsteady, frantic strokes—like he was already on the edge, but needed to make you feel it too.

“You’re—ngh—you’re so tight—” Armin groaned, his hips stuttering as he tried to hold back. His cock twitched inside you, swollen and throbbing, his balls drawing up tight. “Gonna—gonna cum—shit—but I wanna make you feel it first—”

His hand slid around your hip, his fingers finding your clit and rubbing rough, frantic circles as he fucked you harder. You gasped, your back arching, your cunt clenching around him as pleasure sparked white-hot under your skin.

“There—right there—” you babbled, your voice shaking. “Armin—fuck—don’t stop—”

He whined, his thrusts turning erratic, his cock pulsing inside you as he teetered on the edge. “You—you like that? Like how I fuck you?” he slurred, his words dripping with filthy praise. “God, your pussy’s gripping me—squeezing my cock—fuck, I can’t—can’t—”

His hips jerked, his rhythm faltering as his orgasm ripped through him. He buried himself to the hilt with a choked-off moan, his cum flooding the inside of the condom.

You felt it—every twitch, every throb of his cock as he emptied himself inside you, his fingers still working your clit desperately, like he couldn’t stop even as he came.

“Fuck—fuck—” he gasped, his voice wrecked, his forehead dropping between your shoulder blades as he shuddered through the aftershocks.

You weren’t far behind. The filthy sound of him filling you, the way his cock kept twitching inside you as he panted against your back—it pushed you over the edge. Your orgasm crashed over you, your cunt clenching around him as you cried out, your thighs shaking, your nails digging into the mattress.

Armin groaned, his hips grinding weakly against your ass as he milked his own pleasure.

“Shit—” he mumbled, dazed, his voice slurred with booze and bliss. “You—you just came on my dick..." He pulled out, discarding the condom into a nearby trashcan.

You laughed breathlessly, your body still thrumming with pleasure as you collapsed onto the mattress beneath you. Armin followed, his chest pressing against your back as he nuzzled into your neck.

“You’re… really good at that,” you murmured, your voice hazy.

Armin huffed a drunken laugh against your skin, his fingers tracing lazy circles on your hip. “Yeah?”

“Yeah," you sighed, grinning as you felt his dick twitch against the skin of your ass.

He kissed your shoulder, his lips soft and sweet despite the filth that had just spilled from them. “...Wanna go again?”

You turned your head just enough to catch his gaze—his flushed cheeks, his messy hair, his stupidly pretty eyes—and grinned.

“Obviously.”

[artifacts-and-arthropods]

Curly-Tailed Animal Pendant from Panama, c.350-450 CE: this gold pendant depicts an animal with stubby feet, a rounded head, and a long, thick tail curled up over its back

This design is often referred to as the "curly-tailed animal," and other pendants of the same style have been found in Panama, Colombia, and Costa Rica.

Above: two "curly-tailed animal" pendants from Panama, c.450-950 CE (top) and c.50-450 CE (bottom)

As this publication explains:

Among the intriguing and much-favored Panamanian cast pendants is the curly- tailed animal, a form that is found in both Colombia and lower Central America. Believed to date to as early as the second century A.D., when gold working was introduced into Panama from Colombia, the Panamanian versions are said to belong to the "Initial" style. The curly- tailed animals, so called for the impressively large tails that extend up over their backs, vary considerably in detail and have been identified as everything from dogs to ducks, but the tail, at least, is thought to be simian in derivation. It is clearly the significant element of the composition, and, when the pendant was worn, the tail would have been the most visible part of the ornament.

Produced for centuries in lower Central America, the "curly tails" were rendered in both gold and semiprecious stone; they were one of the few ancient images to be made in both materials.

Above: a "curly-tailed animal" pendant made of agate, c.100-800 CE

This page also expands on the blended characteristics that define the "curly-tailed animal" style:

Artists in the lands that are now part of the modern nations of Colombia, Panama, and Costa Rica created pendants and figures of a hybrid creature known to scholars as the curly-tailed animal.

The diversity of zoological attributes present on this and similar pendants precludes a definitive identification of any specific animal, but the capuchin monkey (Cebus capucinis), coatimundi (Nasua narica), or even domestic dog (Canis lupus familiaris) may have provided inspiration.

Why Indigenous Artifacts Should be Returned to Indigenous Communities

Sources & More Info:

The Metropolitan Museum of Art: Curly-Tailed Animal Pendant

The Metropolitan Museum of Art: Curly-Tailed Pendants 2, 3, 4, and 5

Cleveland Art Museum: Agate Animal Pendant

Museum Publication: Gold of the Americas (PDF)

[ancientrome]

Marble sarcophagus with the Triumph of Dionysos and the Seasons. Roman ca. 260–270 CE. x

This highly ornate and extremely well-preserved Roman marble sarcophagus came to the Metropolitan Museum from the collection of the Dukes of Beaufort and was formerly displayed in their country seat, Badminton House in Gloucestershire, England. An inscription on the unfinished back of the sarcophagus records that it was installed there in 1733. In contrast to the rough and unsightly back, the sides and front of the sarcophagus are decorated with forty human and animal figures carved in high relief. The central figure is that of the god Dionysos seated on a panther, but he is somewhat overshadowed by four larger standing figures who represent the four Seasons (from left to right, Winter, Spring, Summer, and Fall). The figures are unusual in that the Seasons are usually portrayed as women, but here they are shown as sturdy youths. Around these five central figures are placed other Bacchic figures and cultic objects, all carved at a smaller scale. On the rounded ends of the sarcophagus are two other groups of large figures, similarly intermingled with lesser ones. On the left end, Mother Earth is portrayed reclining on the ground; she is accompanied by a satyr and a youth carrying fruit. On the right end, a bearded male figure, probably to be identified with the personification of a river-god, reclines in front of two winged youths, perhaps representing two additional Seasons.

The sarcophagus is an exquisite example of Roman funerary art, displaying all the virtuosity of the workshop where it was carved. The marble comes from a quarry in the eastern Mediterranean and was probably shipped to Rome, where it was worked. Only a very wealthy and powerful person would have been able to commission and purchase such a sarcophagus, and it was probably made for a member of one of the old aristocratic families in Rome itself. The subjects - the triumph of Dionysos and the Seasons - are unlikely, however, to have had any special significance for the deceased, particularly as it is clear that the design was copied from a sculptor's pattern book. Another sarcophagus, now in the Hessisches Landesmuseum in Kassel, Germany, has the same composition of Dionysos flanked by the four Seasons, although the treatment and carving of the figures is quite different. On the Badminton sarcophagus the figures are carved in high relief and so endow the crowded scene with multiple areas of light and shade, allowing the eye to wander effortlessly from one figure to another. One must also imagine that certain details were highlighted with color and even gilding, making the whole composition a visual tour de force.

Very few Roman sarcophagi of this quality have survived. Although the Badminton sarcophagus lacks its lid, the fact that it was found in the early eighteenth century and soon thereafter installed in Badminton Hall means that it has been preserved almost intact and only a few of the minor extremities are now missing.

[reds-skull]

The frames of the video from the comic in the previous post. I experimented a lot with this, it was really fun to work with this chunky brush I found. Also the first time I draw the Reaper of Destruction as it was before Lumity!

More comments under the cut+a frame I ended up scrapping!

I'll go by order of appearance, because it's basically a chronological retelling of the events of part 1.

So the first frame is the least fancy because it was the first and I didn't nail down a style for this yet lol. It shows Ghost and Soap's first true meeting, in chapter 1, where Ghost helps Soap when he gets impaled by a rebar.

The second frame jumps to chapter 8, when Ghost first put Soap in Limbo. The triangle around them was a later addition, taken from the next frame. I love this scene, it's so fun to see it drawn out now :)

The third frame was the most important one to nail the style. I painted a whole frame, only to come back to it the next day and restart from almost 0.

This is the original third frame

They both show the same event - chapter 21, the second time Soap is thrown into Limbo. The difference is, one shows a more literal image of what happened, and the other is more symbolic.

And by now I think you know how much I love symbolism lol

What also bothered me with the scraped painting is that the composition isn't central, and the entire pose, while more dynamic, isn't fitting the mural feel the rest has.

There's an even earlier version of the scrapped painting, with Soap's face, but nowhere else there are faces in these series, so I went wild with it and covered it with flames. He had them behind him already, as the description of this scene in the fic says Soap had a helo of fire behind him.

(also hated how Limbo's victims looked in the scrapped version like... ew lol)

There wasn't a real reason to add the circles around Soap. I just wanted to lean more heavily into the mural style. But I took that circle motif to the end, after that, and added it to Ghost as well, hence the triangle.

Soap has one skeletal hand, and one palm. That one is on purpose, to show he's hanging in between life and death.

The fourth frame is pretty self-explanatory, it shows the part in chapter 21 where Soap gets the dark marks on his forearm. If the colors look weird in that one, it's because I messed with them so much I couldn't tell if they look good anymore on not

The fifth frame shows another favorite moment of mine, the moment Ghost gets his marks, the white tear tracks, when he finally notices Soap fighting in the void.

The sixth frame is my favorite of the bunch. Soap and Ghost, the triangle and circle combined. The moment they killed Graves, Ghost in full control of his subjects, Soap with his sword of white fire and army of burning moths. They look so scary in this one I love them

The seventh frame shows Void and Destruction. Void was straight forward, I've drawn it a few times before, but I had to make a more detailed design for Destruction, and I only had the very first sketches I made for Revenant AU to go off of, as well as Lumity's design. Idk why I designed Lumity before Destruction, but that's how it is. I wanted Destruction melting, like it can't handle its own heat.

The eighth frame is of Void and Destruction combining. In the fic they had in-between states, it didn't look like this, but for the sake of the video I thought it'd be nicer to have a clear frame of them combining.

The ninth and last frame is of our beloved Lumity. Their design is a little more detailed than the drawing I made a while back. This frame is also the only one that interacts with the foreground, aka Makarov. I think he was jump-scared, don't know how much that comes across.

Damn I had a lot to write. Well, when given the opportunity to ramble...

[antrylis]

✨Kamino’s citadel challenge !✨

I am…very excited about this one. I’ve had this vision for a long time, and I’m so happy it’s ended up looking like that.

Now, there are a lot of things I’ll go into details along close ups under the cut; the only thing I’ll mention above is that I’m very grateful for TCW’s episode guides’ artworks, without which this would have been quite a hassle.

Okay ! Before diving into all the details and things, here is a view from above, to really display how big it is. Dimension-wise, the plank I built it on is around 110*70cm.

Now of course, the first detail which is noticeable is the floor, because, well, it’s everywhere.

This was probably the most challenging part of the build, because making a grid out of Lego is tough. Most of it is rows and rows of dark square, light lines, separated by 1*n tiles. It was the easiest way to get this pattern with as if it were just tiles; because this is one of the objectives I had here : most of this MOC is smooth, except for a few zones (usually voluntarily).

The fact I used this technic means that the floor in most place isn’t very stable, but it actually holds up pretty well because of some hidden connection points with the foundations underneath, which are mostly hidden under the cover blocks.

Here for instance, I’m using modified 1*2 bricks with a Technic hole : it hold the cover block, and it also attaches the floor to the foundation.

Of course, another problem I ran into were slopes. Much harder to get a smooth effect with the technic I’ve used, so it’s a bit wonky and unstable. Also, most them are not aligned properly, which is visible in the picture above (and some area have some really big misalignments because of a few problems I probably won’t bore anyone reading this with).

Now, since they’re also here, I can deal with the cover blocks. These were, among the details, the hardest to figure out, to get a good size while keeping some texture. Eventually I came up with this design, which, ironically enough, uses the same technic the floor uses, in a different orientation.

Another detail : the miradors :

This is one of the first elements I had in place, because I needed them to get a good sense of scale (and was made better by an existing concept art of a tower alone). Most of it does not have anything noteworthy, except for one illegal technic I used (can you spot it ?)

The pillar holding the roof of the mirador is using a technic I had in my toolbox for a long time, but had never had the occasion to use : if you take two 'brick' bricks and attach them perpendicularly on a snot brick, the small space separating the lines of 'bricks' align to let a 1*n tile in. It’s somewhat reliable (for an illegal technic) and an easy way to get octogonal shapes.

Now, before looking at the Citadel itself, let’s turn around for a minute.

This point of view obviously isn’t the intended one, but it’s still worth noting, if only for some composition.

Notice that the wall here is quite small (smaller than the miradors, even), and light gray; it’s in contrast with the towering dark gray wall on the other side, behind the citadel, which technically should give at least some impressions even to the people who never saw TCW.

Anyway, it’s also on this view that we can see most of my slope struggles, including the central one, which is the biggest I had to do.

And I can’t not mention the most important element :

What would be the challenge without a squad of clones to take it on ? These clones (4 privates and a sergent) are ready to fight ! Well. Kinda. I wish I could have actual cadets, but they are not part of the Lego universe (and the floor was enough of a fee, I can’t afford to get customs figures too). I wish I had the Dominos though. I have TBB Echo, and I plan to get my hands on Fives at some point, but they wouldn’t fit here, sadly, so instead I used some movie accurate clones (because all the others are used for a project I still haven’t posted..maybe later…)

Notably, I at some point tried to get the elevator to work - needless to say it was a disaster (it’s too close to the plate underneath to make something working).

Now, without further ado. The citadel.

I’m very proud of it. I got the proportions just right (I actually made some measurements to make sure of it), and there is just enough texture to not make it bland while leaving it as artificial. This alone took roughly 8-10h (which were all spent during an accidental all nighter, whoops), but it was worth it. It’s completely empty inside, and, in fact, the wall behind it isn’t full as well, anything behind the citadel is opened. The spikes are simple 1*3 angle plates illegally connected, and the walls’ small details were made with a bunch of modified 1*2 plates, there isn’t anything really special in it.

The only really complicated zone was the middle tower, because I had to put all the cannons while keeping it clean and smooth, and including the vertical lime lines. It was a fun challenge. And I included the 'flag' At the top, too, just a red transparent cone on a stick (there’s no need for more), which peeks above the gray wall (for composition and because of a lack of pieces).

Anyway, such a long project deserves one behind the scene photo :

Yes, my desk is messy (and include my mandatory tea cup).

On the left, you can see my remaining floor tiles, which have not been used yet; and just under the citadel, you might notice the foundations visible; it’s a checker of 2*2 tiles which gives my floor a good base to be fixed on. There are also some slopes which haven’t been placed yet (in front of the background miradors), and at this steps, there were no cover blocks or walls yet.

As far as my tools go, you might notice brick separators scattered all around my work environment (I never have enough of those), as well as a tablet in the bottom right hand corner (which i use to check and measure concept arts), and in the middle, the red triangle is an official (albeit old) Lego measurement tool which counts in stud, Lego bar holes and axe length.

Also visible, finally, is the bottom of the foundations, which are stacks of 1*2 bricks (each of the three floor layer is separated by a height of 3 bricks), which means that looking directly under it can lead to watching the dark basement of my build (which isn’t aesthetic…).

Anyway, if you read until here, thanks, I guess ? I still have a few TCW related stuff (a small one next week, some other in the foreseeable feature), so feel free to stick around and maybe leave a note, if you feel like it ? That’s it, bye !

[gattnk]

Working with Irene is a dream come true! Now Igor on the other hand... talk about a nightmare...!

This is it folks, the last of the Golden School teachers! We still have some other Eternals left to go, as well as the humans, but I feel like this is a good milestone to start the year with. Now, Irene and Igor are very particular: they only show up in what the fandom refers to as the "Russian saga", a self-contained story based on the show where Raf, Sulfus and friends briefly go to Russia for some lessons under these two. This context informed my design choices a lot, and they go as follows:

I chose Irene and Igor to be in charge of the Oneiric Compositing faculty, that is, dream-crafting. The concept came from Uriè's digi-dream camera: I thought it would be interesting if angels and devils also influenced humans in their sleep by either inspiring goodness or tormenting with fear respectively.

Irene's canon dress threw me off a bit: I could tell it was a Russian noblewoman's dress thanks to all the gold embroidery and red fabric, but I couldn't pinpoint its exact influence other than it was not a common sarafan. I scrapped the nobility aspect in favor of something more homely, inspired by traditional Eastern European clothes and the Matrioska doll (sorry, no detailed embroidery, I have to respect the design philosophy I've kept so far).

I chose the Matrioska doll as my key inspiration to homage the Russian saga, but also because of its ample symbolism. Some believe these dolls grant wishes and bring good omens; others find them to represent the layers of the mind and the self; they can also be seen as a mother figure, a symbol that embraces and protects generations to come. There's so many ways to look at Matrioska dolls and interpret them, just like dreams!

Igor also had to depart from his canon counterpart: I could tell the original design was inspired by Rasputin, and I see how his infamous reputation could enrich a devil character, but that same infamy could be brought into the picture in other ways. I kept the body complexion, the beard and the long coat as key elements so he would still be recognizable, but I fully departed from the real historical figure and instead focused on making him look like a nightmare that instilled fear and terror.

When I think "nightmare", I think boogeyman, bugbear, Krampus. A spindly, crooked old man that uses his walking cane to punish more than he does for walking, who will stuff you in a sack and take you away if you misbehave, his glowing eyes being the last thing you see before everything goes dark... His only mercy comes from his victims shuffling in the bag, thus ringing the bells tied on top, so now the other children know to beware! >:D

Irene's colors are the traditional primary colors: red, yellow and blue; red and yellow are warm colors and are naturally very eye-catching, so for contrast I used more shades of desaturated blue in her design. Her design is very curvy and full of semicircles, which inspired her halo's shape.

Igor instead has the traditional secondary colors: green, purple and orange; since green is very versatile in terms of warmth and coldness, I used it to highlight certain elements while keeping the rest of the palette more muted and dark (thus the orange became brown). His ram horns are very angular like the rest of his design, and they're the biggest devil horns yet, signifying his age.

If math serves me right I'm only missing three more Eternal designs for the central cast of characters (if you guess correctly which ones, you earn a cookie), but then again I was never great with numbers so I might surprise even myself down the line, hehe. We're done with the Golden School staff! Huzzah! :D

I'll Fly With You (rewrite fic) Art Masterpost

[treasure-mimic]

Psychopomp and What Things Mean When They Don't Mean Anything

So if you haven't noticed or you don't follow me, I recently became interested in a small, one-man dev team indie game by name of Psychopomp. As a brief synopsis and pitch, Psychopomp is a game about a woman who seemingly suffers from paranoid delusions, through the lens of this narrator she tells us that there's a labyrinth of catacombs hidden underneath every public building and sets out to explore them to uncover the world's secrets, armed with nothing but a store bought hammer.

The game's intro puts it in words better than I could and more influential than any pitch is just seeing the protagonist's design.

As one commentator states, she looks like a skateboard mascot from the mid-2000s. Like she should be on those posters with a snarky quip just fucked up enough to catch those pearl clutching puritans off guard. I love the style and I love the tone and I love the premise.

This might be the best time to note that if you're interested in playing this game, you should stop reading here, as this discussion will contain spoilers. It's a short game, took me about 3 hours on my first playthrough, and it's pretty cheap, even has a free demo in the form of the base version with Psychopomp Gold serving as the expanded, completed experience.

Anyways.

I've always found conspiracy theories fascinating but in the modern age it can be hard to immerse yourself in these reality-detached belief systems without acknowledging, you know, the racist dogwhistling and tangible physical harm it's causing to society at the present moment. Psychopomp is able to pretty gracefully sidestep this issue by setting its anarchic anti-government sentiments against its protagonist's paranoid delusions rather than adherence to a faith or belief system.

Indeed, the game seems to take systemic beliefs as its central enemy. The entities that are necessary to kill to progress through its levels are defined by the systems they interact in, historical figures of elevated status, keystone positions in industrial manufacturing, even abstract systems like urbanism and DNA composition are posed as societal and oppressive. I'm not saying that there's no way to interpret the game in bad faith and make it directed at marginalized social, political, or ethnic groups, but I also struggle to imagine the person who takes the game literally on its face value?

Which I guess leads me to the main topic I wanted to discuss. The game very obviously has an unreliable narrator (for the record, the protagonist remains nameless for the bulk of the game, I will be referring to her as Venus as it's the closest she has to a name that's explicitly stated within the text itself) with the flavor of one whose intake of reality may be different from what's actually occurring. The game uses a combination of conspiratorial rambling and dream logic to stage its unreal tone; for example, one level delves into the "biology" of buildings, stating that they use graffiti to communicate and that black mold is a pheromone used to evacuate its inhabitants to allow for mating. Loading screens come with "Gameplay Tips" and "Real World Tips", both of which are often dense and inscrutable; for example you might get a pair like "Not all enemies are friends" and "Viruses do not exist. Illness is simply your body punishing you for what you've done wrong."

Surrealism and unreality as stylistic choices can be a bit of a tightrope walk to get right. On the one hand, if you make it explicit that a story takes place in a state that did not happen even within the story's universe, a dream or a hallucination, it can rob the narrative of its stakes, regardless of how well executed the internal metaphors are. Psychopomp very explicitly does not do this, regardless of what it is that Venus is experiencing, the game makes it clear through scientific logs and communications (as well as a brief epilogue set outside of her perspective) that something abnormal is happening, the question is just where in between normality and Venus's experiences does the truth of the game's narrative actually lie.

The other side of the tight rope is literal interpretation, presenting a setting that's absurd to our sensibilities but tangibly explainable, where meaning is supplanted by lore and the cosmology begins to solidify into a set of Calvinball rules that don't make sense, but are still adhered to, and this is the side Psychopomp threatens to lose me on. There is a credible argument to be made that there is no difference, that what Venus is experiencing is her reality without warping and distortion, it's a more credible argument than saying she completely fabricated all of it, and it's an argument I was starting to wonder wasn't the intended interpretation. Until I got the game's second, secret ending.

Psychopomp has one collectible that doesn't serve a direct gameplay purpose, but each catacomb has a key hidden away, often behind false mimic walls that bleed and scream when you hit them with your hammer, and which unlock new rooms in the only permanent location "Home". Initially a gray, cubical, concrete room with a single mattress and a small table with a radio on it, collecting keys allows you to further explore outside(?)/within(?) the home with a unique camera perspective and limited interaction. In the first layer there's a blob man who cries out in torment, demanding to know why you specifically made the world like this, giving some credence to the deification of Venus implied by the game's ending. In the last layer, Venus traverses underneath and past her own brain to unlock a repressed memory.

I take this as confirmation that there's some level of abstraction at play here. Under scrutiny it feels as though there must be some level of abstraction at play here because when taken as a whole, the conspiracies start becoming outright contradictory, even if you try to take the cosmology at play as fact, which are the closest thing to objective facts that we have.

See, Venus's perspective takes place an alternate Earth, one that both seemingly was broken off from the planet and now orbits it like a new moon but also has always existed. One of the locations is a natural history museum which explains the history of sentience on this counter-earth, humans rose, went extinct, were supplanted by a species called the thrait, then humans returned in a mutated form and retook the surface and forced the thrait back underground (though the museum also refers to the thrait as extinct despite being the most common friendly NPC you will encounter). Another location seems to imply that the humans of this world, or maybe only some of them, are artificial clay creatures, reinforced by the arbiters of the DNA factory too being clay alleles. The Human Seedbed even has the game's most effective jumpscare in it, where Venus cannot leave the area without being confronted with a jittering clay facsimile of herself.

But with that in mind, what the hell is Venus then? By no account is she one of these artificial clay people but then how did she get here? The game's introduction implies that she used to be a normal person, or at least closer to, with lived experiences inclusive of complete ignorance to this underworld, the game's endings imply that she's an immortal god-being who has been intentionally working towards her own reawakening, and that is actually one of the least ambiguous plot points within the narrative. None of the pieces of this world lock together to form a cohesive vision of a setting that operates on even the barest of internal rules, and yet the game in the same step refuses to be a character study or subconscious examination, I mean the epilogue is a damn sequel hook that involves assembling the damn Avengers to combat the ramifications of the events of the game.

So, I come to realize, I'm the problem. I might, in fact, be thinking about this too hard.

One of the locations in the game is called "Daddy's Bad Place". It is a single, tiny room of a house or apartment, frozen in a moment of tearing itself apart, that only contains a dusty old TV set with a small, pointless ornament sitting on top. In any other surrealist game, this isolated circle of clarity, a compact orb of recognizable terrain, would be a moment to deliver one single jolt of reality into the metaphor of the protagonist's journey through their own subconscious.

In Psychopomp the TV turns on and delivers a distorted warning about a giant insect which is deadly, deceitful, and above all, not real.

In Daddy's Bad Place I come to realize something. The lore is fake, the characterization is fake, the dichotomy of truth and delusion is fake, the insect is not real. Let's think about what I'm doing here for a moment, right? I'm trying to discern the truth from within a work of fiction. None of its true, none of it happened, what difference does it actually make?

The thing about conspiracy theories is that they don't make logical sense. It's a known phenomenon that conspiracy theorists love to debate, but cannot be reasoned out of their beliefs by facts or logic. There is never a counter, but always a failsafe argument that can be retreated to for safety. What conspiracy theories do make is emotional sense, they make narrative sense. The line that initially sold me on Psychopomp was one of the aforementioned loading screen tips, "All the food you've ever eaten is rotten. You have never tasted fresh food."

Patently false statement, does not hold under scrutiny, but I, as someone who lives in America and lives in a city center and has to get all my food through corporations, can look at a statement like that and say yeah. Checks out. I believe you. We would know if children were being smelted into egg slicers underneath public schools, but it resonates with our emotions about the systems of education we enforce upon children, so it could be true. We would know if buildings were a living, reproducing organism, but it resonates with the feelings of being born into a world where urbanism exists, has existed as permanent fixtures of the world, and is continuously encroaching upon the face of the world, so it could be true.

Anyone who understands the fundamentals of incentives and human psychology does not need to believe that there is a coordinated group of ontologically evil individuals driving the world to ruin for ruin's sake, but that narrative still feels true, it becomes validating in the ways that it plays off of the emotions of believers until it becomes a foundational pillar of belief that cannot be destroyed by logical contradiction.

Psychopomp, in the same way, presents information about its internal systems that cannot be true logically but form self-justification anyways through emotional resonance. It doesn't matter if the lore works because its stated, it isn't wrong, so it must be a truth. This is the way that Psychopomp emulates the unreality of the conspiracy theory in a way that can avoid the disturbing implications of the real world practice. I've made comparison to surrealism by dream logic and surrealism by internal self-reflection, but this is a different mode entirely and the game simply refuses to operate by those tropes at its core. Conspiracy is itself contradiction, not the soft contradiction of two halves of a dream that don't lock together, but the hard contradiction of attempting to apply emotion and narrative to a waking world that rejects either premise. Psychopomp, then, is surrealism by way of conspiracy.

[lesb0]

an idea I'm still mentally playing with is how deeply interested the venetians and northerners were with the lower/feminine colorito in painting, as opposed to the elevated and important disegno preferred by florentinians and romans.... and how much that may have informed some earlyish European ideas of skin color! particularly, their treatment of black, usually female, skin.

see: Botticelli's whitewashing treatment of Zipphorah, Moses' black wife noted for her magnificent beauty (and the name of the beauty company Sephora) in the sistine chapel, vs a 17th century treatment of her from a real, beautiful black model by a Northern painter.

the Northern painter has 0 interest in mathematical design, perspective, or composition while that is all Botticelli cares about. Northern golden age paintings were all dramatic light and color, and he is extremely interested in the delicate beauty, luminosity, tonal shifts of the black woman's skin.

see also:

Titian's treatment of Diana's black nymph! as an elevated, beautifully opposite mirror to the goddess. the African woman, in fine jewels and elegant hair, is compared to the Euro beauty of the purest, virgin goddess, and is also the hero of the story protector, shielding her from the gaze of the male hunter. very unlike the other white nymphs who failed to guard the goddess. in fact, she is able to think and act faster because of the beautiful, silky striped dress protecting her from the predatory gaze of the hunter.

30 years later, this Northern black attendant woman comes from van Haarlem's workshop. though her skin is only black, she is still treated as an elegant beauty adorned in gold with her curls wrapped in a fine ribbon, and her worried, aware face as the central focal point. the fact that she seems worried about her lady suggests she has some sort of heightened intuition. again, she's protecting the bathsheba figure from the predatory man watching them bathing, king david, before he summons her to his palace to be raped.

Also, I suspect that the tonal variety and warmth missing from all 3 women can be due to a heavyhanded conservator who "cleaned" all of the amber varnish (by just scraping it all off). Van Haarlem is an EXCELLENT painter of flesh tones. Many of Artemisia's Bathshebas are treated like this, too. Northern and Venitian painters are treated as the "primitive" and unskilled painters, because they just weren't interested in the mathematics. But, I think their racial concepts are deserving of some extra study.

I still have to work through this but I will start gathering some resources and talk to other historians who specialize in race :)

[gigivas]

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[neverpathia]

Intro/About Me Post

I offer the humblest salutations from one who has never been humble.

So here I am. The StP and perhaps ASoIaF communities might've seen Nev around from time to time, but here I am in the flesh (pun intended, heh). I ramble. I doodle. Nothing much to see here.

You may call me Nev, Nevvey, or Neville, or really any other derivative nickname so long as it's not too feminine. Truth be told, I don't give half a damn.

I'm a losermale and a simp, though hopefully not in the incel way. Gods forbid.

Other Socials:

Reddit - u/FyreSkar

Discord - @neverpathia

AO3 - Nevverything

Scratch - Neverpathos

I'm pretty lackluster elsewhere, and the bulk of my (consumable) content's up in my Tumblr anyway.

My reblog dumpster's at @neverpasta

Fun fact. My sona's a gargoyle sentinel. He's also a little undead.

So I'm ethnically Chinese, though I don't speak too much of my mother tongue. My nationality's Malaysian.

Also, I'm FtM trans and gynosexual (attracted to feminine attributes). Bit of an oxymoron, go figure.

Tags:

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What did you expect? I haven't organised my blog just yet, pardon me.

Sorry if I haven't answered your ask. I do apologise, sincere and true. I just have a shitty work ethic and a shittier brain.

No empty promises or guarantees: if I'm not getting to it there's a pretty solid chance I never will. But I do read it! Feel free to leave stuff in my asks anytime-- even if I don't necessarily respond, I do love seeing what everyone has to say to me, and it always gets a much-needed smile on my face.

Also, my DMs are open, though if you're gonna chat me up then I'd rather you do it on Discord instead. I do like talking, though. This one's a shameless extrovert.

The Other-People-Promotion Section (please check them all out, I beg of you, amazing stuff out there):

@everestgale - They have a pretty distinctive artstyle and their lineart is clean as hell. And two whole sets of voice designs somehow. And Opportunist brainrot. Also, they run the (absolutely horrendously utterly indescribably) chaotic Yap Central Station on Discord. I repeat, really good art, but they're also a very chill person and pretty dang nice in general. And they were one of my first friends coming into the fandom, plus they helped me out a lot so I truly do thank them.

@hello-universe-lovers - Holy shit her ideas. Holy shit, her ideas. She has a fuck ton of AUs and they way she does characterisation is just [careens out a window vigorously explosively.] I'm going to have to compliment her designs too, particularly her Opportunist, whose rehabilitation's probably universally acknowledged throughout the fandom by now but he's hot. She's helped me out a lot too. Best buddy to yap about traumatizing my voices with.

@miyuka1709 - JAW DROPPING ART WITH HOT GIRLS. Another one with smoking hot character designs, and the rendering, and the composition and the. The. And this is another one who gladly endures my ramblings in my Discord thread and actually compliments my incoherencies. Also, pretty art. Lovely artstyle, I must stress. And she animated my Opportunist that one time and I'm still not over it. She has mastered the illegible sorceries of Live2D somehow.

I don't have as much to say about the rest of you but just know that you're very appreciated.

@pareidolla @phantasmatoucan @lavb-b @writingdevil @orcatnip @salty-an-disco @acethekenku @sorry-not-feeling-it-right-now

and pretty much everyone else in this community, but alas, I can only annoy so many people.

[lil-tachyon]

For the last couple weeks I've been drawing logos / designs for local-ish (mostly NJ, some PA and NY) bands as warmups in the morning. Here's what I've come up with! Massive post below the break explaining each logo + where to find each band and listen to their music.

Teenage Halloween- a staple of New Jersey basements for probably about a decade now and finally getting wider recognition in the last couple years. Pop punk / power pop with a killer horn section. First time I saw them was in New Brunswick playing with Walter Etc. and Blowout. They played a killer cover "Build Me Up Buttercup" and my wife got a black eye in the pit. Recommended tracks: "Brain Song," "666," "Clarity." Their first EP is on a separate bandcamp page btw, check it out here it's great.

Sweet Pill - They will call themselves a Philly band but in my heart they'll always be from Glassboro. Definitely one of the more recognizable names on this list. Emo revival - early stuff is more twinkly, more recent stuff is heavier. All of it's great. Recommended tracks "Nephew," "High Hopes."

Shark Club - Central Jersey's finest. I'm very biased because I actually know these dudes and they did the music for my wedding. Some of the best pop punk you'll hear and the nicest people you'll meet. Recommended tracks: "Game Theory," "Bill Murray," "Heavens to Betsy."

Rest Ashore - My favorite band for the last (oh God I'm old now) eight years. From gut-wrenching emo ballads to virtuoso math-rock instrumentals they do it all. One time I got to sing vocals on "Lucy's Theme" at a house show- thank you Erica! Recommended tracks: "Hjarta," "Chinese Opera," "Devotion," "Soyuz Sweetheart." Too many bangers to name honestly, just deep dive their discography.

Morus Alba - First band I ever went to see at a house show and still one of my absolute favorites. Their music feels like the bridge between the best pitchfork, /mu/ alt rock bands and high energy basement emo. I mean that as a compliment and I hope it comes off as one lol. I should note that since 2019 Morus Alba has morphed from a band into an experimental hip-hop project so later releases sound radically different and basically disconnected from the earlier stuff. Also my favorite release from them, Live at Isabelle's, has been scrubbed from the internet but if you'd like the files just email me. Recommended tracks: "Skyscraper," "Human Resources," "The Goodnight Waltz."

Have a Good Season - another Jersey mainstay that's still going strong. Emo revival in their earlier releases, now with more 70s power pop influences in their newer stuff. See them live, they put on a fantastic show and usually play some great covers in addition to their original music. HaGS guys if you're reading this, please put your version of "Since You've Been Gone" online, I'm begging you. Recommended tracks: "Joseph / Shel Silverstein," (you have to listen to them together for the drop, so good) , "Gum, "Gleaux / Scab." Also, frontman Nic Palermo interviewed me once.

Elephant Jake - If you see any of these bands live make it EJ, they put on such a damn good show. Electrifying indie punk from the Empire State. Recommended tracks: "F.D.C." "Sarah Moyer," "Goodness to Honest," and of course you gotta learn "Sebastien Bauer" for the singalongs.

Blind Lion - Sadly one of the greats that we lost along the way. Defunct since about 2017. I only got to see them once but it was a great performance. Alongside their own stuff they played some killer covers of "Bad Moon Rising" and "Moonage Daydream." I had trouble doing a logo design for them because I actually really like the composition, if not the "Ed Hardy-ness," of their existing logo so what you see here are two separate attempts, neither of which feels entirely satisfying to me. Frontperson Larry Flately currently plays in Nematode and also handled production of Bradley Gardens joke hiphop group The Breakfast Boiz under the moniker "DJ Ova EZ." Recommended tracks: "Brumous," "Dinner."

Fighting Seasons - A band that I sadly found out about too late (via a sticker under the bridge in my town which has since been painted over). 2010s pop punk that packs a helluva punch, especially considering that I'm pretty sure the members were high schoolers for most of the band's existence. I think some members may have gone on to form Sawce (FFO Chon, Polyphia, that type of music) but I can't remember where I read/heard that so ¯\_(ツ)_/¯. Recommended tracks: "Fighting Seasons," "Oil on Canvas"

Milkmen- Another fallen giant, officially disbanded in 2019. Like Morus Alba, they played the very first house show I attended and their few releases remain on constant rotation in my home. Used to put on a great show and were one of the bands I always thought would make it big until suddenly they weren't around anymore. Frontman Ben Thieberger contributed guitar and vocals to Covid quarantine project Kin if you're looking for a bit of an extra fix but beyond that I don't know what these guys are up to these days, sadly. Recommended tracks: "Ramus," "Johnny Dangerously," "how sieves catch breeze," "K.O.T.H."

Stand and Wave - New York (now Philly) pop punkers delivering instant dopamine hits with every track. Another great live act, see them with EJ if you can! They often play shows together. Recommended tracks: "Convos," "Mrs. Dash," "Splashton Kutcher," "Michael Collins."

My Chemical Romance - You know who they are. While I was drawing all these other logos I ran a poll on Patreon to decide which famous New Jersey band should also be graced with a drawing from me. MCR won the poll by a hefty margin so unfortunately you won't get to see me do an illegible black metal take on Hoboken's Yo La Tengo. I ended up doing two versions: the one with the halo is the first, the one with the bats was the second. I tried to do something kind of thin and elegant with the first one and I don't think it's terrible but I also wasn't quite satisfied with it. For the 2nd attempt I tried to lean into the kind of pulpy, almost horror punk aesthetic of early MCR and I think that one looks better even if it's less original.

Anyway if you took the time to read through all this, thank you very much! And please support these bands! Also If any of the links aren't working please let me know.

-Logan

[starrysskybymarycb]

The graphic design resembles a collage made with images of leaves, applied to the leaves themselves, the flowers, the central part of the flower is represented at the center of the illustration. A stained glass filter was applied over the flower and the core, and finally, shadows were projected to add depth and highlight the composition.

[theantonian]

This is a painting I did of Antony as the Neos Dionysos and Cleopatra as Aphrodite.

Antony is wearing a Tyrian purple himation fastened with a gold and ruby brooch. He wears a Ivy crown adored with little purple berries tried together with a red ribbon on his dark hair. Cleopatra wears a bright pink dress with pearl necklace and earrings. She wears a pearl and gem encrusted diadem.

On the left, a green cobra (ureus) perched on a large orange circle, which represents Alexander Helios as the sun. The red sun-disc on the cobra's head indicates Cleopatra's connection on the Goddess Isis. On the right, the Nemean lion stands on top of a crescent moon with a grayish hue, representing Cleopatra Selene as the moon. The lion also gives nod to Antony's famed ancestor, Hercules.

Behind Antony, a Roman eagle symbolizes Antony’s military prowess, courage and strength as well as his allegiance to Rome. On Cleopatra's side, an eagle in offensive stance standing on Zeus' thunderbolt represents her Greek and Ptolemaic heritage.

The bottom of the painting features an intricate pattern with floral and geometric designs, using red, blue, green, pink, yellow, orange and white colors

The background is a muted teal, which contrasts with the bright colors of the clothing and symbols, making the central figures stand out. The painting is framed with a red border, which ties together the various elements in the composition.

This artwork intends to convey the duality of Cleopatra and Antony's identities, merging their Egyptian and Roman symbolism while emphasizing their power and divinity.

Note: For those of you who requested that I post an image of my painting with meanings.