#its very interesting so far

[nerdyqueerr]

Me and my writing classmate are peacfully reading an academic article about lesbian pornography on scihub

[sysig]

How far did you get? (Patreon)

[unproduciblesmackdown]

Lackadaisy Enrichment

[cuteiemonster]

Honestly I don't have much of an explanation outside of I like the irony of a Blind Watcher. And. Well. Grian is right there for things to go awry like that. So,

This was created for the 2024 Reverse Big Bang hosted by @mcytblraufest !! Us artists had to create artwork for the writers to claim this time around! >:)

and speaking of writers.. my art garnered the attention of not one, but two writers, who both created fanfics based off of my art!! It's been such a cool experience seeing how differently they've both taken things and they're both VERY WELL DONE!!!!!!!!

" Glass " by @honeylashofficial

Parts make up a whole, but Mumbo hasn't been a part of anything for a very long time. He was okay with that though. The world was more than welcome to continue outside his window, as long as he had his oven and his cable tv all to himself. But every once in a while, the outside world comes inside, and he has to chase it back out with a broomstick. This time, his technique backfires in a way he never could have imagined. Or... Mumbo could count the number of his friends without even raising a hand. Who knew that a 30,000 year-old creature stealing his bed comforter could change that?

" Lost To The End " by Sary_Sary

Six months ago, Mumbo’s closest friend vanished without a trace, leaving nothing but unanswered questions. 6 months later, a strange creature appears in his bedroom, with no inkling of how or why. With no clue how this creature got there or what it wants, Mumbo is thrown into a whirlwind of confusion as he tries to figure out what is going on. Now, Mumbo has to continue trying to figure out where Grian went, all while learning what this creature even is, and how to help him without harming him in the process. To make matters worse, the only person who can help him unravel this mystery is the one person Mumbo swore he would never work with: Scar.

[welcometogrouchland]

(ID in alt) hi sorry for back to back marvel fanart I swear I still have dc stuff lmao. However I did recently read X-Men: first class and got a bit carried away doodling this after Lmao

[anetherealpoetess]

thinking about haladriel. thinking about heroines and villains and the insistence that love in stories is only love if it is virtuous and selfless, and therefore the villain can never love the heroine because of all the reasons he is a villain in the first place.

hate to break it to you, but love that is plagued, hounded, and haunted is still love. love that is obsessive, cruel, and selfish is still love. at some point, you have to face the fact that stories are not crafted to reinforce a neat, overarching set of morals. once you accept that fact, you'll find love exists in deeply interesting places--like in the flaws and complexities that make a character compelling.

how boring if only heroes are allowed to love.

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[yo-yo-yoshiko]

Idle doodling tonight while we wrap up Revice... (I'm a little obsessed with all his t-shirts...)

[viridian-house]

I want so desperately to finish this one, but life has other plans for me this month. I learned a ton while working on it, so fingers crossed I can pick the momentum back up in the future

sakura, from my fic series the slug & the stars

[usertoxicyaoi]

found this super interesting. this person below is an acting coach and scriptwriter that's worked on/working on: kinnporsche (2022), only friends (2023), playboyy (2023) and mansruang (2023):

[annie-of-the-arts]

[begin id: A drawing reference/fullbody of Doctor Rat, specifically the character (?) he plays in Content SMP. Next to him are design notes, and a color palette of his colors. The design notes read: "-dress looks to be made of low quality, party city material. but, it's actually well taken care of, and clearly has been stiched over several times. -tons of pockets. tons. -oh defintely changes his heels up every now and then. i think he could gouge a man's eyes out with stilhettos. -ngl i think he looks like geronimo stilton." As for the design itself, he is a tall half-rat man with a pink rat tail, and grey fur that covers where regular human body hair would go. He has curly purple hair, about shoulder length, and a grey mask with a blotch of lighter grey near the eyes. He's wearing a maid dress; consisting of a black dress with poofy sleeves, an apron, gloves, and wedged ankle mary janes. The apron and gloves are covered in dark but faded stains, and his dress is covered in scratch marks to indicate consistent and constant repair of it. As for the pose, he's standing straight, feet together. His left hand on his hip, the right standing idly by in a calmed fist. He's smirking. End id]

to people who loved my silly rat sketches. thank you very much. im reminding you all yet again that im a big nerd for character design forever and ever. thank you very much

[reblogs >>> likes | don't like without reblogging!! if you like and don't reblog i will curse your bloodline.]

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[illuteridae]

really enjoyed demonology by @mouseonamoose , drew this to tie me over until the next chapter of angel-centered therapy

[chrisrin]

started reading 17776 for the first time and juice is absolutely my favorite so far.

they’re everything to me.

[maxlovespigeons]

Genuinely hoping Peri's blowup will convince people to give A New Wish a chance honestly it's such a good show

[mitchmotch]

i was commissioned by @achinga to draw vash and milly! they're so silly :)