i have so much more serious art made about iron lung but i have to show you this first okay
$LAYYYTER
RMH

Kiana Khansmith
he wasn't even looking at me and he found me
Monterey Bay Aquarium

❣ Chile in a Photography ❣
cherry valley forever

Love Begins

oozey mess
"I'm Dorothy Gale from Kansas"
Peter Solarz
tumblr dot com

#extradirty
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we're not kids anymore.

if i look back, i am lost
Stranger Things
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@joggince
i have so much more serious art made about iron lung but i have to show you this first okay

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There was no gift of life in your beginning, only the cold touch of creation. You were not born; you were stitched. Profane pieces, mended into a macabre mosaic of female forms.
"Woman." A title that hung uncertainly.
Your consciousness, newly roused, vibrated with the sorrow of a sadistic and melancholic song. Victor called you his "Masterpiece," "The Bride." But the altar was your coffin, and the groom, an unknown shadow. Your reason for existing was a dense fog.
What lay within your essence? The web of your being was confused, and the parts that formed you—female, daughter, wife, creature—never merged to become something that was truly yours.
Your purpose was another's comfort. But what value did your own soul hold? Your destiny was to belong to someone, but what remained, save for a corpse bride waiting?
You were not made by passion, by science, or by the desire for freedom of death. Your life was a pale echo, a satellite condemned to orbit the existence of another creature.
i think this captures the meaning of the bride/ the mate that the creature demands. in the original text, i think shelley wanted to portray this demand for a mate as just another way that women are viewed as accessories, something to be given to a man to “complete” him. in both scenarios a new life is brought into the world against it’s will at the demand of a man as well, which is something to consider.
this also makes me understand why GDT replaced the creature’s demand for a mate with just a demand for a companion he can relate to, as the creature is framed much more sympathetically in the film (which was a good choice for the overall story and specific themes GDT wanted to include). compared to the novel, in which the creature is shown to be somewhat sympathetic, but also quite cruel— on account of him killing an innocent child and essentially damning an innocent maid to death in the process. both of these portrayals of the creature work well in my opinion, as they still achieve a good portrayal of cycles of violence at the hands of men, just in different ways.
RIP Mary Shelley you’d have loved the Ethel Cainification of Adam tiktok edits
i feel my world colliding wdym Ethel Cain AND Adam??? Together?!?!?! I’m gonna nut?!!?!?!!!?!
the monster's left eye being dead and catching in the light. his spine showing through his jacket. elizabeth's wedding dress being an homage to elsa lanchester's bride. that small streak of white hair in a curtain of black. red gloves. hollander's cane and victor's figurine. the milk. elizabeth's red bonnet and claire's casket. the first thing victor and his child do being reaching for each other, à la the creation of adam. victor becoming the exact person he despised the most. victor going back for his son. forgiveness into death, and forgiveness into life. the cinematography. the set design. the score.
baby we are so back
art is back!!!
ngl the change of phrasing from “if I cannot inspire love, I will cause fear” to “if you are not to award me love, then I will indulge in rage” says a lot about what GDT wanted to do with the Frankenstein creature. I think Mary would have sobbed if she heard that
“I will cause fear” is more transitive than “I will indulge in rage” is what I'm saying. cause whose fear? which does align with how the violence the creature commits is in the name of trying to say something to Victor
meanwhile, indulge in rage. aka you know what, I'll just be mad. madness is the out-group created by the violence that it takes for sanity to exist as the in-group that opposes it. to the sane, anything can look like madness and rage as long as it's unlikable. Victor closes every possible door for the creature that he deems as unlikable to enter the company of the sane, the company of normalcy, the company of oppressors, and Guillermo del Toro, master of turning monsters into friends of the oppressed instead, responds like hey what if I need to belong to the sane and the normal and the likable to find my will to live again. I will be ugly and mad and I will enjoy life anyway
i will be ugly and mad and i will enjoy life anyway

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she is gone and i long to follow
sigggghhhhhhhhh frankenstein
I miss Perverts winter.
need it to be winter so i can mope about whilst listening to preverts
willoughby tucker is a butch lesbian and the whole album is about lezzing out with each other
this is true in my brain
“Arcane comes out this week!”
…
“Arcane ends this week.”
Take responsibility.

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i want jimmy mouthwashing shot dead in an alleyway
I think it's super interesting how Jimmy's fear of Anya and the baby manifests in his mind as the Pony Express mascot.
Unlike every other character, Anya ISN'T in Jimmy's guilt/regret hallucinations near the end. He sees Daisuke walk towards the dark, he sees Swansea chase him through a cemetery, he sees Curly on fire in front of him but ANYA? Anya isn't given that kind of treatment. No, instead, we see a hallucination of the baby, a tiny horse in a womb that has no face attached to it (Anya's face specifically, all he sees is the womb), turning into a deformed monster that hunts him down the moment it's born.
Polle (the baby) is seen as a danger in Jimmy's head in the beginning of the game too, after he walks out of the cockpit. The more he walks, the louder the baby noises get and the more deformed Polle looks when he runs into it!
Jimmy doesn't give a damn about Anya, nor does he regret anything he did to her, but he is scared of that baby and what it means. The living proof of what he did to Anya, manifesting as a monster that hunts him down throughout the game.
this is so good
lately ive been addicted to these tiktoks where people put on an alien filter and just browse google maps and mark off countries and all the comments are people with pfps of little green aliens saying like "YES BOSS" "ALL CLEAR" "UNDERSTOOD BOSS"
AH I FOUND ONE
the comments.
It just occured to me that Stan technically canonically liked to draw, so here's my take of what Stanley's sketchbook would have looked like had he never gave up on art :]
Stanley first found this sketchbook left behind in a dumpster next to a library. The rings that once held the pages together were broken and warped, so he instead fashioned himself a jury rigged binder by weaveing one of his shoelaces through the holes in the side. In the end, it was essentially just a stack of barely held together paper, but he was still satisfied with it.
Pencils were easy enough to snag from the store since they fit so easily inside his pockets; but he had to settle for the shitty stubby pink erasers that barely did its job on the end of the pencils if he made any mistakes.
this is so human and beautiful im gonna cry
HUGH JACKMAN as DROVER Australia (2008) dir. Baz Luhrman

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is this anything
stan is the only member of the pines twins^2 to never make a deal with bill and i think he needs more credit for that.
ford makes, just, so many deals with his demon boyfriend
dipper literally trades his body to bill in sock opera
and while i will die on the hill that it was never her fault, mabel is tricked into making a deal with him for weirdmagenon.
but stan never gets tricked. the only time he comes close was when he was pretending to be ford but that was with the sole purpose of getting bill erased. never does bill get to him or twist his thoughts. for being the "dumb one" he's surprisingly rational in this was.
nobody matches bill intellectually, ford's fatal flaw is that he thought he did, and the pines family wins because they have an emotional core that bill never had (the power of sibling bonding saves the day and i love it) but ill go out on a limb and say that out of everyone, stan is the only one to match bill's street smarts.
bill's a master manipulator but stan is a professional con-artist with no respect for the law, you tell me who's coming out on top.
stan successfully faked his own death, ran a business for 30 years, taught himself some sort of advanced engineering to repair the portal, evaded local, federal and international authorities from the age of 18, and did it all without any support.
and going back to when he pretends to be ford to get bill to enter his mind, that scene makes stan the only character to ever outwit bill.
anyways this has been a stan pines appreciation post, thank you and goodnight
YESSS OP SPEAK LOUDER. I would also like to add that something phenomenal about Gravity Falls as a story is how much it's designed to grow with its audience. As a child, you watch the show from Dipper and Mabel's perspectives-- who are by all means, young children who understandably, like all children do, take the adults in their lives for granted. They look at Stanley and see their morally ambiguous uncle who probably sprang into the world as a gravelly old man. They're too young and the target audience is too young to understand the incredible odds Stanley struggled against to, not just survive, but remain a loving person when he had absolutely nobody on his side from the moment he stepped into adulthood. He's impulsive and self-destructive sure, but deep down, he's still driven by that innocent unconditional love he built with Ford, and it shapes his every action. Every junky knick knack he sold, every unlawful gimmick, every million dollar smile, every back pain, every sleepless night, was done for the sake of bringing his family together. The world hated Stanley Pines but that didn't stop him from mustering every ounce of strength he had to protect his brother, his kids, and their home. That dorito didn't stand a chance, frankly.