what doesn't kill you is probably in love with you instead and you should try flirting with it dude trust me. what's the worst that could happen. we've already established it won't kill you
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@paintalyx
what doesn't kill you is probably in love with you instead and you should try flirting with it dude trust me. what's the worst that could happen. we've already established it won't kill you

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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THE DRAGONETS OF DESTINY! ✨
I've been chipping away at these for a while now to nail down how I want to draw each of the dragonets, and I'm finally pleased with how they all turned out!
Here, have pre-accident Starflight and bandage-less Starflight too!
Everyone say thank you women with deep low pitched voices
when your dad calls you by your full government name
kinda based off this post
You deny your weapon it's amazing digital purpose

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problematic sudoku solving skills gap
genuinely i need to find a decent hyperfixation soon because the bullshit that my brain latches onto when i'm in-between decent ones is driving me insane
i love flesh i love blood i love concrete i love the steppe and how it sees you - how the grass reaches up, how it knows you're there. i love rot i love decay i love the shift in language you hear if you walk too far - not quite illegible, not quite familiar. a whisper somewhere. ш or š or sz. keep quiet and they won't find you. but no one will find you. this land has no beginning, has no end. you can disappear here, if you wish. or not, if you're like me. i love buildings like wastelands of starships from ancient civilizations. monuments to power lost and power regained. where does the difference between past and future arise from? such concepts have no relevance here. the concrete is eternal anyway. i love the taste of metal in my mouth, and something else, an acidic tinge at the root of my nose. i love the mines. coal and copper. nickel and lithium. uranium. they haul it from the depths - hands red, faces black. it's in their mouths and it's in their food and it's in our houses. it's never deep enough. but this land is vast and empty - eternal. i love cautionary tales. i love gore i love guts. i love knowing what's out there. i love not knowing what's out there.
The Brutalist School. . Hidden in the hills of northern Croatia, stands this abandoned political school from the former Yugoslavia era under Tito. Built in the late 1970s, its raw concrete design reflects the ideals of socialist brutalism: bold structures, sharp lines, and overwhelming scale.
Once a center for ideological education, today it is a place of crumbling facades, empty corridors, and lots of decay.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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don quixote in mspaint drawn from memory in 3 minutes
mutuals, you can pick me up to put me in your inventory
hi everybody please reblog this and tell me your go-to coffee order right now and if you don't like coffee feel free to include your go-to tea order instead
i promised myself i wouldn't talk about tadc here again after that rant yesterday (at least until they release the episode on youtube), but damn do the fans loooooove to call you dumb when you point out that a lot of things could have been handled better, that certain things simply didn't land, because you just "don't get it". i think goose's biggest issues are that she focused on indulgent individual moments over broader arc, and that she fundamentally misunderstands how implicit storytelling works.
i touched upon it when i was writing my initial rant, but this the more general, spoiler free version of the conclusion i came to. goose is good at foreshadowing things and teasing the audience with breadcrumbs, which is especially obvious in earlier episodes! this is a linear kind of storytelling, you have an endgoal that you're working towards (hence the breadcrumbs). however, implicit storytelling is not like that! its main strength is that you are presented with a piece of information, and you have the freedom to interpret it from different angles, or you're presented with an open ended question that you're free to answer however you see fit. ultimately, i got the sense that goose wanted to do implicit storytelling, but then she'd chicken out last minute because she didn't want to fully let the audience to draw their own conclusions (not without reason, but still). a significant part of the movie felt "off" to me because it was like goose simultaneously presented too much information that felt fanservicey/didn't lend itself well to the show's themes/came too late, while the worldbuilding ended up neglected despite being the core of the mystery and intrigue of the show since it's conception. if goose does a new project in the future, i hope she comes to terms with the fact that she doesn't like when fan theories differ from her own and shares lore tidbits more explicitly, or that she leans more into the flexibility and personalisation that limited information allows for. as is, the movie lowkey just went on to show what pieces of fanon were pissing goose off
it just bothers me when authors chicken out of ambiguity last minute, because ambiguous=deep in their minds. but ambiguity is only deep when it's deliberate and if it encourages you to fill the gaps. if the author gets mad that majority of the audience isn't drawing the "correct" conclusion, it just means that the information the audience was given was faulty and/or insufficient. it's not ambiguity, it's poor storytelling
would you take the scenic route with me or do you have places to be

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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i promised myself i wouldn't talk about tadc here again after that rant yesterday (at least until they release the episode on youtube), but damn do the fans loooooove to call you dumb when you point out that a lot of things could have been handled better, that certain things simply didn't land, because you just "don't get it". i think goose's biggest issues are that she focused on indulgent individual moments over broader arcs, and that she fundamentally misunderstands how implicit storytelling works.
i touched upon it when i was writing my initial rant, but this the more general, spoiler free version of the conclusion i came to. goose is good at foreshadowing things and teasing the audience with breadcrumbs, which is especially obvious in earlier episodes! this is a linear kind of storytelling, you have an endgoal that you're working towards (hence the breadcrumbs). however, implicit storytelling is not like that! its main strength is that you are presented with a piece of information, and you have the freedom to interpret it from different angles, or you're presented with an open ended question that you're free to answer however you see fit. ultimately, i got the sense that goose wanted to do implicit storytelling, but then she'd chicken out last minute because she didn't want to fully let the audience to draw their own conclusions (not without reason, but still). a significant part of the movie felt "off" to me because it was like goose simultaneously presented too much information that felt fanservicey/didn't lend itself well to the show's themes/came too late, while the worldbuilding ended up neglected despite being the core of the mystery and intrigue of the show since it's conception. if goose does a new project in the future, i hope she comes to terms with the fact that she doesn't like when fan theories differ from her own and shares lore tidbits more explicitly, or that she leans more into the flexibility and personalisation that limited information allows for. as is, the movie lowkey just went on to show what pieces of fanon were pissing goose off
happy pride.month