the original got flagged with no way to appeal it when every contributor is deactivated but I will never let this post die. it's monday and we are getting on it cunts
2025 on Tumblr: Trends That Defined the Year

η₯ζ₯ / Permanent Vacation
we're not kids anymore.
taylor price
One Nice Bug Per Day
noise dept.

β

blake kathryn
πͺΌ

Kiana Khansmith
Jules of Nature
will byers stan first human second
Claire Keane
let's talk about Bridgerton tea, my ask is open
KIROKAZE

Kaledo Art
todays bird
Cosimo Galluzzi

@theartofmadeline
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@protaetia
the original got flagged with no way to appeal it when every contributor is deactivated but I will never let this post die. it's monday and we are getting on it cunts

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i need to gush about how incredibly seamless her compositing is in these. Compositing is incredibly hard and time consuming work on a crisp clean digital image. But compositing into what seems to be a scanned photograph that was shot on film? Insane work. The film grain + photo paper texture is matched perfectly as well as the varying softness from being slightly out of focus in different amounts in each image. Each film stock has its own specific tone too some are warmer, others are more purply, or green and they all handle contrast with light and shadow completely differently. There was so much to take into account doing this and i really dont know how she did it other than maybe finding those locations again and shooting with the same film stock on a day with similar lighting. I cannot stress enough that for professional photographers doing complex compositing is mostly relegated to having a fully locked down camera set up in studio under controlled repeatable lighting. Super impressive and a really fantastic photo series truly.
whole lipstick on a pig is bogus to me because we put lipstick on a pig and this is what happened
I remember my first time entering Flying Waters and fighting the DΓ©mineur, because there was something so childlike about their design that made me feel awful killing them. Then, a little later, I realised they remind me very vividly of Alicia herself.
The most obvious elements, to me, are their lack of vocalisation and the eyehole of its helmet giving the impression of a single eye looking at you β a reoccurring visual motif throughout the game calling back to Aliciaβs remaining eye. Theyβre entirely quiet as far as I can tell, and even the white Nevron counterpart never speaks a word, unlike all the others of its kind. Thereβs also this ghost-like quality to their design with their floating bodies and long strands of kelp, particularly in the case of the white Nevron due to its colouration. Alicia, too, is likened to a ghost by Renoir when in ACT 3 he calls her βa living ghostβ.
The most fascinating part for me, however, is the contrast between childlike innocence and destruction. The way they hold the floating mine is very reminiscent of a child holding onto a balloon, further emphasised by their smaller size compared to most other Nevrons. Itβs a very charming and whimsical design element for a monster, but the mine is also a dangerous weapon capable of hurting not just the Expeditioners, but also the Nevron and its surrounding allies. Any strategy guide is going to tell you to destroy the mine as your first action, because thatβs the DΓ©mineurβs weak point, and the following explosion will deal considerable fire damage to it and its allies standing directly beside it. There are definitely parallels to be seen between this and the way Aliciaβs naivety (a quality frequently characterised as childlike) led to the fire that severely hurt her and her family members in the process.
But I guess what really gets me is that, essentially, when you take advantage of the DΓ©mineurβs weak point to efficiently finish the battle, you're sort of replicating what the Writers did to Alicia.
not even funny how true this is for me

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Lestat is a character who instead of a brain has a porcelain powdered wig baroque figure that you have to reason with and that makes him commit atrocities. Other vampires try to peer into his mind to obtain information about him and itβs just this thing:
Today
i think i saw a movie like this once
Use my nothing code for 0% off
As we enter an increasingly anti-Black time, cuckoldry becomes the foundational psychosexual fixation of the racist masses. I don't mean jokes about "the cuck chair" or whatever, which is largely racially neutral and is more akin to jokes about swinging, but cuckoldry as in sexual anxiety surrounding stereotypes of Blackness. The specter of Blackness overshadows every sexual context for these people. You can't see a beautiful woman without preemptively imagining comparative sexual humiliation at the hands of a Black man. Racist whites will model themselves after "demure" sexual norms designed to contrast specifically with the imagined stereotype of Black women. It is deeply pathetic, increasingly dangerous, and also: lol fucking losers
oh I know how to make a poll's results look like the letter E watch this
what is the rightmost digit of the number of responses this poll has right now? (it should be visible before you vote.)
0, 1, or 2
3
4 or 5
6
7, 8, or 9

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underrated thing about expedition 33 is that one of the characters has like the coolest weapon, a scythe. And your like ok. Whatβs the reason. There has to be some cool reason. And itβs actually just because sheβs a farmer.
Extremely unpolished doodles while I was catsitting and initially thinking about what kind of mindset pClea could have been in after overpainting and when she got her colours back. And then I lost control of the wheel and started thinking about an impossible AU where pClea can be saved but she's just not the same (= most of overpaint is removed but now she has lived two lives too and MOST of them have been basically as a nevron)
I could elaborate but I choose not to because it gives me an excuse to make an even more unhinged text post about it when I get more research done on my actual point (the pClea Monster Condition). Cheers.

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Ivan Bilibin, sketch for set design of Rimsky-Korsakov's opera 'The Legend of the Invisible City of Kitezh and the Maiden Fevroniya', 1934