still a wip but i this sketch. based off midna, star and moon themes, and ig older fashion?? i cant really explain it. i wanted to give him a more elegant and "high class" design (hes still an angry piece of shit inside). also he has boobs. yeah why not make his anatomy fucked.

So.

in light of that.

Check the replies/notes of this post :)

I was informed that posts containing links in them aren't findable in the search so i'll just.... drop a link in a seperate reboot :)

first things first though, copy this key:

and also the Google drive link :

We can detect each other from smell alone: Potage, Coquilles, Savoureux, Yakimono, Mizumono, Dolce, ... and the Woman Clothed with the Sun

Transparent for Will vs. white for Hannibal.

At this point of the show, Will is in prison, but he is also needed at a crime scene because of his special autism powers.

His transparent mask is an interesting choice for that. People think that they have discovered his true nature. That he's a killer, a cannibal. That all along, he has been lying to everyone about who he truly is.

However, a transparent mask allows people to still see him and his facial expressions. Yes, he is being held back, but at the same time, he isn't hidden. It's all out there for anyone who has eyes and doesn't jump to a conclusion because it's the most convenient and easy option.

Those who choose to look, to really see him, can still do so, even when he's muzzled. In fact, Jack Crawford's first order of business at the crime scene is to take Will's mask off.

For Will, his mask doesn't take away from his essence, his character.

Now Hannibal gets a white mask.

Let's ignore the obvious associations of "clean", "sterile", "medical", and "Doctor". Instead, let's focus more on what the mask literally does.

Hannibal is at BSHCI on an insanity plea. At this point, people know who, or rather what he is. A killer. A murderer. A man who quite literally eats people. The metaphorical mask is off.

But at the same time, that is also what he is being reduced to. Hannibal the Cannibal.

This is where the mask comes into play. It hides his face. You can't see his facial expression. It's a shield, but it's a shield in both ways. It protects the world from Hannibal, but it also protects Hannibal from the world.

Even if you wanted to look, you can't. Everyone is locked out.

Everyone except for one person.

The one person in front of whom Hannibal chooses to take off his mask.

HOLE THEORY

Because after all, if walls establish the universal rules and the certainty of the grotesque urban labyrinth which we’re forced to walk every day, then doors provide a personal experience; a single agreed-upon loophole; a recognition of your individuality. Here you may enter. Here others may not.

On the other hand… ...on the other hand, how often have I stumbled out of bed in the haze of drab darkness that comes before the real day begins, and stood there, hunched and naked and vulnerable with my fingers on the knob of the tightly shut bedroom door…

...wondering to myself, ‘What if today something is waiting for me behind it? What if today I open the door and something hideous and inescapable is standing there grinning at me,

and I was the one who made it happen?’

I AM IN ESKEW

anne carson / h. james hoff / sputnik shuffle / valzhyna mort / the city by c. p cavafy translated by edmund kelly / jenny holzer / richard silken / helge windisch / i am in eskew

cities are supposed to be built for us. uniquely, among any enviroment humans can occupy, they are built By and For Us. they are supposed to be spaces that are Ideal for human habitation. and so if the arctic kills you, or the dead centre of an ocean, you can at least console yourself with the thought that that environment was never meant for you. it didn't hate you as you died, it simply killed you because You Were Not Meant To Be There, as impersonal as gravity.

but if a city kills you? if a city is so hostile, so unsurvivable that your mere presence there is a struggle -- that's intentional. that was designed in. and it feels like a betrayal.

this is a place that is supposed to be hospitable, and isn't. this is a place that is supposed to be a home, and can't be. and you could leave, sure, but-- you live here. you work here. you exist within the context of a place that hurts you, but you do exist within it, and leaving would be a scattering of yourself across foreign land, a place that won't be home to you. and no matter how hostile your city is, it's still a place you can live.

right?

whether the city itself loves you or not, whether it intends or not to cause you pain -- and in all of my favourite stories about this, it's always a little unclear -- it's going to keep hurting you. no matter what face it puts on, this isn't an environment you can live in. cobbled streets don't make the arctic any less cold.

on haunted houses