Hey Harrow! Do you draw at all? Could be anything from people to bones to architecture!
And does anybody else draw anything? I know Cam does, but who else? And would any of you be willing to share your most recent or favorite drawings?
why dont you do arts and crafts for 5 hours and then youll calm down
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Lifehack for shy ppl who struggle to be affectionate: step 1 - be bilingual; step 2 - date a monolingual.
Translation:
"You're such a fool.
I've never seen someone more foolish in my life.
A fool… but you're my fool."
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"[...] narrative interest in Kingdom of Heaven focuses not on the outcome of the conflict between the Crusader Kingdom and Saladin but on the way it was fought, on means rather than ends, performance rather than goals. In the end, how the hero performs is more important than the fact that he lost the battle and surrendered the city. [...]
"Scott perhaps best encapsulates the anxieties that surround hard-bodied masculinity and the mourning for its loss in his uncanny image of Baldwin, the leper king of Jerusalem, whose death precipitates the destruction of the Crusader Kingdom. Rather than focusing the audience's attention on the ravages of the disease of leprosy (at least until after his death), Scott depicts him in a funereal image of a male body swathed in white robes and veils, his face hidden by a beautiful but lifeless silver mask. Baldwin is beautiful but inanimate on the outside - a hard-bodied shell - living but hideous on the inside. His voice detached from his body, Baldwin becomes a ghostly acousmatic, despite his physical presence onscreen. His voice seems to issue from an inanimate shell, cut off from its origin in a human body. He is his own - and his kingdom's - funeral effigy. In this figure the hard-bodied masculinity of the crusaders in Kingdom of Heaven is exposed as a performance, a disguise that hides the rottenness within the kingdom beneath its beautiful but dead veneer. The image allows not only the crusaders but Scott's audience to mourn lost glories."
- Laurie A. Finke and Martin B. Shichtman, Cinematic Illuminations: The Middle Ages on Film, Johns Hopkins University Press, 2010, pp. 231f.
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i think im just gonna start blocking people that engage in flowey age discourse <3 im not in the fandom for petty drama about nothing im here for analysis and art and its really irritating to be looking for art and all there is is arguments. i love uty dearly but the sudden uptick in pointless arguments regarding floweys character is infuriating. why can't we talk about how well hes written and that hes an extremely good example of ptsd why must we argue. if u disagree with something block and move on dont act like children
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Let me actually try and explain the brainworms I have for these two (Click for better quality since tumblr loves decimating image quality)
Peak enemies-to-lovers vibes. They're both so stubborn and ready to pick fights with each other, but once they catch feelings it's ALL DOWNHILL FROM THERE
Once they catch The Feels theres no going back for either of them. They would DIE for the other if it meant protecting him. ... *nervously glances at Gigamix for Cut and Archie for Quick* haha ANYWAYS-
Also listening to All At Once while making this and feeling very normal /lying
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