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#I love Lilith so much
tsukii0002 · 11 months
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"... So pleace, save them. You're the only one who can... Please"
"But why me?"
"Why? Because you are my..."
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I haven't drawn in month, but I needed a break from university so... Self-indulgent sketch of sheep Mc and sheep Lilith because they care for each other.
Maybe I'll finish it one day.
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milly-the-devil · 2 years
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When you hit your twenties you will either relate to Litlith or you will not! That is all there is to it!
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appledaddyisbae · 3 months
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pocket sized papa
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meltorights · 1 year
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dunked
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itsnicsalad · 1 year
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agony of a witch>>>
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smallandangry24 · 1 month
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To keep up with the trend:
Me and the bad bitch I pulled by being autistic:
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Honorable Mention: Bruce Wayne
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Imagine being Lucifer's older sibling
Like, you're a Cherubim (cause some Cherubs have different roles so you would be way stronger and better than the ones in Helluva Boss) who's been kinda kept from present-day news cause you've been chilling in the Garden of Eden protecting the Tree of Life and training other Cherubs
Then Emily invites you to Charlie's meeting as a council member and you go but you have no idea what this meeting is about so other council members have to constantly be keeping you up to date on what everyone is talking about DURING the meeting
"Ok, so that's Charlie Morningstar-"
"Morningstar?"
"And her girlfriend, Vaggie. An ex-exorcist-"
"An ex-exorc-What??"
"And they're here to prove sinners can be redeemed-"
"Ok...But why is everyone singing???"
"Well-"
"And is that the fucking first man????"
And you'd have to have Hell and Lucifer and Lilith and Eve and Adam all explained to you but all you really hear is that you have a niece that you never knew about
So you go down to Hell just to meet Charlie and see Lucifer. And Charlie gets all excited to have an unfallen angel on their side so she explains the hotel to you but Lucifer would be showing you all his ducks at the exact same time-
Even though you were kept from any news outside of the Garden of Eden to keep you from being unjust, I like to imagine that you have the most Deadpool personality of all time
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bonesmarinated · 4 months
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my white boy Kristian and @barbecutie’s BG3 tiefling Lilith (again) 🖤😈🖤 🙏🚬 girl thank god
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alexsshittyworld · 1 year
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I convinced my mom to watch Warrior Nun and she was telling my dad about it and I promise you this is a real conversation they had:
Dad: How do they get rid of the demons tho?
Mom: Lesbianism.
Dad:
Me:
Mom:
Dad: I mean if it works, why not?
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rosalie-starfall · 5 months
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Doctor Lilith Sternin Crane
Cheers - Norm, Is That You?
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shortbreadly · 1 year
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this screenshot has been tugging at my heartstrings since the owl house ended so i had to redraw it
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original screenshot
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otteritos · 1 year
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toh shitposts + the originals <3
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heyits-peach · 1 year
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Clawthorne Family Doodles
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floweroflaurelin · 1 year
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Super quick painting because Lilith’s new look is so !!!!!!!!!!!!
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drbtinglecannon · 2 years
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Looking at the stiff frowns from their OG designs vs the genuine smiles on their most recent designs means a lot to me.
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Like yeah you go, Ex-Emperor's Cult Coven Leaders, go be free to live your best lives!
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comradekatara · 1 month
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Ok we should talk more about sokka and aang because these two dumbasses are adorable together! Underrated relationship
The gag with Katara and blind Toph in season 3 is still the funniest scene in the series lol
yeah their friendship very cute. i like how when they're left to their own devices their respective adhd tendencies combine, that feels very true to my relationships with my friends who also have adhd lol. it's also just really adorable how through aang's sheer lovability, sokka learns to loosen up a little and appreciate life (somewhat, sometimes) in a more relaxed, content way. aang is a really good and highly valuable influence on everyone around him, especially as he counteracts the logic of war and its necessity for violence, which is an ideology sokka not only heavily subscribes to, but to which he attaches his very personhood. aang reminds sokka that he is still a child (he reminds katara of this too, but it happens in the literal pilot, whereas sokka's journey to literally enjoying himself ever is far more gradual and grueling). aang reminds sokka that he is human.
that said, i do think that people tend to be reductive when talking about the value of their relationship. not to single you out specifically, but i do kind of take umbrage with the notion (perhaps unintentional) that all their dynamic is good for is being adorable and funny. calling them "dumbasses" because they can be silly and goofy sometimes, or scatterbrained and absent-minded. i genuinely think that aang and sokka constitute one of the most interesting foils in the entire show. normally when we talk about character foils, we talk about characters who are positioned in opposition to each other, but aang and sokka are fascinating because they're allies (and friends) who nonetheless approach the same problem with the same intentions and the same goals but from completely different angles.
in many ways, sokka is aang's most distinct opposite. but first, to address their similarities: they're both victims of a genocidal imperialist project that has burdened them with a responsibility to their people that they are too young and barely equipped to handle; they are both expected to shoulder this burden easily by those around them due to their nature as "gifted" child prodigies with distinctly unique skillset and an unprecedented ability to absorb and apply new information that they learn at a genuinely abnormal rate (remember that aang is not just the avatar, but an incredibly prodigious avatar at that; he mastered all four elements within less than a year by the age of twelve, whereas most avatars take at least another four years to master their elements); they are both the "leaders" of their small guerrilla militia of child soldiers, and they take turns giving each other guidance and trusting and following the other's lead; they both consider katara the central figure in their lives and love her with an almost obsessive devotion; they both repress their grief and other unpalatable emotions through humor and constant distraction, and sometimes even depersonalize entirely when they feel that their goal is more important than retaining their humanity (sokka does this more frequently, but when aang does it, it's more blatant); and of course, they both harbor massive guilt complexes for the devastating tragedies (largely beyond their control) that have shaped their lives, and are constantly replaying those moments of "failure" as that of acute shame to motivate themselves as they strive to rectify and "atone" for their past errors.
so, as you can see, reducing their friendship to "adorable dumbasses" is already not very interesting. to me, the best aang and sokka scenes aren't the ones wherein they are playing and goofing around together. those scenes are sweet and charming, of course, but the best aang and sokka scenes are the ones wherein sokka is positioned as the logical consequence of aang's grief. wherein present-day sokka becomes the worst case scenario for a hypothetical future aang. in many ways, their friendship is incredibly bittersweet, because it is also punctuated by moments wherein sokka threatens aang's entire value system and quote-unquote "innocence" through attempting to mold him into a Man Of War the way he does those hapless toddlers in his village. for all that sokka is remarkably open-minded and receptive to new ideas, he cannot see past the limits of the world he was born into and the mechanisms and assumptions of violence he was forced to internalize and embody. aang is, of course, totally unique in his ability to not only envision a world beyond the war (i would argue that katara has the ability to do this as well), but also to have actually experienced it. and so it is truly a testament to aang's resilience that he is almost entirely impervious to sokka's ruthless, militaristic logic, even as sokka constantly attempts to enforce it.
i have a much longer post in my drafts about how aang and sokka are positioned in "the serpent's pass" (one of their best episodes in terms of their dynamic, also just a highly underrated episode in general), so i'm not gonna get too much into it here, but katara's relationship to aang as paralleled with suki's relationship to sokka is really fascinating in this episode for the ways in which it also positions katara's grief over witnessing aang's attempt to detach himself from his grief to focus on his goals and aang slipping into "sokkahood," and the absolutely devastating implications of what that must mean for katara. i think there's a strong case, in general, for the reading of katara attempting to replace her lost childhood (with sokka) through aang as he represents a vehicle for her overly idealized nostalgia (much like how zuko projects onto aang and views him as a vehicle to return to that site of his overly idealized childhood), and thus, quite literally, replacing sokka with aang. to katara, aang possesses what sokka has since lost, or perhaps something he never got the chance to have in the first place. and that isn't to say that katara views aang as a brother, but rather that katara longs for companionship in any form, and what is aang if not the ideal companion? so aang's grief and rage scares her not only because it pains her to see someone she loves so deeply in so much pain, but also because it reflects her own pain back at her, as someone who has lost so much, including family members (also including kanna and hakoda) who are, ostensibly (at least physically), still alive.
one of the most fascinating scenes between sokka and aang in the entire show is when sokka straight up attacks aang for burning katara in "the deserter." katara is very clearly affected by this beyond simply the physical pain; being burned by the weapon that killed her mother is explicitly triggering for her, and she retreats into herself and sobs like a child (she is a child, but you know what i mean. an even younger child). and sokka in turn is triggered by katara being triggered, because his entire existence revolves around his oath to protect her, and she was just hurt by the one person to whom she stakes all her hope and pride and joy and affection above all. aang obviously understands the gravity of this accident immediately; it of course wasn't intentional, but he nonetheless takes full accountability and apologizes sincerely. but sokka only calms down somewhat once he knows for certain that katara is okay. and instead of going to find katara as she sobs, he spends all his focus on yelling at aang, throwing him to the ground, more furious than we have ever seen him. and in a way, it's clear that he's also furious at himself, for having let his guard down around and trusted aang, and for his failure to perform his primary duty, protecting his sister. the fulcrum of aang and sokka's relationship is, necessarily, katara. she is the force that brings them together, and the person who is most important to either of them, but she also person who connects them in her mind, and so our perceptions of them as the audience are primarily informed by her perception of them as the narrator.
moreover, sokka's advocacy for killing zuko (in "the siege of the north") and ozai (in "sozin's comet") constitute two more fascinating scenes with aang, for the way in which sokka does not even find the act of killing something to flinch at, let alone an absolute betrayal of core principles and values the way aang does. killing is simply not something sokka feels guilty about, despite the fact that he seems to carry guilt over simply existing a lot of the time. and that juxtaposition, between aang and sokka playing together, of sokka learning how to have fun and entertain his little friend, versus sokka chastising aang for refusing to commit murder, is what makes their relationship so compelling. when people reduce their dynamic to its most comedic and innocent mode, they are reducing their roles as they embody two opposing relationships to violence, and how that reflects their ideological positions as someone who has subscribed to imperialist logic insofar as his values have been shaped by war, as opposed to someone who knows through his own experiences to refute that logic by any means necessary. when we talk about aang helping sokka to regain his humanity, it is crucial to understand specifically how sokka lost his humanity in the first place, but also why aang specifically is so crucial in counterbalancing his logic in a way no one else alive actually can.
ultimately, if sokka represents the voluntary auto-dehumanization of the colonized subject, then aang represents the potential of preservation and even reclamation of humanity and the imaginative potential of a world[view] beyond those colonial limits. their ideological conflict is not simply one of what it means to be human within a colonized paradigm, but what it means to exist at all.
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