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#she slays anyways
chiquilines · 6 months
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Idk what theyve done to me but im posessed. I need to draw them
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anna-scribbles · 3 months
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adrien tell ur mom to leave me alone !
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cordycepspog · 1 year
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There’s something horrifyingly beautiful about Tess’s final moments. In the midst of the most dire chaos, as she waits for her death to come rushing past so she can blow it sky high and give cordyceps a big fuck you one last time, one of the infected stops. It looks at her, really looks. Her own mortality is personified in this infected. It’s death that’s looking at her, and it sees her. She looks her own death in the eye, and the suspense is so high as it approaches. But then, it doesn’t bite her throat out like we all expect it to.
It kisses her. What’s more, it kisses her gently. And I think it was a brilliant choice on the writers part, because it reminded me that the infected aren’t supposed to be evil. Sure, they’re scary as hell, but really, they’re just trying to survive. They’re connected to one another, they can feel each other from miles away. They seek out and want to be close to their own kind, just like the human survivors do. And when they do find each other, they kiss hello.
And after so long apart from a loved one, someone you know and trust with every instinct in your body, wouldn’t you want to kiss them too?
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wasyago · 10 months
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they have so many belts....
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sososososouspicious · 3 months
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I found my new fave cc ngl 🙏🏻 GEM IS GREAT !!!!!!
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candyje11yfish · 26 days
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FRYE FANS WE WON!! SHE LOOKS ADORABLE🍡
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poppyinmyhair · 8 months
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that red lip classic thing…
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strixcattus · 4 months
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I really enjoy looking at this still from Slay the Princess:
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In the midst of all the weird imagery from the first part of the Stranger route, you see for a moment—and it is cut off at the end, so I had to be quick with my screenshot—every route laid out in front of you, paired up as the game does elsewhere, and described, interestingly enough, from what I can only believe is the Voices' perspectives, or perhaps the relationship between the Princess and the Voice of a given route.
Consumption: The Beast (Hunted), the ribcages in the bottom right. Being eaten, alive or half so, is one way or another the outcome you face in the Beast. This one seems to be the least connected to its route's Voice, though I can still see it in a relational sort of way. Betrayal: The Witch (Opportunist), the nail-studded... I can't tell what it is, but it's at the top left. Betrayal on your part is the cause of the Witch's route, and it too is inevitable in some form once you're on that route—the Opportunist is very vocal about it.
Skepticism: The Prisoner (Skeptic), the chains at the bottom. Pretty clear analogue given the name of the Voice, but not to neglect—you reach the Prisoner by taking the blade (distrust of the Princess) but ultimately using it to free the Princess (you take the time to think critically about what you're being asked to do, and decide the Narrator is less trustworthy). Blind devotion: The Damsel (Smitten), the... I can only imagine locks of hair at the top. You reach the Damsel by immediately and wholly assuming she has no ill intentions, an attitude made manifest in the Smitten.
Rivalry: The Adversary (Stubborn), the spikes to the left. The Adversary route is, so long as you embrace it, about your probably-a-metaphor-for-sex-I-mean-the-Eye of the Needle-isn't-even-trying-to-veil-it eternal fight with the Adversary, with the Stubborn in strong support. Submission: The Tower (Broken), the stone columns to the right. One of the most clear-cut "this is about the Voice" examples—the Broken has completely submitted to the Tower's will, even though the player still has a few chances to resist her.
Terror: The Nightmare (Paranoid), the eyes in the upper right. Of course, the Nightmare is all about fear, and the Paranoid is the embodiment of your fear of the Princess—the fear that made you lock her in the basement and the fear that stopped your heart when she broke free. Longing: The Spectre (Cold), the wisps in the bottom left. This one is interesting, and almost made me second-guess my "Voices" reading, as the Spectre herself is clearly a creature of longing—but then what about "Submission?" The Tower is not "submitting" to anything. That's her whole deal. Perhaps this one is connected to your desire for something other than what the Narrator calls the "Good Ending..." or perhaps it has something to do with the Cold's interest in feeling something, which he expresses in a few routes (the Greys being the most obvious).
Pain: The Razor (Cheated,) the spikes at the top. She skewers you, and you die. Over and over again she skewers you, and you die, and it is painful over and over again. I'm not sure I have much to add to this one. Unfamiliarity: The Stranger (Contrarian), the abstract DNA-like strand at the bottom. You reach the Stranger by refusing to interact with the Princess, leaving her an unfamiliar blank slate whose actions you cannot predict and thus fracture into every possible image of her.
And at the heart of it all, an emotion that can only be described as—what? The Narrator doesn't get the chance to finish his sentence before you wake up in the Prisoner's basement, but I'd think the answer is obvious once you've finished the game.
After all, this is a love story.
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lenateliier · 5 months
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Maomao in various hanfu #3: Tang dynasty
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cherricloverr · 2 months
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eddie
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swedenis-h · 11 months
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GWANDAAAA!!
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art-of-eve · 14 days
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Amateur artist who can't draw anatomy for shit attempts to sabotage themselves:
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Just so everyone knows I will never do this again. 30 minutes of pure confusion and yoloing on my part SKSJNDNDJSN
Inspired from this:
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weepingalaxy · 6 months
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a love story.
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gynii · 2 years
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o!ranboo cured my art block, please say thank you to her
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lunar-years · 2 months
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S1 Keeley with a boyfriend she genuinely likes and has fun with (the first one in ages) and is maybe even starting to love, even though she hadn’t ever planned on falling in love with him, and this was only supposed to be PR, right (probably), and he isn’t even the right material for a longterm thing anyway (unless he could be?) only for him to go and break their carefully woven trust and demonstrate that he really is more the arsehole everyone else keeps telling her he is, rather than the person he's been to her (the one who, sure, has an ego through the roof, but who's also funny and kind and ambitious and brave) in one fell swoop. To have to wonder if she’s been blind this whole time to who he really is, and to be made to feel like a total idiot because of how he treated her, and then to decide firmly that no, he is good and he is trying, and then to make the choice to continue to be there for him and help him when he asks...
Late S1/S2 Keeley with a different boyfriend, and this one she's certain she loves, and he could most definitely be longterm material with only a little polishing, in fact she's pretty sure this is it, and she's going to see this man through to his shine, because he's worth it. Even as he spirals in retirement and even as they hurt each other in small ways that eventually start to add up into something bigger, she keeps believing things will get better and they both will do better, because the little life they've been building is worth it. Or it has been, up until he goes and breaks up with her and doesn't even give her the courtesy of presenting something passable as a reason, even as he's turned into a stranger before he's fully out the door. And then they're barely talking and she's heartbroken and she knows she probably went wrong somewhere in there, too, but he never told her how and she's too tired to pick apart all the whys, and she's mad at him but it's difficult to even hold space for that anger because she misses him....
S3 Keeley Jones who stumbles into another new thing, and it's not going to be anything serious (unless it could be), and she's still grieving the last one (maybe the last two?) (but this will be different, really) and Rebecca's telling her she isn't certain this is a good thing (but Rebecca never liked Jamie, either, and Jamie's turned out all right, hasn't he). Her new girlfriend flying her on extravagant dates and flooding her with extravagant gifts and making Keeley feel appreciated, like all the time she's put in is finally being recognized, makes her feel worthy of love (she only wants to be loved. she wants people to stop leaving.) Even as her new girlfriend announces their relationship to the entire office (and sure, it's a little sticky, being that her girlfriend is also her boss, and it makes Keeley feel a little uncomfortable, actually, having all those eyes on her, her employees, but she pushes it aside because Jack isn't afraid to acknowledge her, to make it known that she likes her, to stick with her, and that's something). It's something until it isn't, anyway. Until she only acknowledges Keeley where she wants to, to the people she wants to. Until she leaves, too, and takes Keeley's funding with her. And then Keeley is left to feel like the clueless one again, the idiot for not spotting it coming all along.
And she's making stupid decisions again (sleeping with exes just to get the chance to feel someone), and Jamie and Roy are weirdly close now, and isn't that just flipping great. somehow she missed that, too. And she's the one who made them both better!! they never would have turned out like this if she hadn't been pushing them towards it all along, and now they're there without her, which really doesn't seem fucking fair and definitely sucks. And she's maybe still a little (a lot) in love with both of them, but then they're demanding she choose between them like quarreling stupid schoolboys, and she doesn't even want to choose and she wants both of them at the same time she wants neither of them and then there's still the sticky business of rebuilding her firm with what Jack did still sitting so raw in her chest (and it was never that serious anyway, so why does it bother her so much? why does everything bother her so much?)
(im gnawing at my enclosure)
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nastylillad · 7 months
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