This Looks So Sick

heres a shitty cartoon about dogs i made in like 4 days when i was still in animation classes years ago. i wanted to call it sons of bitches but they censored me

(the first song was by louie zong, I think the second was like, the soundtrack to a dog's life or something?)

my batfam face ref sheet i made for myself + my ethnicity hc's for them :]

FUNDAMENTALLY, CYBERPUNK 2077 IS NOT A GAME ABOUT OBTAINING RICHES, FAME OR ANYTHING LIKE THAT, DESPITE WHAT MANY PISSY REVIEWERS MIGHT SAY ABOUT IT- FIRST AND FOREMOST, IT'S A GAME ABOUT HUMAN CONNECTION IN FACE OF A GREAT TRAGEDY, EITHER PERSONAL OR SOCIETAL. V IS DYING, AND SO IS THE WORLD AROUND THEM, DUE TO CAPITALIST EXPLOITATION- V'S DESIRE TO GET RICH AND CLIMB THE SOCIAL LADDER TO GET OUT OF POVERTY BY AQUIRING MONEY AND FAME, A GOAL THAT'S VERY TYPICAL FOR PEOPLE LIVING IN A HYPERCAPITALIST SOCIETY, AND THE PLANET SLOWLY DYING DUE TO CORPO EXPLOITATION, WITH FLORA AND FAUNA DYING OFF, WATER AND AIR BECOMING POLLUTED AND CLIMATE CHANGE BECOMING MORE AND MORE RUTHLESS. IN A WORLD LIKE THIS, WHAT DO WE HAVE TO HOLD ON TO? THE GAME SEEMS TO IMPLY THAT OTHER HUMAN BEINGS ARE THE ONLY THING WORTH FIGHTING FOR- BY DOING QUESTS FOR CHARACTERS LIKE JUDY, PANAM, RIVER, KERRY, CLAIRE, MISTY OR EVEN JOHNNY, V IS ABLE TO BRING POSITIVE CHANGE INTO THESE CHARACTERS' LIVES. CRUTIALLY, ALL OF THEIR QUESTS CENTER AROUND MOURNING, SHOWING JUST WHAT BIG OF AN IMPACT DEATH HAS ON YOUR LOVED ONES, SOMETHING THAT TIES BACK TO THE PROTAGONISTS, V AND JOHNNY, GIVEN THAT ONE OF THEM WILL DIE SOON, AND ONE OF THEM HAS DIED ALREADY- IT'S A WAKE UP CALL FOR THEM, FOR V TO USE THE TIME THEY HAVE LEFT WISELY AND FOCUS ON WHAT MATTERS, AKA THEIR LOVED ONES, AND FOR JOHNNY TO SEE JUST HOW BIG OF AN IMPACT THE SELFISH LIFE HE LED HAD ON PEOPLE LIKE ROGUE, KERRY OR ALT. THAT'S WHY THE BOND BETWEEN JOHNNY AND V IS SO IMPORTANT TO THE NARRATIVE- JOHNNY IS WHO V CAN BECOME IF THEY WILL CONTINUE ON THE PATH OF SURVIVAL BY ALL MEANS AND THIRST FOR FAME, AND V IS WHO JOHNNY COULD'VE BEEN IF HE'D PRIORITIZE HIS FRIENDS AND PARTNERS WHILE HE WAS ALIVE. V CAN HELP JOHNNY TO TRY REPAIR AT LEAST SOME OF THE MISTAKES HE MADE IN LIFE, WHILE JOHNNY CAN WARN V AND SERVE AS THEIR GUIDE, AS FLAWED AND SELFISH HE MIGHT BE SOMETIMES. THEY ARE BOTH ON A CRASH COURSE TO BECOMING THE SAME PERSON ANYWAYS, SO THEY MIGHT AS WELL BE THE BEST OF THE BOTH OF THEM. TRANSCENDENCE AND CHANGE IN GENERAL ARE IMPORTANT THEMES OF THE GAME TOO, WITH V FEARING THEIR DEATH AND BECOMING JOHNNY, WHEN THEY SHOULD ACCEPT THAT NOTHING IN LIFE IS PERMANENT, AND THEY ARE CONSTANTLY CHANGING INTO DIFFERENT VERSIONS OF THEMSELVES. EVEN THEIR SLOW CHANGE INTO JOHNNY, OR, MORE PRECISELY, AN AMALGAMATE OF THE TWO OF THEM, ISN'T THAT DIFFERENT FROM THE CHANGE EVERYONE GOES THROUGH ALL THE TIME, EVERY DAY. IN THE END, V CAN ASCEND INTO A BEING OF THE NET AND GIVING THEIR BODY TO JOHNNY, GOING THROUGH THE MOST LITERAL READING OF THAT "CHANGE" THEME IN THE GAME. JOHNNY'S ARC IS ALSO HEAVILY TIED TO CHANGE, AND THAT'S WHERE HIS CHARACTER ARC COMES IN-

we've found it folks: mcmansion heaven

Hello everyone. It is my pleasure to bring you the greatest house I have ever seen. The house of a true visionary. A real ad-hocist. A genuine pioneer of fenestration. This house is in Alabama. It was built in 1980 and costs around $5 million. It is worth every penny. Perhaps more.

Now, I know what you're thinking: "Come on, Kate, that's a little kooky, but certainly it's not McMansion Heaven. This is very much a house in the earthly realm. Purgatory. McMansion Purgatory." Well, let me now play Beatrice to your Dante, young Pilgrim. Welcome. Welcome, welcome, welcome.

It is rare to find a house that has everything. A house that wills itself into Postmodernism yet remains unable to let go of the kookiest moments of the prior zeitgeist, the Bruce Goffs and Earthships, the commune houses built from car windshields, the seventies moments of psychedelic hippie fracture. It is everything. It has everything. It is theme park, it is High Tech. It is Renaissance (in the San Antonio Riverwalk sense of the word.) It is medieval. It is maybe the greatest pastiche to sucker itself to the side of a mountain, perilously overlooking a large body of water. Look at it. Just look.

The inside is white. This makes it dreamlike, almost benevolent. It is bright because this is McMansion Heaven and Gray is for McMansion Hell. There is an overbearing sheen of 80s optimism. In this house, the credit default swap has not yet been invented, but could be.

It takes a lot for me to drop the cocaine word because I think it's a cheap joke. But there's something about this example that makes it plausible, not in a derogatory way, but in a liberatory one, a sensuous one. Someone created this house to have a particular experience, a particular feeling. It possesses an element of true fantasy, the thematic. Its rooms are not meant to be one cohesive composition, but rather a series of scenes, of vastly different spatial moments, compressed, expanded, bright, close.

And then there's this kitchen for some reason. Or so you think. Everything the interior design tries to hide, namely how unceasingly peculiar the house is, it is not entirely able to because the choices made here remain decadent, indulgent, albeit in a more familiar way.

Rare is it to discover an interior wherein one truly must wear sunglasses. The environment created in service to transparency has to somewhat prevent the elements from penetrating too deep while retaining their desirable qualities. I don't think an architect designed this house. An architect would have had access to specifically engineered products for this purpose. Whoever built this house had certain access to architectural catalogues but not those used in the highest end or most structurally complex projects. The customization here lies in the assemblage of materials and in doing so stretches them to the height of their imaginative capacity. To borrow from Charles Jencks, ad-hoc is a perfect description. It is an architecture of availability and of adventure.

A small interlude. We are outside. There is no rear exterior view of this house because it would be impossible to get one from the scrawny lawn that lies at its depths. This space is intended to serve the same purpose, which is to look upon the house itself as much as gaze from the house to the world beyond.

Living in a city, I often think about exhibitionism. Living in a city is inherently exhibitionist. A house is a permeable visible surface; it is entirely possible that someone will catch a glimpse of me they're not supposed to when I rush to the living room in only a t-shirt to turn out the light before bed. But this is a space that is only exhibitionist in the sense that it is an architecture of exposure, and yet this exposure would not be possible without the protection of the site, of the distance from every other pair of eyes. In this respect, a double freedom is secured. The window intimates the potential of seeing. But no one sees.

At the heart of this house lies a strange mix of concepts. Postmodern classicist columns of the Disney World set. The unpolished edge of the vernacular. There is also an organicist bent to the whole thing, something more Goff than Gaudí, and here we see some of the house's most organic forms, the monolith- or shell-like vanity mixed with the luminous artifice of mirrors and white. A backlit cave, primitive and performative at the same time, which is, in essence, the dialectic of the luxury bathroom.

And yet our McMansion Heaven is still a McMansion. It is still an accumulation of deliberate signifiers of wealth, very much a construction with the secondary purpose of invoking envy, a palatial residence designed without much cohesion. The presence of golf, of wood, of masculine and patriarchal symbolism with an undercurrent of luxury drives that point home. The McMansion can aspire to an art form, but there are still many levels to ascend before one gets to where God's sitting.

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what studying literature feels like

"We have a new AI feature!" "With the power of AI..." "Our AI..."

I am going to abandon technology and start only inscribing things on clay tablets

i trans characters genders and then project my own thoughts and feelings on them <3

bible: angels are actually wheels of eyes and flames me: cool my mind visualising this:

tumblr mobile my beloathed. No I don't want to share people's posts with them... I was scrolling, you silly app....