Sickness | Warmth | Firsts
put some polish on this just in time for @vicreatureweek
it's not for any story, I just really needed to draw these two happy and in love
i don't do bad sauce passes
wallacepolsom
will byers stan first human second
"I'm Dorothy Gale from Kansas"
let's talk about Bridgerton tea, my ask is open
trying on a metaphor
AnasAbdin
Keni

Product Placement

shark vs the universe
Peter Solarz
🪼
cherry valley forever
Cosimo Galluzzi
he wasn't even looking at me and he found me
Jules of Nature

blake kathryn

titsay
Monterey Bay Aquarium
we're not kids anymore.
seen from United States
seen from Singapore

seen from France
seen from Italy

seen from Malaysia

seen from United States

seen from Israel

seen from Singapore
seen from Germany
seen from United Kingdom
seen from United Kingdom

seen from Australia
seen from Italy

seen from Switzerland
seen from United States

seen from India
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seen from Germany
seen from Singapore
seen from United States
@asliverslicedthin
Sickness | Warmth | Firsts
put some polish on this just in time for @vicreatureweek
it's not for any story, I just really needed to draw these two happy and in love
Here are the boards for the gif if you wanna click through the doodles
INTERVIEW WITH THE VAMPIRE (1994) dir. Neil Jordan
Victor Frankenstein + Text Posts
Inspired to do my own take after seeing @purrlockholmesbooks' rendition!
My favorite scene in the book lmao
CSP's toning always looks weird to me so I might upload just the lineart later idk
I really do love this movie
"At her very point of origin, Shelley traded her life with that of her own mother. For less than two weeks she rested in the maternal arms before losing her mother to the grave. Her only visitations were to her grave, and her joy was forever tainted by her pain and that most essential severance. Her origin was death and life her curse. Like her creature, she experienced the pain and steeled herself and found, in the learning of words, the only way to sing about her loneliness. Much tragedy was to befall her, more than most contemporary minds could bear. It is entirely understandable that she might have believed herself accursed. Most everyone she loved, she lost, and posterity has never offered consolation to the artist. She has always impressed me in a way similar to how the Brontë sisters impress me: Most people would like to travel in time to meet great statesmen or explorers. I would love to travel back to contemplate life with these remarkable women—to hear them speak, to walk by their side on cold beaches or moors and under impossibly steely skies. For I was born in a sunny place in the middle of a sunny country, but within me I had a kinship to the same spirit that animated their melancholy and art. I had seen Whale’s film, and I saw Shelley’s novel in the form of a Spanish paperback from Bruguera (my go-to dark fiction publisher in the late sixties, early seventies). Being an import, the book was not cheap. I saved my Sunday allowance for a couple of weeks and bought it. I read it in one sitting, and by the end of it, I was weeping. It was my Road to Damascus. It illuminated the reason I loved monsters, my kinship with them, and showed me how deep, how life-changing, a monster parable could be—how it could function as art and how it could reach across distance and time and become a palliative to solitude and pain. And here we are, two centuries later, faithfully depositing flowers to this most exquisite storyteller, this extraordinary Galatea who refused to be shaped by her circumstance and gave us all life. And we try, in return, to help her creature stay alive. We strive to turn a curse into a blessing. We hope that in some way, somehow, our gratitude, our love, can reach him like a whispered prayer, like a distant song. And we dream that perhaps he can stop—amid the frozen tundra and the screaming wind—and can turn his head and look back. At us. And we hope that then he might recognize in our eyes his own yearning. And that perchance we can walk toward each other and find meager warmth in our embrace. And then, if only for a moment, we will not feel alone in the world."
-- Guillermo del Toro, in his introduction to The New Annotated Frankenstein
The Curse of Frankenstein (1957) dir. Terence Fisher Frankenstein (2025) dir. Guillermo del Toro
OSCAR ISAAC as Victor Frankenstein Frankenstein (2025) dir. Guillermo Del Toro
I ought to be thy Adam
insane that they literally had the creature like:
him: i want a friend 🥺👉👈....
victor: Oh So You're going to FUCK?
del toros victor funniest guy of all time. tries to steal his brothers bride to be who looks like his mother who died in childbirth of said brother in an attempt to take something from his brother the same way his brother took something from him (their mother) but he can't hack it so he creates life immediately treats it like his father whom he hated treated him in turn leading to the death of both his brother and his bride. and himself. and several hundred innocent bystanders. wants to fuck his mother. turns into his father. recreates himself. forces his other self to live in perpetuaty. dies. 👍
Frankenstein (2025) dir. Guillermo del Toro
what if 👉👈
we yearned 🥺🥺 for innocence ❤️🍁🪲
in the cistern together 👉👈🥺🥺🥹🥰 👉👈
"Elizabeth Lavenza became my playfellow, and, as we grew older, my friend...No one could better enjoy liberty, yet no one could submit with more grace than she did to constraint and caprice. Her imagination was luxuriant, yet her capability of application was great. Her person was the image of her mind; her hazel eyes, although as lively as a bird’s, possessed an attractive softness." -Victor Frankenstein. I feel like this passage is the most honest look at Elizabeth that we get in the whole book. For as much as Victor paints her as someone who is infinitely patient he feels a strong need to praise her for submitting. Likely because that's not a thing she's naturally inclined to do or he recognizes there's some injustice in the fact that she has to. He describes her as a passionate and creative individual who would take well to having her freedom. Someone has as much complex interiority as the men around her. That makes her subjugation more tragic. I especially find the juxtaposition of the words "Constraint" and "Caprice" particularly interesting. Not only is her environment restrictive but it's mercurial. Capriciousness is rarely framed as a positive quality. It indicates an unpredictable or irrational turn of mood or behavior, often going hand in hand with misfortune. Victor admits such about himself, that he is moody and prone to intense impulses of emotion, but I wouldn't be shocked if that extended to Alphonse as well. It paints a picture of Elizabeth having to contend with forces that are domineering but also highly temperamental, perhaps even fickle. These are qualities none of the women in the Frankenstein household are allowed to have. When Victor talks about how vivid her imagination is I can only imagine someone who's only reprieve from being the obligatory "angel of the house" is inside her own head.