POSE FOR THE FANS!
we're not kids anymore.
will byers stan first human second

Origami Around
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noise dept.
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Andulka
h

roma★
YOU ARE THE REASON
let's talk about Bridgerton tea, my ask is open
"I'm Dorothy Gale from Kansas"
2025 on Tumblr: Trends That Defined the Year
Sweet Seals For You, Always
Aqua Utopia|海の底で記憶を紡ぐ
I'd rather be in outer space 🛸

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#extradirty
Lint Roller? I Barely Know Her
todays bird

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@burningcolorland
POSE FOR THE FANS!
They both have pink devices
Doodles
Mob’s Stamina: 0%
Reblog if you think the person you reblogged this from deserves to be happy.
dialtown objecthead speculative biology overview
*These diagrams don't show everything- assorted facial muscles, vessels, fat layers, and other miscellaneous bits have been omitted for clarity. There's very little by way of empty space.
1. skull The post-Dialup objecthead's skull is heavily modified from those of before the Dialup, see fig. 2 for more information. The orbits, nares, and foramen magnum serve as ports for organic nerves, inorganic wires, blends of the two, and blood vessels to enter and exit the organic brain.
2. digital brain Part of the brain has been digitized. Processing and data storage are suspended in a non-conductive, organic oil produced by the body. The surface of the drive is heavily vascularized, serving as a natural liquid coolant system.
3-5. trachea, air filter, and nasal cavity The trachea is covered by an air filter to keep particulate out of the lungs. The filter is inaccessible through normal means, and is cleaned by a set of digestive enzymes. Serious clogging may need to be rectified with surgery.
6. dermis A thin, skin-like layer houses vessels and nerves and provides feeling to the head shell, similar to feeling your fingernail being touched. Helps water resistance, but does not ensure waterproofing of the head- the shell must be waterproofed. This skin layer can regrow after being damaged- such as in the case of a head shell swap surgery. Those recovering from swapping their head shell generally have little-to-no feeling in their head for up to a year afterwards as the nerves regrow.
7-9. eating slot, liquid tube, and mouth cavity The eating slot is the opening leading to the mouth- typically has a sliding door that opens and shuts voluntarily. The slot faces either forwards or downwards, making ingestion of liquids through the slot difficult for some. To compensate, many models have a separate, nearby port to insert straws which can provide suction into the mouth. A similar attachment is used to allow newborns to nurse. The mouth cavity "chews" food into tiny sizes using grinding metal surfaces, preventing blockages and choking. These grinders are surrounded by metal to avoid flesh getting caught. Prior to the grinders, fleshy "cheeks" covered in tastebuds with connected salivary glands move food to the back of the throat, while allowing a sense of taste & saliva introduction. The complete separation of the food and air intakes make deaths by food asphyxiation essentially non-existent.
10. mechanical phone elements Machinery allows for the function of the object head (phone calls, printing, etc.), and entirely depends on the model. Many rotary phone models based on Crown Mechanics' original designs retain older-style mechanics such as metal ringers alongside newer developments.
11. optical sensors (shown in a separate illustration for clarity- they rest near the surface and would obscure the other parts) Essentially little cameras, the nerve-wires of which enter directly through the cranium's orbits. Optical sensors, like organic eyes, often have problems with focus. Like glasses, small corrective lenses can be placed over sensors, often by a dentist. Entire sensors are extremely costly & risky to replace, so it is rarely done.
12-15. vocal chamber, larynx, receiver trachea, and billows Organic vocal chords that lead to a fleshy air chamber which is precisely manipulated by a series of constrictive muscular rings and mechanical pistons, emulating the speech-making ability of a tongue and lips. In phone-heads, this is often placed in the receiver. In heads which do not have a separate receiver, the vocal apparatus is often attached to the breathing apparatus, and thus do not require the mechanical billows which bring air into the receiver to power speech.
16. aural microphones Also often placed in the receiver in phone-heads, two microphones (one on each side) which transmits sound data to the digital brain, whether wired or wirelessly.
In modern, post-Dialup objectheads, these many elements can be arranged in near infinite ways to fit into a near infinite variety of object heads. These parts were intentionally designed by Crown to be highly customizable, to allow for this variety.
The post-Dialup skull is heavily modified. The mandible is entirely absent, and the skull itself is compact & rectangular, allowing it to fit into a variety of head shapes in a variety of compositions. Being so compact & further protected by the object's outer shell, the skull is especially tough. No eyes or teeth are present.
As it is so much smaller, the size of the organic brain is heavily reduced. This is made up for with a far higher neuronal density (allowing more brain power in a smaller space), and relegating part of the brain's processing function to the digital brain. This can, however, lead to vulnerabilities inherent to digital media.
Those who had their heads surgically replaced prior to the Dialup, of course, do not have the modified skull shape. instead, their original skull still resides in their head, with the lower jaw and assorted extremities removed and replaced with mechanical versions, such as the eyes. This means that pre-Dialup objectheads are necessarily large in order to accommodate the skull's size. Modern objectheads allow for far smaller and narrower heads.
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i've been working on this. for AGES. i've had this in the works for so long and it's gone through SO many iterations (some of which you may have seen) and it's finally done and i'm very very proud of how that first illustration came out in particular. i have other assorted bits and bobs to say about the subject but this is the vast majority, and i think the most interesting parts. i hope you enjoy my scary headcanons
I hope there’s an afterlife so that whoever made this pot 2,000 years ago can brag that their cookware is so good it’s still usable literally millennia later. Something about this object being lost for centuries and then rediscovered, and being put (successfully) to its original purpose again is so pleasing to me.
Some Uzbek digging a canal: “Oh fuck yes a free pot. This rules.”
I think it’s kind of beautiful that this pot just got used as an ordinary pot. Like imagine you’re a smith and you make a pot so good that people are using it 2000 years later. You’d be proud, right?
Among Us Humans Humongus
“lets make the first step towards interstellar communication mob”
{ko-fi}{twitter}
Wind Farm 12”x12” acrylic on canvas
梅雨の紫陽花紅茶ちゃん☔Rainy season hydrangea tea
“The Militarization of the Police Department – Deadly Farce,” an original painting by Richard Williams from “The 20 Dumbest People, Events, and Things of 2014″ in Mad magazine #531, published by DC Comics, February 2015.
Here’s the original, for comparison. And here’s a bit more about the artist and why he created the piece above for MAD Magazine.
Richard Williams on Norman Rockwell:
“For most people, he was the painter of ‘America,’” he added. “But even he said his vision was what he wanted ‘America’ to be. It was a mythical ‘America,’ a place where all people were decent, honest and full of good will. His work was full of gentle humor that made you feel a little better; even if you knew it wasn’t really true… you just wished it was. My parody of Rockwell’s painting simply says, ‘That myth is dead.’”
I think it’s relevant to add that even Norman Rockwell chose to leave his cushy job at the Saturday Evening Post because he wanted to make artwork that was more radical. The Post had rules that wouldn’t allow him to do artwork depicting black people as anything other than servants. The job paid really well and that was a huge reason he continued on. But he wanted change that and so he moved to Look magazine.
A lot of people know about the very first piece he did when he left the post which was the The Problem We All Live With which depicts Ruby Bridges walking to school under federal protection.
But I don’t think enough people know about Murder in Mississippi which depicts three real civil rights activists who were murdered by the Ku Klux Klan and sherriffs. The magazine ran the sketch instead of the finished piece because they felt it had a more striking statement to accompany the article. Norman Rockwell would finish that version after publication which is here
Rockwell’s legacy is sanitized because he decided to maintain his job at the Post for so long despite his frustrations with not being able to express himself. The civil rights movement was just his final straw to change what he could with the little time he had left. Look magazine received a lot of hate for Rockwell painting these as well.
Another favorite piece of mine is The Right to Know which depicts an integrated populace questioning their government. In 1968, the year of Vietnam and the year the Fair Housing Act only just got signed in months prior:
But I think it’s important to include the caption Rockwell originally wrote for the piece as well. I think it represents how a 74 year old Rockwell felt about the America he believed in and the people in it:
We are the governed, but we govern too. Assume our love of country, for it is only the simplest of self-love. Worry little about our strength, for we have our history to show for it. And because we are strong, there are others who have hope. But watch us more closely from now on, for those of us who stand here mean to watch those we put in the seats of power. And listen to us, you who lead, for we are listening harder for the truth that you have not always offered us. Your voice must be ours, and ours speaks of cities that are not safe, and of wars we do not want, of poor in a land of plenty, and of a world that will not take the shape our arms would give it. We are not fierce, and the truth will not frighten us. Trust us, for we have given you our trust. We are the governed, remember, but we govern too.
I’d just like to briefly say even Rockwell’s seemingly feel good Americana pieces are often more political than people today realize for example
likely the most famous picture of a Thanksgiving dinner ever painted and you see it all the time.
What you may not know is its actual title
“Freedom From Want” it’s a part of a series of 4, including this now famous meme
“Freedom of Speech” These paintings were illustrations of FDR’s “Four Freedoms” speech where The President laid out a vision that would become what the Allies were fighting for in WWII universal human rights that became a part of the UN charter.
So this homey American Thanksgiving scene was also a bold statement that no one in the world should go hungry
Rockwell’s work was very political, he used that Americana small town America vibe of his work to make what he was saying feel very close to the viewers he was trying to reach and also his optimism of the human spirt but for sure not blind to the need to build a better world.
While they aren’t as poignient as his works relating to race, class & civic participation I would feel remiss reblogging this without pointing out some of his depictions of girls & women rejecting stereotypically feminine roles, since I think they’re supporting evidence toward the progressive messaging of Rockwell’s art and against the retvrning trad fascists’ attempt to appropriate his artistry.
A well known piece but one that resonated with me as a kid for showing that girls can fight (or fight back) and find joy in aggression, while also hinting that consequence exists for those who do so.
A girl unhappy with her role as babysitter, who isn’t naturally nurturing or well suited to taking care of children. This one resonated with me as a girl, and resonates with me as a woman who feels no natural inclination toward babies or mothering. I feel honored to have seen the original in person.
On a similar note to the previous one, a toy saleswoman who is obviously fed up dealing with children, rejecting the concept of an inborn affinity for caretaking.
This one from the 1960s exploring women’s changing role in society, quite literally contrasting one woman (and her daughter) looking back on a traditional model of femininity vs. a woman looking toward modernity. (As an aside, I personally love the fan interpretation that the two women are the same person, and the painting represents the choice between the traditional and expected life path, and something new and uncharted.)
And of course his Rosie the Riveter artwork that depicts a rather large, muscular, realistic-looking woman eating and handling heavy equipment versus the more glammed up and presentable Rosie the Riveter artwork that most people remember, and his Liberty Girl, likewise depicted as plain-looking and physically powerful, but which I’m not including because those were both culturally-acceptable models of femininity at their time. (The WWII era, after women were allowed into the workforce and before they were forced back into domesticity.)
I'm really curious, how do you think the other girls could fit into your ageswap idea? :3c
Ah yes, this is interesting. Let me see...
Tsubomi - I enjoy the popular AgeSwap interpretation of her becoming a famous tennis player, since this would fit her "unachievable perfect woman" theme, but considering her special skill is "piano" according to the fanbook, I recently had the idea of her becoming a pianist who has just gained the spotlight. Classy, beautiful, talented, full of mystery. It's the perfect mix of factors that'd make her seem "above" others. Tsubomi, though, just wants to do what she likes without people bothering her. Outside of her ladylike persona she is just a depressed 28yo
She meets Mob again after Claw's dissolution and they end up becoming friends. Mob is still quite fond of her, but less in a romantic way
Teru feels mildly threatened by her presence and mostly offended that a commoner could make him feel this way. Tsubomi doesn't fear him and also thinks he's too possessive of Mob. Get a life!
She isn't CLOSE to Tome and Mezato like they're to each other but they get along. Tsubomi enjoys having female friends she has no compromise being perfect with. Tome thinks she is awesome and Mezato still has a bit of leftover tension from her teenage years (because she is a huge lesbian. That's why)
Emi - office worker; secretly has dozens of books she doesn't have the guts to publish. The main team discovers this because they investigate her workplace for spirits and accidentally find out Emi is writing on the clock
Thanks to their presence (even more Serizawa's, because this is a point in the story he learns not to be ashamed of himself and how terrible it is to stop being a person just so people won't reject him), she gathers the courage to find a literary agent. She manages to publish a few of her books and is happy with this
Minori - an influent socialite and the heir of the Asagiri Group, she tries her most to make the traumatic events that had happened in her past just a "story of overcoming adversity"
Fun, popular. She is known for lavishing her friends with costy gifts, no matter how close, but such generosity has ulterior motives: first of all, because Minori desperately wants to convince herself she is a good person; besides that, she needs her good graces to be a weapon. Minori has to be in the top of the world, and she'll do it by pushing everybody else down. If she can't buy people's submission, she'll strip them of whatever they have. No one can hurt her again if nobody can reach her
However, her troubled teenage days seem to reach out for her again. Minori is cornered by anonymous letters and emails that mysteriously know she was admitted to a psychiatric hospital against her will in middle school, even though her father covered it up as her being at a "private school". She starts seeing a boy nobody else acknowledges — one that makes her life hell and who threatens to destroy everything she has built for herself. After Minori realizes this person is stealing her autonomy, she tries everything to get rid of him. Bargaining, pleading, trying to trap him somewhere he can't leave. The boy always returns. The boy is never satisfied by her suffering
Weeks later, the Spirits and Such Investigation Agency receives a new job. It's one of the higher-ups from the Asagiri Group, offering them a huge sum of money in exchange of them helping Minori. The charming woman everybody knew won't leave her mansion. In fact, she was barely keeping herself alive. She is seemingly trapped in a cycle of killing someone they can't see, again and again, only for this person to return, again and again
Dropping the mp100 sketch page:
⚠️SPOILERS FOR S3 FINALE?⚠️
wanted to draw Mob