She/Her. I am 5 years old. I talk about things I like, and very rarely, things I don't. If you would like to discuss art with me, don't be shy! I would love to hear your thoughts and have a genuine conversation.
i think if any part of your ideology contains "we can and should kill all the bad people and we can easily know what people are ontologically evil" then you're not just a reactionary but a danger to marginalized people. Your "kill every pedo" stance is very easily manipulated into wanting trans women to die. It's fundamentally no different from like, supporting the death penalty and wanting every criminal ever to suffer, wishing death upon drug addicts. it's basic fucking reactionary dogshit. It not only misunderstands why harm happens but actively gives you a pass on enacting infinite torture to a group against which you've decided no harm inflicted is too great. We just need to kill all the bad people. and when we've done that, we'll finally have gotten rid of all the bad people.
It's a magic word spell designed to completely shut down your brain and try to kill people. No kids were saved in this continued attempt on Patricia Taxxon's or ISuggestForceFem's life. I say continued attempt because the abuse never stops from these people. They will turn into blood hungry revenants and hunt you to the ends of the earth over lies because society trained them to do this and they feel SOOOO good hurting people. They reinforce the shield created to protect the actual abuse of children and they are too willingly ignorant to see it. It's Vengeance Culture at its zenith. Anyone in the In-group with a big enough bone to pick can attempt to get any outsider they want killed and be lauded as a hero for it. even if they are proven wrong over and over again.
This blog is dead. I won't tell you where to find me, unless you're epic loli style.
I'm not really proud of any of the reviews here anymore. I'll write more serious, less meandering, more critical reviews on noterook under another pseudonym. Good luck finding me...
“Devin can actually draw a tesseract.” “I LIKE CUNT!”
“I don’t like video games. I tried Red Dead Redemption 2 and decided it wasn’t for me. I’m not going to play more video games.”
*weird wiggling motions*
“Here comes the GREATEST solo in EMGTV history…” *hammers one note over and over*
[paraphrased] “How do you practice singing?” [not paraphrased, Devin’s own words] “Honestly it’s always been I just scream until it tastes like blood and then 2 days later I’m ok again and then at that point a callus forms and I can do it for a certain amount of time”
I dont often bill myself as being so much in the age regression transage transhuman crowd whatever even though I somewhat affix those labels myself, and lately I've been thinking about why that is, and I think a big part of it is when i see art made by girls and things for and and see their ideal of what is "right" for them it never lines up for me.
I didn't really grow up with anime, I don't hate anime, I like a lot of them, I didn't get to watch it until the semi-freedom of my teens. This has had a somewhat subliminal impact on my art and my view of art. I often don't dwell on the past and don't really have the option to. My image of a happy childhood is just as two-dimensional, and I haven't really taken the plunge so to speak.
When I see art of someone getting to be a little girl, getting to be a creature, getting to be a so-and-so, it is a cute svelte little thing, an ideal specimen, it represents a healed severing with innocence, with nature, with the self. It is someone's perfect self, and I see the patterns and think about how this perfection is not my own.
Maybe it is because I've always been big and scary, I've always been tall, fat, "anti-social" as my mother called it, "school shooter vibes," as a lot of my classmates called it, when I was experiencing tense gender dysphoria everyone around me immediately pinned it on insecurity about my weight, something I've never hated outside of how others treat me because of it. I remember one of the only online friends I had at the time saying I looked like a rapist when we had our first video call. This isn't even going over my experiences with so-called adulthood.
A lot of people in this community view a happy childhood or a childhood at all as something that was taken from them, which is fair, I have similar feelings. In contrast, I can't bring myself to fantasize, because my body and its presence has always been an everlasting factor in these memories. When I hug my teddy bear I do it with large hands on fat arms, when I wake up crying from a nightmare, I'm all 5'10"-and-a-half and 360-ish pounds of myself. (178-ish cm and probably around 164kg for everyone else in the world, hi.)
I have never been that child, the cute little anime child sucking her thumb. In a way, I don't want to be, people are free to draw what they want, but when I see people gathering around this ideal image and sharing it around, it does make me feel somewhat left out, as I have in the past with these things. Sometimes I think, if I got to be the child I never was, would they think I was cute? Would they play with me? Be my friend, or would I be back where I was before, a fat, anti-social child who has thoughts about her body made for her by everyone else?
I have similar difficulties with therianism, a lot of therians I see, people are coyotes, wild birds, dragons, another pattern, primal beasts tied to nature. Dogs are quite popular too, though it differs from me in other reasons. I see myself as a domestic house cat, none of my therianism is tied to nature any more than being a human and an occasional desire to swat at birds. I am not an "outdoor" cat (and if the world were kinder, none of them are) and much like other struggles, my animal feelings aren't exactly appealing. Canned fish makes me drool, sometimes I slap my girlfriend in the face, other therians talk about going on hikes, climbing trees, I remember getting banned from a therian discord server when I admitted to eating a cat treat once for "taking things too far" I feel like this ties pretty neatly into my experiences being fat, autistic and schizophrenic.
I guess going back, I do feel like something was taken from me, but what was taken isn't quite the same, or at least, what I'd want in its place. As a kid, I'd probably sit in my room and draw, as an animal, I'd lay on the couch and wait for someone to pet me. It's really hard to put into words, but I think I'm just nervous and discouraged, or cynical, thinking that I'd never fit in with people under this same definition of experience. I feel hesitant to "go out and make my own art" about it, especially in online communities art can't exist without an audience reaction. I fret about these things far too much with someone of my skill level.
I don't know, it feels silly, it feels pretentious, "it's sad I don't see any fat age regressor representation" "I'm a therian with no desire to connect with nature" I don't know, I expressed some of this to my girlfriend and she said I should post about it. I might delete this later, the internet isn't any place to expect others to care about your thoughts and feelings.
when you look at the finished painting, you can almost see letters - but there aren't any. It's all noise. a lot of adults process this sort of beating by insisting there is a lesson in it. with the title and artist statement in mind, it's like they're trying to read a message of love written in that chaotic canvas.
gamecube was the best designed controller of all time exclusively for the button cluster that gave you easy thumb roll access to all buttons but also gave you the a button as a thumb rest (because it’s the one you press the most) and took into account the frequency with which each button gets pressed in its design rather than doing the stupid diamond design that gives no button priority and rests your thumb in the shitty blank space between buttons
Also, the holes for the thumbsticks are octagon-shaped.
When you push a stick all the way to the edge, it will lock into one of these corners. This helps with stuff like walking in a perfectly straight line or steering all the way to one side, which is great for people who struggle with fine motor skills.
Like young kids, aka the target demographic for the gamecube, for example.
“Devin can actually draw a tesseract.” “I LIKE CUNT!”
“I don’t like video games. I tried Red Dead Redemption 2 and decided it wasn’t for me. I’m not going to play more video games.”
*weird wiggling motions*
“Here comes the GREATEST solo in EMGTV history…” *hammers one note over and over*
[paraphrased] “How do you practice singing?” [not paraphrased, Devin’s own words] “Honestly it’s always been I just scream until it tastes like blood and then 2 days later I’m ok again and then at that point a callus forms and I can do it for a certain amount of time”
My reviewing days have been off to a rocky start but I got a few things in the oven, until then, I thought I'd go over some of my favorite shows, projects, whathaveyou's of 2025, I don't care much for new year's and the passage of time but if bigshot youtubers can make their lists why can't I? It was honestly hard to fill out this list, I tend to look for more stuff I didn't catch when it came out rather than keeping up with new releases, but I hope these are some decent picks. Without further ado here is a non-ordered list of things out of 2025 that I enjoyed:
Bigtop Burger Season 3
I will probably do a deeper series dive into BigTop Burger but honestly, I don't have much to say for now. I do think season 3 takes an interesting turn (and maybe spoilers for it) it feels very much like it's riffing on the ubiquitous "third season" towards the end; we have redemption, introduction of new power sets, a bigger badder bad, all kind of tied up in a bow, sort of rushing through it, while settling into the mundane, grounded tone of season 1 for a lot of scenes. I can see a lot of people criticizing this on its face, but I think the penultimate episode really gets across the thematic purpose.
We never really get to see Cesare's original death, we don't get more time on the clown planet, a moment of potent mortality is brushed off with "I still got another decade left in me!" and I think that's kind of what it's about, the protagonist and the antagonist are narrative parallels in that they may serve some otherworldly purpose outside of time and mankind, but they really just want to pop their backs and run themed fast food trucks.
I feel like the word comfy, comfort media, etc., gets thrown around a lot but I do think Bigtop Burger does have comfort and satisfaction as central themes and the internality of those feelings, especially how they intertwine with labor. By no means is BigTop Burger the big socialist masterpiece but there are definitely the sort of readings you could get out of it that relate to a US-centric view of class struggle.
The Gaslight District
A lot of the buzz about Glitch Studios' new releases has been centered on Knights of Guenevere and some attention given to the upcoming Lackadaisy Cats series, but personally this was their highlight for me. I'm a disgusting freak and a Gorillaz fan so the stank this was giving off had me drooooling. I remember being on the edge of my seat the whole time I was watching while being politely asked if we could watch something different so everyone else could stand to swallow their dinner.
Only being a pilot, I don't have much to say versus a finished or ongoing series. The action choreography is great, the setting is intriguing, the style and presentation is a rare fucking delicacy, I like cute things as much as the next girl but I feel like contemporary popular media is lacking that gangrene the hot topic nostalgists and the rob zombie type crowd miss so much, and this is a mouthwatering appetizer.
One thing that has gotten on my nerves is they have no merch in my size. C'mon guys, throw a fat goth a bone!
Pendog Creative Library
A project found down at https://pendogcreativelibrary.org/ created by @withkindereyes and @sushicatz along with a team of other occasional creatives, though you might not see these names on the site given the framing device, imagine me waving my hands with slight nonchalant dismissal, its like a Welcome Home situation okay it's an unfiction thing, you'll get it, it's not real.
In this day and age, there are two genre labels that have aged like raspberries: "Mascot Horror" and "ARG," but honestly, this is a project most worthy of those titles. It genuinely deals with the horror of the relationship between art and the corporations that use it, people's reactions to them and the sentiments they foster among counterculture, fandom, national history and politics. This is definitely made by and for cartoon and puppetry enthusiasts. Though it is utilized to an extent, the site's secrets aren't waterlogged by easy-to-decode ciphers and delisted youtube videos, but won't leave you lost if you know where to look, often giving hints on how to move forward, and the official youtube and twitch channels have walkthroughs if you just want to enjoy the narrative or find yourself getting stuck, and even if you do solve all the puzzles in an update, they often have insightful supplemental commentary by the site creators.
If you like the look of this, please please check out the picture book/zine The Stars & Blue, you might see a familiar face, and like me, you'll probably cry!
DawnofNSSD
This is less of a coherent project or show and more of a creator's output as of this year, but this youtube channel has always been on my mind. As a kid, I was a big fan of stop motion animation and bionicle. It was and still is common to combine those two mediums due to the creative outlet and articulated joints. DawnofNSSD has decided the best use of this combination is to do mech combat scenes to shoegaze and build big fat wobbly tits out of lego parts like it'll cure cancer one day. I'm astonished every day how absurd these bodies built piece by piece get, if anyone is going to make the first stop motion bionicle porno it will probably be this guy.
With how much it takes to even make a few seconds of stop motion as a single person studio and build MOCs this detailed, there's really some artistry to appreciate even if it's mostly surface level rule-of-cool action scenes and skits. Even though I tend to get easily disappointed when things lack depth, the cinematography, shot composition and animation quality well compensates for it.
For the weak I will warn that some of the artist's older works and social media presence involve fart fetish content. On principle I am not going to talk down to and cringe at someone's art for what they're into. I recommend growing up and learning to respect pornography as an art form if you consider this an absolute deal breaker.
Octobeni 2025
A monthly art challenge done by @santanael-chan drawing Kobeni Higashiyama from Chainsaw Man. Conceptually really simple, but I like the artist a lot, and I like this sort of character exploration. Her design at a glance has a lot of charming differences, the beauty marks and freckles do a lot to make the character feel more grounded when a lot of anime characters (and drawn characters in general) are usually depicted with "flawless" skin and among the themed fanart and album cover redraws you see a lot of very domestic, sort of candid pieces I really enjoy.
An ongoing theme of healing and happiness coinciding with weight gain, something I'm sure a lot of my followers would be interested that. I recall being praised when it came to the finale of Bojack Horseman but haven't heard much of the idea since, outside of the story that unfolds when you scroll through these pieces.
Accompanying this art, you can find an artist commentary video on youtube whose thumbnail I have shown and it really reinforces the empathy they have for the character and the inspiration of a desire to see that character happy. It reminds me of the relationship of youtube oldhead Plague of Gripes and the character Winnie from Scooby-Doo and The Ghoul School. I am definitely no stranger to this feeling myself.
What I really liked were the pieces that showed a heavyset, future Kobeni in sensual scenarios and positions, I remember describing them as "an introverted version of Duane Bryer's Hilda" in a bluesky thread and honestly, I think much like more works about healing and weight gain coming together, we could use more "lowkey" fat positivity, I guess if it makes sense. A lot of positivity and representation oriented art can be very "loud and proud" which isn't bad, but as someone who tends to be quiet, shy, a bit glacial, I often feel a little left out. So I really appreciated the subtlety.
Anna-Logue
Insert that one Brian Eno quote here. I remember a few years ago, comically postulating that with all the super nintendo, sega genesis, gameboy advanced style nostalgia trips people were dishing out sooner or later we'd be getting to the playstation, well, we're definitely there, and have been there. Anna-Logue is a cute little product of that with a bit more oomph to the y2k tech aesthetic, this thing also has y2k tech jokes! and y2k tech lore! Drag your fuckin programmer or game dev friend or whatever over to watch with you to act as your own personal sitcom laugh track for when the characters start talking about programming in assembly or some shit, though if you're no stranger to the insides of a computer and have played at least twelve video games in your entire life you'll definitely still catch a lot of the humor.
ENA: DREAM BBQ
Ena, everyone knows Ena, my good friend Ena, probably one of the more popular surrealist works on the internet. I almost felt this went without saying but other than Deltarune this is the only new video game release I played this year because I'm BROKE.
A thousand video essayists and such have already gotten their words in on the older animations and this definitely matches its stride, certainly does, but it's also a very unique immersive experience. It attains the dreams Todd Howard wakes up weeping from in a percentile of the budget. This is one of the few games it is really hard to spoil because everyone was getting different endings in different ways, like your own personal ENA: CHOOSE YOUR OWN ADVENTURE book.
The famous sonic meme often lauds "worse graphics," which is frankly a little disrespectful intent be damned, but I think this game is the biggest argument for that sentiment. There are so many jarring and otherworldly scenes in this game that could only be achieved through the mixed style mock-CD ROM graphics, and those of us that made it to the bathroom likely know what I'm talking about. I can't wait to dig into future chapters of this game and nibble on new playthroughs like warm chicken bones.
Musical Transients
I'm a trans woman, and I've been listening to shitpost mashups since I was in high school, I often feel like the soundclown crowd is inevitably connected with an ear to the ground for the type of tranny trash edm music I also happen to like, y'know, your 100 geccs, your cynthonis, that ballpark. Psynwav is one of those artists in the same sound of Niel Cic's Mouth anthology, whether you want to call it mashups, plunderphonics, musical shitposts, whatever, I dig it. It's a truly unique collage, the auditory equivalent of taping together glossy magazine pages into something new.
In case it wasn't obvious by the colors and track names, this is something of Psynwav's "coming out" album, with tracks that have themes of queer community and joy, aspirations, expectations and really just a lot of funny pairings of vocals and backing tracks like kendrick lamar rapping over a kero kero bonito instrumental, it shows a wanting and a side of coming out becoming more and more relevant; coming out not as just gay or trans or ace, but as yourself as you always should have been.
Hunter: The Parenting
Another one making its way around the block, Hunter: The Parenting is genuinely well written in many, many ways , though I've heard some people find getting over the hurdle of the low budget animation difficult, coming from the people known for wiggling around warhammer jpgs like paper puppets glued to popsicle sticks. It does get better, but regardless, impeccable writing in terms of humor, dynamic and character writing. It's a period-accurate 2007 with the only anarchonicity being a stray Metal Gear Rising reference.
Though there is a lot of silly humor and on-screen parental neglect, the series knows when the chips are down and to switch to a more dramatic or intimate perspective of things like raising a family in the World of Darkness tabletop setting, the politics of the vampire world and the psychological strain of being constantly aware that monsters are real. In one scene Big D will be verbally dictating the recipe for an omelette with a list of nonsensical caustic ingredients, in the next you're getting a detailed Sherlockian internal monologue of him getting out of a police interrogation scot free. It feels like the writers are borderline incapable of writing a 2-dimensional character.
Speaking of writers, Ogre Poppenang did have a Filipino writer on to do a particular episode involving a series of records centering on the past of one of the older characters that goes over some of the history of the Philippines, its indigenous groups and conflict with British imperialism (and also werewolves are there.) I think this is the exact type of thing a group like this should use their rising popularity for and would love to see more creators outside the US and western europe be given these kinds of resources.
Sandwich Tribunal
Many people don't know this but I love cooking, and recently I've found a corner of youtube I'm liking a lot I'd like to call "really old guys making delicious looking sandwiches and reviewing them in detail" it's the anti-mr. sausage, it makes my mouth water, and Sandwich Tribunal makes every one of his sandwiches with care, pouring over every ingredient like a historian and going over the history of the sandwich.
I like how personal he gets with it, often seeking advice from people where these sandwiches are commonly eaten rather than just following a recipe, giving you the contemporary context for the sandwich, his personal relationship with that particular sandwich, if you ever wondered if it was possible to write a video essay about what you ate for lunch that day the answer is yes.
Runner up for this is Sandwiches of History, similar format, less scripted and if you do like Mr. Sausage it scratches the itch of "Guy has to eat kind of gross food that he hated making for the content" though his reviews are a lot more thorough and like Sandwich Tribunal he provides a lot of historical sources and context.
you've heard of death of the author, now get ready for death of the audience: where instead of basing your reaction on a thousand uninformed opinions online, you actually read the text and engage with it
#the way that this is literally how death of the author works lmao
OKAY i'm fucking sick of people who can't read leaving these comments so here we go, we're gonna read Barthes together. hold my hand
Barthes' 1967 essay The Death of the Author (La mort de l'auteur) loosely takes the form of a literary history: he relates the changing attitudes of criticism towards the text and of literature towards criticism down to his day. He is interested in what writing is, and thus, what a book is: "a tissue of signs," which the critic claims to be able to interpret. But Barthes argues that once the necessity of connecting the author to the book is removed, the critic has no work to do: "Once the Author is gone, the claim to 'decipher' a text becomes quite useless." This is a rejection of both the supremacy of the critic and the intentions of the author.
When Barthes says "critic," he doesn't "anyone who has encountered the text," however. He differentiates the critic from the "reader":
the reader is the very space in which are inscribed, without any being lost, all the citations a writing consists of; the unity of a text is not in its origin, it is in its destination.
For Barthes, the reader's understanding of the text is supreme because it weaves together the "tissue of signs" into a coherent whole, producing a singular interpretation. He concludes by advocating for the overthrow of the critical establishment in favor of individual interpretation: "to restore to writing its future, we must reverse its myth: the birth of the reader must be ransomed by the death of the Author." In other words, in order for us to allow readers their own experiences, we must stop prioritizing the critic -- not the reader, but the critic -- and instead allow the reader to engage the text.
We're gonna un-Barthes Barthes now, okay? Stay with me. Here's the context:
Barthes was responding to a stifling and rigid environment in which criticism was the sole province of the academic expert. As part of the deconstructionist wave, he wanted to upend the traditional hierarchy that dictated how a text should be understood and what it was for, instead prioritizing language and reaction.
He got his wish. We live in a world of reaction.
Gone is the tyranny of the formal critic; gone even is the formal literary education of the reader. Our "tissue of signs" is no longer the text, but an infinite mirrored hall of reactions to reactions to reactions in which the text diminishes into a vanishing point, as the Author once did on Barthes' literary stage.
We do not need to resist the tyranny of the academy. The academy has been destroyed. Adjunctification, the widespread corporatization of universities, the resulting devaluation of college degrees, the devastation of humanities departments in widespread shutdowns, and now the revocation of billions of dollars of government funding have left the academy on its knees. Public trust in academic expertise has declined so sharply that people on this very hellsite will tell you that if someone has an advanced degree in a specific field, that actually makes them less trustworthy.
And in Ozymandias' place, we have the reader.
The reader consumes a variety of "content" and regurgitates its reactions in a variety of "posts." It transmutes text into more text which further readers wriggle eagerly through, refining what might have had meaning into a rarefied fertilizer of emotion and echo. What it leaves behind becomes the literary history for new strata of reactions, nostalgia, and imitation.
This is the audience: an ouroboros of interpretation, a rat king of readership. It has no end but itself. Ultimately, it needs no text to function. In this world, the truly radical act is to disentangle yourself from the other worms and rebuild the edifice of meaning. This may require you to do such tasks as "read the actual book," but because we no longer have the support -- however oppressive -- of literary criticism to inform our reading, we must also learn how to read, explore the historical context on our own, and recover both the facts and the symbols from which the text is woven.
That is what death of the audience means: not a rejection of the critic in favor of language, but a rejection of endless language and infinite readers in favor of fact, history, and skill.
It's a pun, by the way: "La mort de l'auteur," spoken aloud, recalls Le Morte d'Arthur, a 15th-century collection of Arthurian legend which marked the turn away from the Middle Ages and into a nostalgic Early Modern period which valorized them. The Author becomes the mythic King; as myth, he can be severed from fact and dismissed.
Chuck Jones is the best counterexample to “the curtains are just blue” because you would not believe the amount of thought and art theory he put into his silly little cartoons
I need to dig out my Chuck Jones books but one time he was talking about the Wile E Coyote gag where he runs off a cliff and continues running for a little bit before noticing there’s no ground underneath him and then turns to the camera and holds up a sign saying “Help!” before plummeting and Jones said the reason Coyote does that instead of immediately trying to get back to the cliff edge is bc Coyote embodies anxiety and in that particular moment represents the fear and worry about the judgement of others over and above the desire for self-preservation.
Like, if someone was told that interpretation without knowing any better they’d think it came from some pretentious academic or whatever but nope! It’s literally the creator like those are the thoughts he had in his head when he was creating the cartoons
the grinch is fucked up right. he was created specifically as a critique of the commercialization of christmas, but now all his edge has been sanded off. now he's a generic mascot for "hates christmas," which is great to have because the commercialization of christmas has become so overbearing that that's a demographic you can market to! and now he's just part of the Christmas Fold. he's santa's edgier joker counterpart. he has become the very thing he sought to destroy. back in november i checked out a customer with a $1100 order and most of it was grinch merchandise
Song #3: "rose-tinted bitter grudge" by "ippo.tsk"
"ippo.tsk" is an Indonesian vocaloid producer that my good friend @glhmediamaster told me about. Their whole album "seeyalater stratocaster" is really a work of art, it's a wonderful concept album that's mostly about the temporary nature of humankind, the corrupt megacorporations of the world, and the way everything will eventually fall down and return to dust. This specific song is a little different though.
Musical Analysis: Very shoegazey, but in an upbeat Asian post-hardcore kind of way. The harmonies during the chorus are very strange, I love it. It's so odd and I haven't heard much like it. I wish the screams were a little better, but hey, it's vocaloid. I've been looking for a human cover of this with better screams but to no avail. All this being said I genuinely adore this song, it's on my playlist of favs for a reason. My favorite thing about this song sonically is the way it's kinda like... upbeat shoegaze, like "my dead girlfriend" or "MASS OF THE FERMENTING DREGS".
Lyrical Analysis: To me, this seems to be a song about someone’s bitterness towards an old friend-turned-foe. The chorus is my favorite part. “I wanted to say that I wanted you to stay as far away from me as you know how / But now you’re no more and I still yearn to bear my fangs at you again as I knew how”. This is a familiar feeling to me: I enjoyed fighting with you, I loved getting to explode at you, we split ways but I miss getting an excuse to be mean to someone. It’s a very bitter song, I’m really surprised there isn’t more screaming in it.
I swear there’s a second recording of this somewhere with different tuning, but I am unable to locate it. Please send me a link if you know what I’m talking about.
As a final note, music is an art form. And like any other form of art, it is subjective. If anyone disagrees with me in the notes I’d be happy to hear! I won’t try to debate anyone, I’d just love discussion!
Out loud said “I feel like Denth and Tonk Fah rn” and my wife thought I was saying nonsense and didn’t believe that these are real characters from a real book and I’m not bullshitting. Looked it up to confirm to her and then said “Holy shit, Bluefingers! I forgot about Bluefingers!” And then had to do the whole thing again explaining “No this is a real guy from a real book, they call him that due to his blue fingers”
Oh, a colleague of mine just wrote her PhD dissertation on this!
This is the Grave of Maria Magdalena Langhans by Johann August Nahl. Nahl was hosted by the pastor and his pregnant 28yo wife Maria Magdalena when she died during childbirth. Moved by this, he decided, by himself and without being commissioned to do so by anyone to make this grave for her. It became a huge place of pilgrimage for the next 150 years.
