drawing by andre heinonen, c1993, posted on avatar.furry.de

pixel skylines
Sweet Seals For You, Always

blake kathryn

Origami Around
Mike Driver
One Nice Bug Per Day

Kaledo Art

titsay
KIROKAZE

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let's talk about Bridgerton tea, my ask is open
will byers stan first human second
Aqua Utopia|海の底で記憶を紡ぐ
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Discoholic 🪩

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wallacepolsom
"I'm Dorothy Gale from Kansas"
Today's Document

#extradirty
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@fruitsofhell
drawing by andre heinonen, c1993, posted on avatar.furry.de
About the last reblog:
Yeah cause on some of my really analytical UTDR posts (and even some of my old Kirby ones) I am sitting there talking about the text and then someone will come into my tags or replies like just saaaaaaaaaying shit??? No backing, just headcanon presented as obvious fact. And sometimes its obvious things like someone implied that King had an ex-wife? But then more subtle stuff especially with Spamton and Tenna cause people kinda get tunnel vision on their relationship and forget they are ultimately a side-show to the wider story of Deltarune.
This happens probably especially in communities that have a strong theory crafting side so people get used to everything being a matter of interpretation because theyre used to puzzles, but sometimes they dont turn that part of their brain off when there is just plain evidence in front of you. There comes a point where you dont treat the text like its trying to juke you and instead that it is just saying things to you to be digested as in any other story.
And also stop replacing Tenna's personality with Vox from Hazbin Hotel, I can *smell* when you do that shit!
big tshirt that says YOUR INTERPRETATIONS MUST HAVE A STRONG BASIS IN THE SOURCE MATERIAL on the front and I HATE FUN on the back
Tumblr Sexyman Contest 2026 Round 1 Part 82
Elijah "Smoke" Moore (Sinners)
Puppet Master (Prodigy)
Hooty (The Owl House)
Tumblr Sexyman Contest 2026 Round 1 Part 69
Human Version of Perry the Platypus (Phineas and Ferb)
Spamton (Deltarune)
Human Perry art by my personal favorite PnF fan artist @chio-chan2artbox
Tumblr Sexyman Contest 2026 Round 1 Part 31
Michael Afton (fnaf)
Robert Robertson III (Dispatch)
Francœur (A Monster in Paris)
it doesn't make sense
i really appreciate seeing all the posts on my dash recently to the effect of "shutting down conversations about race/gender/minorities in fandom spaces because 'fandom is meant to be fun' is just an excuse to not think critically about the bigoted behaviors you are exhibiting". i hope that this energy carries over into the gaming sphere next pleaaseee
pokemon is a series about building Your own team and going on Your own adventure with creatures that You collect and befriend, and is designed from the ground up to be personal and immersive. i have never been able to look like myself in a pokemon game. if i bought pokemon z a today and booted it up and tried to customize myself, i would not be able to look like myself. just fuck me i guess.
ok yay
@creatingblackcharacters
[Image IDs: Image #1: Tumblr reply from chonylolu reading: sav screenshot the tags and add it to the post it's highly important
Images #2: Tumblr tags reading: i (virtually) attended the game devs of color expo last year (2025), and they had a really interesting panel about representation (or lack thereof) in cozy games, which i feel like lots of people point to and go 'ohh my god why are you finding reasons to complain its a video game its mean to be fun', when like. even if you play stardew valley as a black character your grandfather is still white, i booted up monster crown (shout out atarsto) maybe half a year ago and the same thing, i make myself black. my father and mother npcs are white, its literally just a palette swap for that game because everyone is a 16 by 16 sprite it should not be like that,
we can talk about most cozy games having farming elements and how farming is seen as a peaceful escape for western audiences, while in other parts of the world it very much isn't, and i'm not saying that means we should Stop having farming sims or whatever, im pro solarPunk. i think it's good for people to imagine a world where they can take care of plants and stuff, but like. can we have a Converation about it. can we at least Discuss it.,
there's things here that we aren't discussing and it's slowly becoming normalized to the point where calling it out reads as bizarre to you, that's scary. to me., wizard studies
Image #3: Tumblr tags reading: they don't have my hair, and do you want to know the best part. about my hair, (start all caps) I don't style my hair. I just wear it out, You don't have a cartoonish afro?? You don't have bare minimum???, Its a ball. Its a textured ball!!!!!!!!!!!!!!!!!!!!, whatever i'm pissing myself off whatever im normal im normal im normal, when i make video games they're all gonna have weird black women protags and i'm gonna make that everyone else's problem /End IDs]
that’s his little guy!!
I wish I had what they have...
Really overjoyed to see the saturation of black Tenna gijinkas and people like playing with his afro to make him boxy and stuff. But its also kinda bittersweet to me, cause in my heart I could never participate. Tenna is such the platonic ideal of every single corny, hokey, funny only because they're unfunny, dime-a-dozen old white comedian to me, I'm so sorry.
Wait I have to say *as a Black Person* or else I might get nuked. Also you all still need to make his nose bigger/longer/more pronounced.
The other reason I can't have my own black human Tenna is because my human Spamton is white and it would be unethical for me to pair him with a black character. I would not wish my human Spamton upon anyone but another annoying white man.
It's fucking crazy when you watch an Analog/Digital Horror piece so good it retroactively makes others scarier because it just executes upon the ideas so well you better understand what others were going for.
Like yes this is still about fucking Fazbear Toddler Fun because it is definitely the one I've seen with the highest level of detail in replicating a very niche old style of media in late 90s edutainment games. (Not always but by the end it's like never missing). And seeing such a pristine replica - so good that when nothing spooky is going on it actually brings YOU back to YOUR childhood - START DOING THE BIT is fucking ghastly.
Especially the end of the last episode with its beautiful clumsy uses of CG reminded me a lot of shit from the time that leaked into my childhood later. I think namely this showz 3-2-1 Penguins, a really fun kids series made by the VeggieTales team. And then when the video started being spooky it hit me how goofy but absolutely fucking horrific it would be to watch something stupid like that and feel it watching you. Feel it judging you. Feel it asking you to remember. Remember *something*.
Like it now has me looking back on shit like Walten Files which always scared me cause I can't stand (/pos) the way it plays with faces to represent harm done, but now that layer of context, or purpose of image is so much worse. It's not just that you or Sophie are seeing a spooky face, it's that that grotesque image plastered over the innocuous experience is asking you to remember something. To know something terrible and horrific that your mind and this game/media are struggling to even form into a coherent image.
As I've said before, I think this wave of indie horror is playing on the sort of hyperawareness any generation born after the invention of home video or VHS has of their past. The fact that so much of it is so easily traceable either vicariously through recordings of old children's media or literally through family-made (and with YouTube, self-made) archives of ourselves. I think we feel how often media these days more intimately than ever asks us to remember. It's not as literal as displayed in this horror, but it's an implicit message that reaches us at various volumes and with different tones.
The analog/digital horror/creepy pasta trope - with its tendency to conflate the personal and the commercial (especially with the FNAF-like "game I just found was made by the brand extension of my family's old business") - is the fear of that ask becoming louder and clearer and more sinister. Its nostalgia becoming an accusation, of accidentally treading upon demons from your past hiding in the cracks of what most made you feel safe at the time.
Or in the case of Fazbear Toddler Fun, a demon you left in your past has tried to find solace in something and you with your nostalgic yet cynical prodding have awoken it.
Anyways, this was just the preliminary ramble for my further discussion of my original story which has be thinking very hard about how to incorporate these emotions which the analog/digital horror genre rests on into my non-horror project.
Like I said in a near copy of this post where I also brought up the much less horror-focused series Angel Hare, there is a lot to explore in the aesthetic tropes and emotional cues of the genre. My project is a lot more like Angel Hare in that way that it is somewhat of a thing that tells you that the recordings are watching, but not that they want to harm you, if anything as a child would like to believe, they want to help you. I think Angel Hare's pinch of horror is more just on the unsettling side than anything, basically a 'The Toys/Media Are Alive' bit with some Implications.
The thing I'm going for is a mix of that with a heavier dive into that accusatory side. It begins as a blend of toys, media, and imaginary characters are real and aware of their duty to children, but gets a bit more creepypasta with it. Specifically, one of the characters begins to cut through the vague and undefined layer between the "player"/in-universe child and themself to remind them of their existence having been a forgotten toy/character. See this is like Disney's Turbo levels of shit, but I have been GRIPPED by the language of analog and digital horror for so long and have always wanted to use THAT as the reveal.
Specifically, we come back to what I was saying is such a potent and exciting theme in these works - being demanded to remember. The way these series do this is so delightfully gruesome and creative, through innocuous glitches which build into increasingly direct and haunting imagery.
I haven't watched it (pussy ass) but I've heard great things about the cinematography of Skinamarink and how so much of it is literally just shots into dark, barely lit corners of a house, sort of a purposeful play on Liminal Space visuals. The disconnected clips I've seen despite - as said - LITERALLY JUST BEING SHOTS OF DARK HALLWAYS has really stuck with me and I think regularly about how so many of my memories of my childhood home are those kinds of snapshot memories of random angles I used to sit in as a child. And of course, those pleasant daytime memories would not exist without the parallel flashes of my childhood fear of the dark when creeping around those same rooms.
In The Walten Files too one of the images that sticks with me most is from Bunny Farm when the cabinet (which for no reason is actually housing a PC edutainment-like game) shows Sophie her mother's death. And by shows, of course like Skinamarink we simply have a shot staring into an unlit corner as a genuinely blood-curdling scream and blood spills out of the void. There's almost the implication that Sophie was there to see that if I remember right, which then argues that we're bringing in some traumacore elements - the blurring and black spaces representing the repressed and unthinkable.
I'm not planning on going that far, but as I'm trying to point out, I'm very into the use of those odd memory snap-shot like angles to say "remember". As if the game itself is trying to drag recognition wildly out of the depth of your mind and can only muster these broken pieces of nostalgic geometry - the purpose of the related liminal space movement of course.
This also blends with the other theme of my work that being play/imaginary spaces, in this story being the imaginary world of the child expressed as a video game one. That comes from my experiences being hopelessly obsessed with the most mundane of video game spaces and wishing to live in them despite their whimsically surreal and non-euclidian character. I really do think the medium offers a kind of immersion because of that lived-in factor of interaction. The way I used to live in those virtual spaces I sometimes find myself trying to rehabit my old homes in my mind, and as said I am sometimes left only with those eerie snapshots. But I think because of my familiarity with the brokenness of video game worlds I don't find them repulsive.
But the problem is that unlike those spaces of video game and other media creation which are at least made with people and characters in mind, there is something incredibly unstable feeling about those corners of my memory. That same feeling that liminal spaces tap into exactly, and sometimes I feel that analog horror-like call to Remember. Something. To be brought back, to have a past sense of self invade on my current person.
That feeling I first experienced some 7 years ago now, and it scared the FUCK out of me. It was not from an analog horror or a liminal space, it was genuinely just from my own stupid head and its fascinated me enough to inspire this project I've been working on for nearly that long. That ability for a space I once considered safe, my own mind, to... implode and intrude on itself and draw that deep psychological pull into some void out of me is what I see in these indie art movements and I wanna eat them.
AAAH shit and don't get me fucking started on Myhouse.wad and how it plays with 3d space, memory, and dreams. The nichely nostalgic action of recreating your house in a game - living out that dream of the Canon-To-My-Mind tweet on how children interact with vg spaces - and thus of looking back ok it like a memory. The use of repitition and almost every space in the game sharing the same layout of the house, the mirroring, the text, THE MUSIC!
Memory Entry is exactly what it sounds like to be remembering your childhood home at 4am. And I still get chills from when I was told the song playing in the gas station was a famously unrecognized radio broadcast, the poster child of the 'I heard a song and can never find it again' experience. If you want to talk about lininal fucking spaces *let's talk about liminal fucking spaces bro*, Myhouse is truly on a different level.
I regularly think about how the hell to incorporate that shit into the story too. As I've implied a lot of that uneasy nostalgia I'm trying to tap into is about that experience of remembering a childhood home and the person you once were. I have already countless times tried to rebuild my old houses in the only sandbox I know, Minecraft, throughout the years alongside one's from my dreams. Both which will obviously bare resemblance to eachother.
The most obvious idea would be to add an area that mimics the layout of my old home, which is the easiest thing to reference it was like generic NYC townhouse #4. But I don't have a 3d game like Myhouse where I can make a perfect replica, mine is a 2d side-scroller I woukd have to get creative. That's actually where the idea of those liminal images comes in, of maybe for backgrounds or some other visual relying on those aesthetics for mood.
Another big inspiration was watching sky boxes in Super Mario Odyssey's bonus levels, some of which are very faint dark patterns. I think it would be interesting to see those themes go from whimsical and abstract to reminiscent of old wallpaper, which could also be comforting but with context become intrusive...
Congratulations to The Backrooms (2026) for being the first horror film to in effect leave me scared of my own damn shadow.
ouroboros everywhere for those with eyes to see
Vague posting /TLDR; implementing technology needs to take time It should be prefaced that curiosity about technology is not a bad thing, nor is being an artist who likes technology (hello!). However, there is a difference between wanting to learn how to use a technology versus "getting in on the newest thing".
People rushing to be apart of AI hype, simply do not know how to use the technology that AI is based off. They either don't understand, or don't want to understand. Preferring for complete automation to do the thinking for them. Patience is a virtue, and rushing to use something when you don't take time to learn it is a lack of intelligence.
Those of us who actually care about tech and learn it's history already know there is no rush in using AI. This knowledge can get complicated and people need to be eased into it. Otherwise they'd get too overwhelmed and won't want to learn anymore! Not to mention that learning, comprehending, and teaching someone are three separate skills.
What we as a community need to watch out for are the tech-illiterate people I mentioned earlier. Who do NOT care about how technology effects our communities, yet wants others to become solely tech-dependent. They will be the loudest, pressuring you to use it and disregarding your livelihood when you have second thoughts.
If you want to learn how gen AI works because you're curious I can't fault that. It would actually be better to learn about it first, before being quick to use it. While you're at it do a deep dive into the history of technology! Not just computers, all of it. Flight, automobiles, industrial. Doing the research will take time, but you will find that there is good reason civilization has not implemented certain parts of tech.
Fennel’s Wuthering Heights carries on that old imperial habit of touching a wonderful thing it does not understand and salivating with animal larceny impulse. This is the part that feels rancid to me: not merely that the adaptation fundamentally, egregiously misunderstands the novel, but that it misunderstands it in the precise shape of empire.
Take the outsider. Whiten the outsider. Take the violence. Aestheticize the violence. Corsets. Flower crowns. Latex. Softcore pornography in ribbons. Plunging necklines. Take the mud the dirt the miremuck of disgraced colonial history. Make it editorial. Make it swing flaccidly towards camp, yes mama boots the house down. Take the class rage. Sell it as background atmosphere, thoughtful addendum, glorious footnote of gold. Take the gaping racial wound. Disappear it. Call its absence “modern.” Then stand there, powdered and well-funded, asking why everyone is being so dramatic about the missing body.