Peggly's Place

I guess this is where I'm gonna be posting arts and stuff.... Hi? 28 He/Him

[hungry-skeleton]

Fucked up that if you make a minor social blunder you can't ask the person if they hate you forever now because that within itself is another social blunder

[teomodo]

art books on the internet archive for you

morpho books

figure drawing for all it's worth (+ creative illustration)

framed ink

will eisner comics and sequential art

will eisner graphic storytelling and visual narrative

understanding comics (+ making comics)

folder of various animation production art

burne hogarth drawing dynamic hands

perspective for comic book artists

michael mattesi force drawing

the animator's survival kit

color and light james gurney

be free

[kadabura]

Preview of a few entities I've made for an upcoming project of mine :)

[moringmark]

[razielim]

that's it that's the nutshell genai is in

[pyuart]

Pretty pretty please! I don't want to be a magical girl!!!

[funkyfeefee]

The thing about American "leftist" comedians is that they aren't actually leftist, they are the Imperial Court Jesters. They stand on a stage, point directly at the blood-soaked gears of the war machine, make a little tee-hee noise, and the crowd erupts. Not because they are critiquing the machine, but because the laughter is a pressure release valve for the people inside it. Take the video of that stand-up asking the defense contractor if she helped Trump bomb those 160 Iranian school girls, and everyone laughing, including the contractor herself. That laughter is ritual absolution. The contractor laughs because she knows she will never face a tribunal. The audience laughs because they get to feel "self-aware" without having to actually stop anything. The joke doesn't condemn the contractor; it humanizes her, turns her into a lovable scamp who just happens to have a job graphing the velocity of shrapnel through children's bodies. By making it a punchline, the comedian sanitizes the atrocity. The blood is scrubbed off the stage. The audience gets to say "wow, we are so edgy for talking about it" while the person who builds the bombs gets to chuckle and order another drink. It is not satire, it is a team-building exercise for the empire.

Then there is the YouTuber talking about Transformers, casually dropping the "Iraq war aesthetic" like it's a color palette. Desert punk. Military core. A vibe. This is what happens when your country hasn't had a war on its own soil in living memory; the violence becomes media, a backdrop for childhood toys. The explosions are no longer the sound of mothers screaming; they are cool action sequences. They are digesting the visual debris of massacre as a nostalgic fashion choice, scraping the trauma off and compressing it into a genre for their retro-futurist fantasies. The apocalypse becomes a mood board.

And finally, the girl recounting celebrity love triangles from her childhood, flippantly mentioning how the U.S. was "busy with the Iraq war or whatever." Or whatever. That single phrase is the thesis statement of American innocence. Over a million dead, a region destabilized for a century, an endless river of grief; and for her, it was the commercial break between pop culture segments. It didn't raise her rent. It didn't stop her Wi-Fi. The violence is geo-locked to brown skin and distant deserts, just background noise like a refrigerator humming. She has the luxury of forgetting because the machine doesn't eat her children, it eats yours.

Americans don't hate the machine; they love the output. They hate the mess of it. So they turn it into jokes, into aesthetic, into "whatever." Because if they stopped laughing, if they stopped scrolling, if they actually looked at the 4K drone footage of the aftermath instead of the cool explosion CGI in their movies, they would have to realize that the lithium in their phones, the gas in their tanks, and the comfort of their suburban cul-de-sacs are all greased with the fat of foreign children. And they can't handle that. So they laugh. They turn it into a vibe. They call it "the Iraq war or whatever." You can't deconstruct the master's house with the master's jokes, especially when the punchline is the corpses holding up the floorboards.

[animentality]

[artist-refs]

This is so true.

I'm often a little sad when I finish a drawing because the drawing process was the fun part. And watching people draw is so relaxing and inspiring. It doesn't matter what their skill level is, either; just seeing someone having fun while they create something is just the best thing.

[catgirl-kaiju]

come the fuck on

[catgirl-kaiju]

no one fundamentally doesn't understand Fallout like like the modern Fallout fandom

[catgirl-kaiju]

it is, but that's not the thing i'm taking issue with. the thing i take you with is that this question should be answered for you by playing any Fallout game! like, you'll have to dig through Fallout lore to find the in-universe, textual reason for the retrofuturism, but the games practically bang you over the head with a super sledge about the metatextual significance of the Atomic Era retrofuturism.

the games' setting is a clear satire of the nationism, imperialism, and hyper-capitalism of Atomic Era America (1945 to about 1963ish), working with a scenario that is emblematic of the era's nuclear warfare paranoia. the american culture that lived in the comfort and luxury of a booming post-war economy and was gripped by the paradoxical fear that atomic annihilation could strike at any moment, without warning. a culture informed by the lies their government were telling them about the survivability of nuclear war, leading them to believe that if they obeyed their government, prepared for the worst, and made sure to get their very own fallout shelter, they could survive an atomic attack unscathed. a culture that grafted together comfortable consumerism with a world on the brink of mutually assured destruction to create a happy, fear-based economy ready for the end of all things.

what Fallout points out is that if there was no political shift during the 1960s with civil rights and counterculture movements, and this regressive eschatological culture continued to persist through major technological developments, it's inevitable end point would be a world ending atomic war. like, that's one of the main points of the Fallout setting, and certainly one of the most defining things about this series. without that commentary being tied to the aesthetics of it, it would just be a bog standard post-apoc setting with a fun 1950s aesthetic (so basically Fallout 4)

if you're curious at all about the cultural impact atomic weapons and the Cold War had on atomic era america, i highly recommend the documentary The Atomic Café from 1982. the full film is available to watch on youtube for free:

watch it with an adblocker enabled so you don't get served an ad for geico ai generated perfume or whatever while learning about american war crimes

oh, and the textual reason for Fallout's retrofuturism is basically that the micro transistor was never invented and technology advanced down a path that didn't utilize them.

[catgirl-kaiju]

reminder that the US has a long long legacy of heavily documented war crimes and harm against its own people that it has gone unprosecuted for during the entire existence of the UN. i hope the UN shows some backbone and charges our leaders at the Hague for everything happening now and everything that has happened before now.

happy fuck of july

[free-and-to-none-accountable]

[sexygaywizard]

FUCK AMERICA HAPPY 100TH BIRTHDAY CEASAR SALAD 🇲🇽🇲🇽🇲🇽❗❗❗

[kaban-bang]

[utopians]

the avatar movies are crazy bc "what if colonizers literally inhabited and puppeteered the bodies of indigenous peoples in order to exploit their homeland" sounds like the premise of some sort of anticolonial horror film, like specifically the kind of thing that would be commenting on self-indigenization among white settlers, but because it's James Cameron his whole takeaway from that premise is "it would be preddy cool"

[utopians]

actually sorry. the takeaway is also "the white settler possessing an indigenous body would actually be extremely good, perhaps even The Best, at being indigenous, and he would become their Leader"

[aethiri-arts]

we're reaching peak autism tonight guys

[epicsause-official]

just got an idea for a banger couples shirts design

[liberalsarecool]

"That’s what makes Zohran Mamdani’s election in New York so unsettling to the old order. New York City is not just another municipality; it’s a sovereign-scale entity. Its population surpasses 38 states. Its metropolitan GDP trails only Texas and California.

It is, by any metric, a small country masquerading as a city.

It governs more lives and more wealth than most nations. If democratic socialism — housing reform, public banking, equitable taxation — functions here, it obliterates the myth that such governance can’t work at scale. The fear isn’t ideological. It’s empirical. Because if Mamdani can keep the lights on, reduce homelessness, and maintain economic growth without catering to Wall Street, then the capitalist gospel collapses under its own dead weight.

What terrifies the establishment isn’t failure. It’s feasibility.

If it works in New York, there’s no reason it can’t work in Nebraska. If it works in Queens, it can work in Kansas City. And once proof exists, belief becomes irrelevant. The ship of democracy, fully refitted, will keep sailing — and no one can claim it isn’t American."

- Jackie Summers

[cheacegirl]

I made a bad comic and now you have to look at it

[thiingamajiig]

different, but the same