Kyoto
Mar 2023

@drawn-from-the-ground / drawn-from-the-ground.tumblr.com
i spent $32 on this fucking bowl at the moma and at first i felt bad buying it bc it was so expensive but ive had a terrible day today and every time i look at my lil bowl im like :o) you know what. i can get through anything with this bowl by my side
i literally get what marie kondo was talking about now
bc everyone keeps requesting to see it filled :)
I don’t know how long I’ve been here. Time seems to pass differently. But the place is cozy and private so I have no complaints. And whenever I’m hungry, I go outside with my bowl and walk down the hill to the shore. Sometimes the lake is made of soup. Sometimes it’s huge pasta noodles the size of barges. Sometimes it’s breakfast cereal. Sometimes it’s dumplings the size of great whales. I dip my little bowl and take a portion and carry it back up to the house.
Today I found a new bowl! In its center is a little hill with a little house. I will carry it down to the shore and fill it up, and whomever lives in that little house can have a tiny portion of my meal. I hope they have a nice bowl to put it in..
tags by @crackinglamb
May comic! Happy mental health awareness month. 🐝 Comic brought to you by my constant worry that I don’t exist if I have nothing to show for myself.
Advice to my past self: Read about burnout. Stretch. Stand up. Get lunch. Ask for extensions. Get help. Sleep. Take time off if you need to, don’t ask. Take care of yourself.
ur first and last recent emojis are ur gender now. mine is 🅱👨❤💋👨
it was a face once dreamed in Alecto’s dream
[Image ID: A digital drawing in dark blues and yellow highlights of Harrow standing before Alecto in The Tomb. Alecto glares down at her, holding a ridged longsword with a decorative dragon handle in one hand. Alecto glows with an ethereal light and her other hand is fisted in Harrow’s hair above the nape of her neck. Harrow has her back to the viewer and stares up at Alecto, once hand raised so that she might be touching her thigh. There is framed text that reads “destroy me according to thy word, for I love thee.”]
Art by Tom Jung for the poster of Ralph Bakshi’s Lord of the Rings (1978)
Andrew Newell Wyeth: Wind from the Sea, 1947; Squall, 1986; End of Storm, 1967
15 Days of FatT Day 9- Sick as Shit
The Divine Riot's debut album- The World Without End
Here's another one I want to finish later!! I've never drawn the crew all together and I've wanted to give them a fun lil album cover since foreeeever! This is somehow also my first time drawing Waltz Tango (Cache) and Tannoy Kajj which is frankly a crime, but we got there eventually!
making up characters is so fun because you can be like “this is johnson he came from my mind” and all your friends will go “yippe!!! horray!!! we love johnson!!!”
Do you ever wanna bond with someone so bad you’re like “damn i wish we were knights on a dangerous quest”
Sword of the Sea - Trailer PlayStation Showcase 2023
OK final rant for now. i think you should be a bit pretentious and also you should engage with art that sucks. i don't necessarily mean "art that sucks" to mean like. you should watch marvel movies. but you should just to understand why they suck. but i mean more things like the works of controversial director Ralph Bashki and his works like Fritz the Cat or that really weird experimental Lord of The Rings adaptation he did. you should listen to genres you don't like and try to see if there are any songs there that you actually enjoy or at least aspects of them that you do. i think that turning your brain off and watching some mass appeal schlock can be fun (i am a notorious Hearthstone enjoyer after all) but its genuinely kind of pathetic to have that be the only way you engage with art
and also for a PRACTICAL reason if you are able to identify what you DON'T like then it will help you identify what you do. absence makes the heart grow fonder and all that. and i think getting a broader general palette allows you to enjoy more art too because you've got more things to compare it to. i have been watching a lot of bad video essays about cartoons lately and it really strikes me how lacking a lot of the people making thems' critical analysis skills are and how little they're able to find value in things that are suboptimal or even seemingly pointless at least in terms of the Core Direction
i think that only engaging with safe and extremely popular kids media and blockbuster movies leads to a prolonged condition that will make you start complaining about "filler episodes"
also its kind of funny to me that despite how much a lot of people i am talking about seem to care about central themes and character dynamics or whatever they couldn't recognise an overarching theme more complicated than "you should be nice to people" if it slapped them in the face and they seemingly struggle to engage with character dynamics in any way other than going like "omg they're a found family" i mean i like the idea of a found family but is this just what we're calling "good friends whos lives have been kind of shitty" now
Rock-Hewn Churches of Lalibela: monolithic cave churches of the 13th century located in Lalibela, Ethiopia
Day 4 for #15DaysofFatT: Saplings
here's Lyke and his own little sapling
The River Jordan and Sweetpea are electric engines on the first railway on Mars.
River Jordan was the first one built, being the product of a collaboration between the nations who established the colony.
Sweetpea was donated by a coronal aerospace guild and assembled onsite. Her parts were imported and her blueprints were crownmade, so her visage is coronal.
Engines take the image of their creators. Their faces are not organic, and are more like a vessel for helpful senses and communication tools.
They come alive soon after they are built, once out of eyeshot for any moment. Attempts to stare at a new engine to see it stir are foiled somehow (blinks, saccades, CCTV malfunction, momentary lapse in attention). Not all engines come alive, as their animacy is often (but not always) decided by the intent of the builder.
Living engines can assess their circumstances and make judgements based on them. They are useful in volatile situations as an expert second opinion on conduct and design, and are capable of sensing external and internal problems quickly.
In calmer periods, they may not get adequate stimulation, and their personalities may interfere with their efficiency. For this reason, railways have their preferences when they build and purchase engines.
The facial material ends at the surface of the machine and is inscrutable in composition—the material appears to be made of itself, and is unusable for any other purpose besides as an engine’s interface with the world. If damaged, the material heals. If removed, it disappears. The conceptual self-referentiality of engines’ faces, souls, and senses deter scrutiny.
Living machines exist as a fact of the universe. Their animacy is cloaked in an analysis-averting antimeme.
Engines designed and built by humans possess dual-pinhole pupils that dilate into an elliptical shape, granting them a broad field of view and tolerance of rapid changes in light levels (such as in going in and out of tunnels). Deep set zygomata allow them to look directly to their sides, and with the dual-pinhole setup, they maintain some depth perception in monocular sight. Their pupil shapes are hidden by their black irises, which absorb glare. They can see clearly to their front and sides, but can’t see up or down very well. A tapetum lucidum retroreflects incoming light back through their retinas, granting them vision in darkness. The nictitating membranes and long eyelashes protect the eyes from dust.
The chemicals engines are capable of detecting are relevant to their purpose, e.g. distinguishing coal, gasoline, diesel, and wood fires from their smoke but not being able to distinguish or detect food smells. Similar to how cats, obligate carnivores, have lost their ability to taste sugar due to its absence in their diet, but can taste ATP for its presence in meat—engines can parse environmental and industrial scents, but will have wildly varied responses to food and fragrant compounds, often being unable to notice them.
To investigate an aroma, they slightly lower their bottom lip to take air into their vomeronasal organ located behind the upper incisors.
Engines do not require oxygen, but if debris enters the nasal passage, human engines will sneeze to:
Just as the tongue is the only colored object on a human engine’s face for distinguishability, so are the teeth on coronal engines. The positions of the upper and lower jaw indicate tone, functioning in communication similarly to eyebrows.
Coronal engine eyes consist of an armored cornea surrounded by a cuticle and muscular eyelid. The cornea moves with the help of the embedded eyestalk supporting it. The cuticle is lubricated with an oil-based film and is less susceptible to irritation than the aqueous solution on human engine eyes. The undersides of the eyelids and surface of the cornea are covered in setae, preventing chafing and reducing airflow on the cornea. The hairs catch debris and are combed out by the lids with a puckering motion.
To make up for unenhanced vision by human engine standards, coronal engine hearing is advanced, allowing the listener to pinpoint sound sources through triangulation of the four inner ears. Coronal engines, too, channel sound through their incisors and into their internal ears via the acoustic windows at the hinge of each jaw.
Coronal engines achieve their sense of industrial smell through the gustatory papillae that line their choana and pharynx. They supplement their olfaction by introducing cool air behind the heat pits inside their nares.
Coronal engines’ thermoception is more efficient than living crowns, as coronal engines’ faces do not produce heat nearly proportional to their mass.
Conversely, the tines heat up significantly hotter than the crown average for unambiguity in temperature tones. The origin of the tine thermal energy appears to be redirected from excess produced by the machinery, or from the face’s temperature directly.
Engines are capable of listening from within their cabs with greater acuity than mere conduction of sound through the body would suggest. Other unsubstantiated sensory abilities include:
The River Jordan and Sweetpea are electric engines on the first railway on Mars.
River Jordan was the first one built, being the product of a collaboration between the nations who established the colony.
Sweetpea was donated by a coronal aerospace guild and assembled onsite. Her parts were imported and her blueprints were crownmade, so her visage is coronal.
Engines take the image of their creators. Their faces are not organic, and are more like a vessel for helpful senses and communication tools.
They come alive soon after they are built, once out of eyeshot for any moment. Attempts to stare at a new engine to see it stir are foiled somehow (blinks, saccades, CCTV malfunction, momentary lapse in attention). Not all engines come alive, as their animacy is often (but not always) decided by the intent of the builder.
Living engines can assess their circumstances and make judgements based on them. They are useful in volatile situations as an expert second opinion on conduct and design, and are capable of sensing external and internal problems quickly.
In calmer periods, they may not get adequate stimulation, and their personalities may interfere with their efficiency. For this reason, railways have their preferences when they build and purchase engines.
The facial material ends at the surface of the machine and is inscrutable in composition—the material appears to be made of itself, and is unusable for any other purpose besides as an engine’s interface with the world. If damaged, the material heals. If removed, it disappears. The conceptual self-referentiality of engines’ faces, souls, and senses deter scrutiny.
Living machines exist as a fact of the universe. Their animacy is cloaked in an analysis-averting antimeme.
Engines designed and built by humans possess dual-pinhole pupils that dilate into an elliptical shape, granting them a broad field of view and tolerance of rapid changes in light levels (such as in going in and out of tunnels). Deep set zygomata allow them to look directly to their sides, and with the dual-pinhole setup, they maintain some depth perception in monocular sight. Their pupil shapes are hidden by their black irises, which absorb glare. They can see clearly to their front and sides, but can’t see up or down very well. A tapetum lucidum retroreflects incoming light back through their retinas, granting them vision in darkness. The nictitating membranes and long eyelashes protect the eyes from dust.
The chemicals engines are capable of detecting are relevant to their purpose, e.g. distinguishing coal, gasoline, diesel, and wood fires from their smoke but not being able to distinguish or detect food smells. Similar to how cats, obligate carnivores, have lost their ability to taste sugar due to its absence in their diet, but can taste ATP for its presence in meat—engines can parse environmental and industrial scents, but will have wildly varied responses to food and fragrant compounds, often being unable to notice them.
To investigate an aroma, they slightly lower their bottom lip to take air into their vomeronasal organ located behind the upper incisors.
Engines do not require oxygen, but if debris enters the nasal passage, human engines will sneeze to:
Just as the tongue is the only colored object on a human engine’s face for distinguishability, so are the teeth on coronal engines. The positions of the upper and lower jaw indicate tone, functioning in communication similarly to eyebrows.
Coronal engine eyes consist of an armored cornea surrounded by a cuticle and muscular eyelid. The cornea moves with the help of the embedded eyestalk supporting it. The cuticle is lubricated with an oil-based film and is less susceptible to irritation than the aqueous solution on human engine eyes. The undersides of the eyelids and surface of the cornea are covered in setae, preventing chafing and reducing airflow on the cornea. The hairs catch debris and are combed out by the lids with a puckering motion.
To make up for unenhanced vision by human engine standards, coronal engine hearing is advanced, allowing the listener to pinpoint sound sources through triangulation of the four inner ears. Coronal engines, too, channel sound through their incisors and into their internal ears via the acoustic windows at the hinge of each jaw.
Coronal engines achieve their sense of industrial smell through the gustatory papillae that line their choana and pharynx. They supplement their olfaction by introducing cool air behind the heat pits inside their nares.
Coronal engines’ thermoception is more efficient than living crowns, as coronal engines’ faces do not produce heat nearly proportional to their mass.
Conversely, the tines heat up significantly hotter than the crown average for unambiguity in temperature tones. The origin of the tine thermal energy appears to be redirected from excess produced by the machinery, or from the face’s temperature directly.
Engines are capable of listening from within their cabs with greater acuity than mere conduction of sound through the body would suggest. Other unsubstantiated sensory abilities include:
