h-o-t t-o g-t-f-o-o-h-k-w-a-y-d-g-g-t-f-o-o-h-y-s-i-f-w-a-d-g-t-f-o

[PhantomCatClock]

it remind me of a sneaka around in video game but i am also a social liar

[Slurpee]

You know, rewatching it, the hair tonic scene isn't really notable, but when I was a kid, the imagery of Elmer's bald head getting squished by Bugs was profoundly hypnotic. If I had to guess by memory alone, I'd have supposed it was at least half a minute of intense tonic rubbing.

Why did that rendering of deformed flesh hit me so hard? These things are supposed to turn into kinks in mature, healthy adults, but I still only feel mute fascination. Elmer is so *squishy*.

I know exactly what you mean without even having to rewatch it lol

[Slurpee]

it remind me of a sneaka around in video game but i am also a social liar

thank u. *adds to data*

[Slurpee]

people have generally filed away the creepy clown sightings phenomenon from ~10 years ago as viral marketing for It (2017), and I think that's likely how it'll be remembered

this is unlikely, though, as they started in the UK in 2013 before spreading to the US in 2014. while the movie was in pre-production at this point, it had been in production hell for 4 years with no sign of escape, and that version of the film was more or less cancelled with the departure of cary fukanaga

yet if you confidently assert that it was viral marketing for the It remake next time you're out with friends or the like, it's unlikely anyone will challenge you, and that may even be the way they remember it themselves. (people may be conflating it with the film's actual viral marketing, which mostly involved tying red balloons to storm drains, making fake "missing" posters, and liberal use of the phrase "you'll float too")

while the phenomenon was likely little more than unassociated merry pranksters taking joy in adding a bit of unsettling mystery to the world, I find it a fascinating example of how quickly and readily history is flattened. the reality that no one fucking knows why this was happening, is deeply unsatisfying. it's not something that most people would like to file away as simply unresolved.

but I know the truth. it's not hard when you know what I know. it's real simple, in fact.
*finishes whiskey and stares lingeringly out the window into the dark*
clowns were always like that.

"science will come up with some reason to put in the books, but in the end it'll be just a theory. we will fail to acknowledge that there are forces at work beyond our understanding." - the hapening

[Slurpee]

tonight I studied "the skinamarink"



darkness is really tough because shit just looks different on different screens. too dark, you can't see anything. too bright and it's not dark at all. I don't think I want to do actual darkness.
but how do you give the impression of extremely low light while actually letting the viewer see things pretty clearly? I probably shouldn't have studied skinamarink to answer that question, a movie which is famously invisible
I like the extreme value contrasts visually but my intention was not to draw an eerie luminescent ghost, which I may have. I shall sleep on it

[Slurpee]

oh man, you know what I need? the background should feel like it could either be an uncertain, gaping void extending into infinity, or a wall that's about 3 feet back, but like you can't really tell for sure either way

[FLOUNDERMAN_CLOCK]

darkness is really tough because shit just looks different on different screens.

this always annoys me. sound is that way too. that said it looks good on my machine™. on purpose or not that the neon slurpee ghost enhances the whole thing and dems sum good color choice overall. I like it. I want to paint something in that EXACT palette now. I need to study more on tone and light and color theory and all that crap. I still feel like I ruin everything I color. I've had this playlist on hold for a couple months now and haven't watched a second of it. I did try some digital painting when I got my tablet but it's all awful to mediocre so far. I have learned to exploit the golden ratio more often though.



I'M LEARNDING

[PhantomCatClock]

golden horatio

fom toolery

[zl]

[VCRClock]

So whether or not you've seen it, I'd recommend checking out "The Rabbit of Seville."

being one of the Looney Tunes that was available to me upon demand in videocassette form, I do not know how many times I have seen this but it's a lot





there's much to unpack here

you know, as a kid I don't think there were enough people trying to sell looney tunes to me as a framework through which to appreciate orchestra music. the first time you see a bugs bunny cartoon, you are likely a kid, and you take the music for granted because it's all new to you: this is simply what a cartoon sounds like. the animation and the music emerge enmeshed from a single source.

I'm sure I've also seen rhapsody rabbit many times before today, but today is the first time I'm watching it and actually noticing how not literal it is: obviously (to an adult), the keys bugs is hitting are not the keys actually being played on the soundtrack. if you re-scored it based on the keys being played on screen, it'd sound crazy. the exercise in animation, even though we're being so literal as to show bugs playing a piano and not doing something more abstract like showing a cat chasing a mouse, is to visualize what it sounds like the pianist might be doing in your imagination, as though it's your upstairs neighbor making noise and they've GOT to be making that awful racket on purpose.

obviously there's fantasia ok. but that movie's more exciting for stoners than for kids or general lowbrow audiences I think. it's visualizing music, but the animation is in service to the music, and the music was intended to be mentally digested by cultured adults, not fucken animated to. "rabbit of seville" overtly underscores that which orchestrated cartoons (as in... music in service to the animation) have in common with opera or musical theatre: music sets the mood, sets the pace, dramatizes, punctuates -- but it's a harmonic audiovisual experience. the music may not have been intended to soundtrack bugs and elmer pointing progressively bigger guns at each other, but the repeated figure in the music creates space for the action, and the action in turn increases excitement for the repeated figure

anyway the takeaway is that if you're trying to remember how to sing the theeere... you're nice and cleeean... bit but can't make the syllables fit, the word "looks" is its own quarter note before you get to the eighth notes:

theeere, you're nice and
cleeean, although your
face
looks
like it
might have
gone thru
a
ma-
chine

[Slurpee]

I did try some digital painting when I got my tablet but it's all awful to mediocre so far.

that iris is beautiful my n'wah

[PhantomCatClock]

spider fighter 64

[PhantomCatClock]

chudsoft

[Slurpee]

revenge is a dish

[Slurpee]

weird realization: there are asexually reproducing plants and animals, and there are sexually reproducing plants and animals. that means either the split between asexual and sexual reproduction predated the split between plants and animals, and somehow both asexual plants and sexual plants separately evolved into animals, or the split between plants and animals predated the split between asexual and sexual reproduction and somehow both kingdoms evolved sexual reproduction separately. either way that's crazy, right? it's like the wieners and pussy equivalent of that thing where things keep evolving into crabs. a very striking example of convergent evolution. sexual reproduction coming after makes more sense to me because animal life seems like a very complex switch from plant life and I can imagine it only appearing when plant life had grown sufficiently abundant that a cell that inhales oxygen and eats other cells would be able to thrive, and I can see the inherent evolutionary advantage of recombination (muller's ratchet) but if that's the case then why does plant cum (pollen) smell pretty much exactly like people cum (cum)?

[PhantomCatClock]

ace counts for pride month you uncarcinigized crab

[Slurpee]

I keep trying to write this post and giving up because it's not quite saying what I want it to say so I'm just gonna post the short version ("short") and move on with my life


stop me if you've heard this one

some gay kids

trapped in a crummy little town

are facing a series of horrifying supernatural monsters that most people can't see


and then a blond-haired young adult rolls into town who has a mysterious background and belongs to some kind of secretive organization and seems to know a lot about what's going

and this person is accompanied by a tiny cute companion with an initially unexplained supernatural ability to communicate, who is there to assist them in whatever they're doing by assessing the supernatural threat through some mysterious means




none of these comics (Something is Killing the Children, Crow Cillers, The Summer Hikaru Died) has anything to do with the other ones. as far as I know there's no ur text that they're all copying (I mean, apart from It maybe). they all have very different influences, the stories all go in completely different directions, and I'm not sure the authors are (or in some cases even could be) aware of each other's work, but it's like they all tapped into the same thing that was just sort of floating in the zeitgeist

and I'm not saying it's an allegory, but... a horror that only gay kids in small towns can see lol
y'know when you're a kid and you're dealing with this weird Problem that no one prepared you for and it seems like no one else can even see it, but you're not sure because even asking anyone about it just seems to piss people off and endanger you? but you can tell that this is a problem, there is an unseen force at work that is a threat not just to you because of who you are but to many innocent people, but you also kind of have no idea what it is you're looking at and feel pretty helpless
and then this cool older person enters your life who seems to know exactly what it is that you've been dealing with, and they're not even really paying attention to you specifically, they're just here to fight back against the problem, but you're awed by their presence, you're drawn to them like a magnet, because you know they know something you haven't been told, something the world tried to forget, and it changes how you approach things, how you see things.
but as you get to know them better you start to realize that they're no superhero, they're human and flawed as everyone else. the reality is they're just a grown up outcast, (a grown up you,) and they actually don't quite know what they're doing, either. they've just learned a bit just because they've been facing this thing since they were your age.
and their outsider status is further marked by this odd connection they have with something innocent and childish, something they hold onto that helps them see this danger through their adult eyes and fight against it
I'm not saying it's an allegory, but it ain't showing in no straight stories

happy pride month

[FLOUNDERMAN_CLOCK]

read devilman

[FLOUNDERMAN_CLOCK]

also

that iris is beautiful my n'wah

thanks and I drew more stuff including one thing because of this post
https://www.newgrounds.com/art/view/floundermanclock/junejunk2-someguys
https://www.newgrounds.com/art/view/floundermanclock/junejunk1-flounderman

[zl]

working on a kitschy amusement park guide