The Liberals Want Open Borders So That We’re Forced To Let Vegeta Into Our Country

happy 3rd season everyone

Steven Universe doodles ⭐️

what if we all started drunk driving and crashing into each other for fun

Ok so! As per the wishes of @chernychnyi and others and also myself, here's a little analysis/rant about the boreo front bottoms lyricstuck thing I did. Because of tumblrs 30 image limit I had to fuse some of the frames and also couldn't fit in the unused frames I really wanted to mention - so those will get plonked down in a separate post I think. Ok let's roll

To begin with, the pov - I didn't exactly plan ahead on this regard, I kind of just listened to the song and experienced visions of tgf scenes to go along with the lyrics, but once I picked this project back up after half a year of letting it sit in my procreate files I definitely saw a sort of narrative form around it. Most of what I had was very much from Boris's pov and about Theo. The tone was sort of protective, sort of desperate, sort of penitent, sort of possessive? I'll elaborate on it later but I basically ended up exploring a lot of the ambiguous or unhealthy elements of the boreo dynamic, and realising that when I was maybe 70% done made me lean more purposefully into that angle in the remaining frames. So for example in this frame, even though they're both indisputably wiry and broke down, I choose to make this about Theo because Boris is the worldly, knowledgeable survivor to Theo's harrowed newcomer. There's a fragility to Theo that's less visible, and maybe less present, in Boris.

Like in this line, which has a great air of warning or instruction to it, like the singer is trying to brace their friend for what's to come. I actually struggled hardcore with this frame! Because I knew I wanted this image of Theo reaching toward the surface of the pool, but it arguably made more sense in the "jaws theme song on repeat" lyric (since it's Boris pulling Theo down)... I ended up sticking it here because I wasn't sure what else to replace it with but I think it's kind of a happy mistake because it right off the start showcases the dichotomy in Boris and Theo's relationship and its more toxic aspects - Boris pulling Theo down visually in one frame, but promising to help him swim in the lyrics in the next.

I don't think it came through so well but I wanted the previous panel to have a bright sun streaming light through Theo's fingers, and the blazing desert sun in this frame to echo that - the sun as the element of danger, Boris's opposite. The positioning of light as danger and shade as safety is a trope I sometimes drift towards in queer narratives and it definitely goes back to that heartbeat short film I didn't even like that much...

Maybe my all time favourite scene to depict with teenage boreo - Boris dragging a dead drunk Theo off the street... I love it because it's so rarely we see Boris be the responsible one, the one doing what's Supposed to be done

I really wish I'd had the time and the motivation to spruce this up really well because in some points I envisioned really clearly the kind of transition I'd want to have... I would have loved for the camera to swoosh down and do a little overshoot into this frame, so some of the dynamic of the punch is carried into the visuals. Oh well! Apparently this line (like the song itself) is actually about heroine usage, but here it's Larry and Theo - I feel like a snakebite is an apt metaphor for this punch, with its sheer unexpectedness

The nightmare comfort is a must have of course... I was kind of afraid I was repeating myself with how often I use this kind of scene with this exact framing ahahaha

Massively difficult shot to pull off because I wanted the distortion to be prominent and for Boris and Theo to be really small in the frame but for it to still be mostly readable!! Anyway this is their weird drunken hookups, which I think fit this line not because secret teenage hookups are inherently evil or anything but like. I do think the way they're never ever addressed and the shame associated with them in Theo's narration give them a definite air of unhealthiness. A red flag... A warning sign, if you will

I actually think at one point the drunken teenage sex went here, with the undertone being that Boris realises there's something wrong about it but doesn't stop anyway? But that's kind of muddled, and the much more obvious choice is the theft of the painting. And the "amount to take/reasons to take more" plays well with Boris's habit of stealing random shit from Theo already before moving on to the big fish

The reunion! I play Boris as catching on well to the inauthenticity and comphetness (as well as comp-normie-ness) of Theo's little life - and reminiscing, I suppose, on how unsurprising it is that he'd end up pulled in this direction, trying to run away from the trauma and shame of his real self. There's also a little guilt here on Boris's part, a little bit of a feeling of culpability - carried over from the theft of the painting and the never-addressed sex, and echoed in a second in the guilt or regret of letting Theo leave like he did, betrayed and deceived.

This line maybe doesn't ring one hundred percent true because neither of Theo's Vegas guardians really gave enough of a shit about him to "pray he would change", but they do judge and shame him occasionally for his weakness, his trauma and so on, so I think it works. And (although I had to push this line onto Boris's frame simply to have an excuse to show his face) they "close their eyes" to Theo's real self and the sheer horror of his experiences... Hm

Of course Theo cuts his own hair and sends himself away before anyone else can but you know. Too perfect of a fit

Definitely my favourite and cleverest moment - theo "stops by Boris's house", i.e.by their common home, the night he escapes... Boris begs him to stay (another day so he can get the painting)... And the omitting of "I love you but" from Theo's written dialogue, with the massive conspicuous gap in the word bubble, was something I thought of early on. The unsaid "I love you"? Too fucking good not to exploit. And NGL it feels good to be like ooohoho I'm not just matching visuals to existing lyrics, I'm manipulating them to fit my own narrative and engaging in a dialogue with the lyrics or whatever... Hehe

This is the scene where Boris announces he'll run away and Theo immediately says he'll come with. But the important thing to note is that I found out about different shoelacing techniques and made Boris ladder lace his jungle boots

This and the previous lyric, although the visuals show two different scenes, both relate to Theo's apprehension about how following Boris around will surely lead to no good, especially without a plan. Boris through the lyrics is saying don't worry about it, we'll figure something out!

Umm so I drew this with lighting speed as I was editing the whole thing lollll I totally forgot about the instrumental parts and just how LONG they were... I needed something to fill up the space ahahaha. But it's vaguely supposed to hark back to the scene after Mr pavlikovsky beats up Boris, what with the bottle of vodka and the bloody nose and the unconcerned laughter

The pool frolic! Very appropriate. We've got the obligatory moon cameo, and I made sure the pool and the sky were the same stark shade of black so it feels like boris and Theo are hanging between two equally real worlds, plunging into the starry night...

I just remembered that Boris's bracelets pop in and out of existence a lot ahahaha oops! But this is of course essentially the same scene as the "it's gonna look like mud" lyric, only more literal this time. Admittedly this lyric is moreso from Theo's pov, which is a bit out of place here although I do play around with the pov a little later

One of the first frames I'd envisioned I think! I mean come on. And a great example of how the singer really emphasises certain words, so I punch them up a bit by capitalising them

This was actually a struggle because Boris is such an action oriented character - the stupid shit he says doesn't actually have that many consequences! But eventually I thought it would be fitting to show one of the scenes where a semi malicious joke or a mostly innocuous remark activates Theo's internalised homophobia - i ended up going with his comment about Hobies letter.

More timeskip normieness! The spark and look of Theo's I consider artificial, like the flash of the cameras poised to capture the kiss between the engaged couple's, and the look hidden behind the anime shine of Theo's glasses... I could have spent more time showing that but I'll be honest this was one of the last lines I had to illustrate and I was getting impatient. The "I will not be brave" was a tricky one - I kind of wanted it to relate to Boris's selfishness maybe, in taking Theo away from his fiancée? Like, he will not do the noble thing by stepping away and instead Will try to drag Theo back into his life... Though that itself is motivated by a sort of penitent guilt

Again, Boris trying to find a space for Theo in his life - maybe Theo can work for him! Or with him! Anything, god, just forgive me!

I'm a little annoyed because I remember having a good idea for these lines and then I forgot it!! But with this I ended up gesturing vaguely to some reasons why Boris acts like he does - taking control of the life seemingly subject to his dad's whims and work travel, rebelling by imitating his father's worst habits - something something the paradoxical repulsion towards his father and need to imitate or one-up or outdo him...

For a while these lines were both on Boris's back as he stands in front of Hobie's shop. Then I ended up splitting them in two, but they're the same theme - Boris taking responsibility for his actions and trying to atone for his betrayal of Theo. First by tracking the painting down and coming, drenched, to inform Theo of his progress (that scene is one of my favourites between theo and Boris actually) and then by desperately running after the boy when it seems he might carry it off and destroy it forever (another favourite because it showcases Boris's desperation to earn back Theo's trust).

Also, didn't fit it here but the second instrumental section has Theo's face on it - to make a set with the earlier Boris drawing, and they're opposites because Boris's eyes aren't visible while Theo's are the only part of his face visible, and Theo's worried frown suggests that he sees through Boris's jolliness somewhat, and also! It signals a switch to Theo's pov for the final few lines!

Another line that leapt out at me from the beginning - xandra's ominous yet oddly romantic prediction that Theo will follow Boris wherever, even to a prison cell. This is actually kind of funny because initially I thought a twin sized mattress was a mattress for two - and I connected this to xandra's belief that Boris and Theo will always be a set of two, connected at the hip. It wasn't until I googled the lyrics and read the genius annotations that i realized it was the exact opposite - but luckily for me, the connection still kind of works? Maybe not so well for this panel but for the next two for sure:

Like, my initial thought was that they were both cursed to sleep on a two-person mattress alone, with an empty space next to them - but the literal half-empty double bed can also work as a metaphorical single bed, so... Win? And of course there's complicated messaging going on because, like, their sharing a bed is simultaneously something too adult for their teenaged friendship and something from their childhood to haunt them into adulthood, causing them to never "graduate" into a typical adult relationship no matter how hard Theo tries... And the "somebody's attic or basement" fits in with Theo settling in to weltys bedroom... And of course Boris sleeping in Theo's bed after xabdra takes pity on him, an idea I'd touched on before... Not to mention the "let's go home" "home?" "My place. Whatever" exchange that I loooooooooooveeeeeee

And the final frames! I had to consult @frozenladybug for some storyboarding help because while I knew what theme I wanted I couldn't think of a scene... The idea is that Theo will forever be haunted by his past - hence the nightmares - but that now Boris is there to support him, happy end. Flb came up with the "standing by the window" idea which I love because!!! First of all, dawn is breaking, which signals the end of the troubled night but also brings forth the antagonistic sun - almost as a symbol of the night of Boris and Theo's early relationship, dark and dangerous but full of an odd camaraderie and haunted by the Boriscoded moon, ending. But what comes after that night is a different relationship, with its own challenges but maybe changed for the better... And in this scene Boris comforts Theo by physical contact and a cup of tea (hehe) instead of the desperate clutch of their early years - less intense and physical but maybe healthier and less codependent? I'm kind of freestyling but there's something there. I had thoughts during this project about how Boris calming Theo after his nightmares is almost more parental than romantic and how it allows Theo to cling to boris one-sidedly and how it might change with time... Idk, some personal musings played a part as well and it's definitely a reach but that's what was on my mind. Either way, happy bittersweet boreo ending and lemme go and make that rejected drawings post real quick now

The Goldfinch

“What if our badness and mistakes are the very thing that set our fate and bring us round to good? What if, for some of us, we can't get there any other way?”

― Donna Tartt

i've survived another year, it's my birthday! you can share my art, kiss your pet for me or donate to a fund

Beholding—

Jon is my comfort drawing :7

Have we done this joke yet?

To my international friends: If you ever wonder why Americans are the way they are, just remember that 1/3rd of all US citizens are in a cult that teaches them to suppress the activity of their prefrontal cortex, particularly when it comes to doubt, critical thinking, and differentiating emotional responses from personal values.

why is my bf only nice to me when im sleeping?