*Shoots you in the head point blank and the blood splatter inexplicably spells out “CRIMSON” in the same font as the disturbed logo* *Smiles evilly*
Jesus Christ what the fuck
Shoots YOU point blank in the head and your blood splatter spells out the words “Piece of SHIT” in the Matrix font* *Tries to be edgy by murdering people and spelling out words with their blood, misses Izanameowe catastrophically because he has the incredible ability known as moving out of the way*
"Don’t do that."
*Raises a brow* A realitybender, eh…..Well luckily I know what your kinds’ only weakness is *Blows up the entire universe* *Grins* Fucker
"Don’t do that."
No your dead fucker
"I’ve had worse."
Worse than the universe blowing up?? Fuckin *Blows it up like ten more times* DIE
NEVER *Destroys the universe like a million more times, killing you* What’s wrong with your face
"The powers that be can’t draw to save their life. Now if you’ll excuse me, I’ve got more important things to do."
*Casually exits without a second glance*
*The RP FIGHT REFEREE jumps out and says if you leave it means you get killed and I win* Alright see ya fucker
He’s so dead I totally won *Drifts around in the empty remnants of the destroyed universe* What a fucker
*Blows up the universe one more time just to be safe*
dude what the fuck i was doing something
Following her own constraints to their eventual ends, Shima’s drawings demonstrate the logically nonsensical character inherent to any set of drawings. Her traditional drafting techniques take full advantage of drawing’s status as an art object, meanwhile her subject matter taps into our modernist anxieties. It is unclear if these naturalized formations of mechanical pieces have been constructed or heaped; even what appear to be partial views of Fritz Kahn-like bodies provide no grounding figure or context to pull us outside of Shima’s playful ambiguity. The horizon fades to white before we find our way inside.
Grand Canyon, Arizona, USA
Tower of David: the World’s Tallest Slum | Via
The Tower of David is an abandoned unfinished skyscraper in the center of Caracas, the capital city of Venezuela, that is now home to more than 3,000 squatters, who have turned the 45-story skyscraper into the world’s tallest slum.
Construction of the building, originally called “Centro Financiero Confinanzas” and nicknamed the “Tower of David”, after its developer, David Brillembourg, was started in 1990 and was to become a symbol of Caracas’ bright financial future. It is the third highest skyscraper in the country. But a banking crisis brought those plans to an abrupt halt in 1994. The government took control over the building and construction was never completed. The building has no elevators, no installed electricity or running water, no balcony railing and windows and even walls in many places.
In 2007, a group of squatters took over the building, and it quickly gained notoriety as a hotbed of crime and drugs. Despite this, residents have managed to build a comfortable and self sustaining community complete with basic utility services such as electricity and water that reaches all the way up to the 22nd floor. Lifts being absent, residents can use motorcycles to travel up and down the first 10 floors, but must use the stairs for the remaining levels. Inside the building’s long hallways there are warehouses, clothing stores, beauty parlours, a dentist and day-care centers. Some residents even have cars, parked inside of the building’s parking garage. Some seven hundred families comprising over 3,000 residents live in the tower today.