Cosmic Funnies
RMH
Xuebing Du
I'd rather be in outer space 🛸
Origami Around
shark vs the universe
Mike Driver
Love Begins
Keni
🪼
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almost home
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if i look back, i am lost
KIROKAZE
"I'm Dorothy Gale from Kansas"
TVSTRANGERTHINGS
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occasionally subtle
Monterey Bay Aquarium
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@hellodotti3
never not thinking about giant cisterns. THATS immanentizing the eschaton. when we get to heaven and its a bunch of giant wet concrete tunnels with vast columns holding up the ceiling, then you will see...
you know about the tokyo storm drains, yeah?
yeah that's what inspired this post :)
im very exited to go here when i die :)
basilica cistern in istanbul
Masafusa Shibuya, satin, organdy, and silk thread
Masafusa Shibuya made these garments out of satin, organdy and silk thread. They offer the kind of comfort that you can touch and see, but also remember. Part dream, part architecture and part mood, these solitary scapes are a refuge of pathos and melancholy. As found in Fabric and Needlework Illustration, 1994. Via
Writing Fight Scenes: The VIOLENT Method
okay, so because people have a hard time writing effective fight scenes, I'm going to walk everyone through the method that I use for everything from massive sci fi battles, to quick three-v-eight sword brawls to bar fights. The VIOLENT Method. (Because fun mnemonics)
Visceral: Make sure your audience feels it by keeping it grounded in injuries and pain. People get fuckin' hurt in fights, and no fight where people do not is going to feel real. Tying into this, people don't fight fair, and people don't fight pretty. Even people who are trained fighters will make mistakes in their technique in a real fight because adrenaline makes you worse, not better, even as it makes you faster/stronger. Also, in real fights people stomp on downed opponents, take shots at turned backs, people bleed, scream, etc., Also, really critically, people are exhausted after fights. Your characters should be wrung by the time it's over, even if it only lasted for a few minutes.
Immediate: Keep sentences short and punchy. No one is analyzing every step of the fight tactically while it's happening. If characters are thinking "Ah yes I will make him overextend and then pull his wrist in and throw him before stomping his head…" I know that the author of the scene has never been in an actual fight. Keep sentences short and punchy. "Draw in, grab, and throw."
Obnoxious: Tying into the above, fights can be disorienting. Don't overdo this, you need your reader to have an idea of what's going on, but don't underdo it either - things should be a bit chaotic. If it feels like the characters know everything that's going on around them, you're doing it wrong. Read what the following sections say about rhythm, but bear this in mind: once you get a rhythm going and keep it flowing for several paragraphs: break it with a short, hard paragraph and shift it in a way deliberately disorienting to the reader on purpose to drive in that things are unpredictable. In a fight, there's a lot of noise, there's a lot of confusion, and that should reflect enough in the narration to bring a sense of it to the reader - but again, don't overdo it to the point where the reader can't tell what's going on.
Liquid: Fights flow. There's a definitive rhythm and momentum to a fight. While the characters won't necessarily have a great idea of everything happening, they WILL have a sense of the momentum around them and the way the fight is making them move. Momentum and movement are going to be the key to writing an impactful fight scene and give the reader a sense of excitement, or, if you want to give a sense of a dragging, exhausting affair of attrition, do the opposite: grind the momentum to almost nil while two massive groups start sniping and grinding at each other with almost no movement.
Environment: Where's the fight happening? How is everyone moving? Describe the surrounding environment. This is the space a fight is happening in, whether a big open field, a forest grove, a small tight room where you can use the walls for leverage, a park where you can use benches for jumping points or to smash people's heads against, etc., matters in a fight, as does how everyone is using it. Heat, cold, visibility, all of these factor into a fight as well.
Narrator: Who is your narrator in the fight? A trained soldier? A trained fighter? Just some untrained schlub who has no idea what they're doing? These people have a different idea of how fighting works, and that matters. What a soldier notices, what a correspondent notices, what a martial artist notices, etc, are all differences. Keep an eye on how you present this.
Tactics: What does everyone want out of the fight? Is one side fighting to kill the other? Just to knock out? To capture? To take a location? Just to drive each other off? What are the rules of engagement? How trained are the combatants? What kind of discipline is everyone under, if any? Weapons? These all matter when you're asking questions, and you should research what effects all of these will have, but short version: fighting to kill is easier than fighting to capture, and its very rare, despite what the movies say, that any force will fight to the last man rather than retreat.
(Source)
はなのいろは うつりにけりな いたづらに
わがみよにふる ながめせしまに
ー 小野小町（9番）『古今集』春・113
Translation:
The colour of the cherry blossoms has faded in the long spring rain.
My beauty fades too as I ponder love and the world’s affairs.
- Ono Komachi (no. 9) Kokinshu Spring, 113
(Credit: X, X)
Ishida chose a gorgeous poem for Kaneki. It is typically a poem that mourns a lady’s loss of beauty, as she bows to the tide of time and the many events of life. I suppose Ishida thought it fitting for Kaneki who has lost his liveliness over the many terrible things that happened in his life.
I love that he still has a small smile in this picture. A slightly sardonic one, but wow. So beautiful.
Incidentally:
(Source)
散るならば共に
Translation:
If you are going to fade, I will do so with you.
Oh, Tsukiyama. I should have expected your words would have something to do with Kaneki’s.
audrey malek and cortney taylor key photographed in adriana pierce’s animals and angels by leigh-ann esty
Fire No 1, 2013 Logan White
I thought I might share one of my new tattoos. A couple years ago, a dear friend and I coined the term “fish bag moment”
A fish bag moment might be sitting all alone in an empty new apartment after coming out and upending your life, or starting a new job in a brand new line of work because it’s closer to your dreams
It’s what happens when you take a leap of faith or make a hard decision for yourself, when the future is so hard to visualize and everything feels scary. You’re just a fish in a bag and you can’t see where you’re going
But you’re on your way to a bigger aquarium
In honor of a relatively unexpected and sudden transition in my life, I tried my hand at sculpting my beloved fish bag. Let’s hope the kiln is kind ❤️
It didn’t just survive the kiln, it thrived ❤️ to anyone out there who needs to hear it right now, rest assured: even if the path forward seems unclear, you’re on your way, and I’m proud of you
Rain is the most beautiful poem nature has ever written ♡
— william wordsworth (via letsbelonelytogetherr)
Thank you for all being so patient while I was on vacation! I wanted to share a little something with you: these are views of glass skylights from street level (on the left) and from below (on the right).
Through a long chain of very bad decisions, for a period of 4 years the sidewalks of Seattle were anywhere from 10 to 30 feet below the street level! Eventually the sidewalks were raised, but businesses still retained ownership of the underground real estate in front of their stores, so for a while the tunnels were kept open.
These skylights were installed in the early 20th century, and they were originally colorless, but they contain manganese which turns purple after prolonged exposure to sunlight. Some of them were replaced in the 1980s, but many of the originals remain! You can see them from aboveground just by walking around the city, and you can see them from below by going on an underground tour.
Map of Dante´s Hell
Wake up babe new fish dropped
Confession booth
Drew this for an upperclassman’s exhibition on spirituality/religion and LGBT
It’s been awhile since I drew this but since it’s making rounds again, I just want to say: I’m not going to police how anyone interprets my artwork, but I’d like people to at least be aware that this was NOT intended as some kind of sexy nuns fetish art.
I would like everyone to please consider the thrill of hiding in a dark, cramped booth with your secret lover, the blasphemy and defiance of making out in a holy, sacred space, and better yet, the raw, raw vulnerability of laying bare your forbidden love in the presence of your god, saying, here is my sin, Father — witness it, condemn it, but I beg you, do not make me repent of it.
