I’d pay top dollar to watch this for an hour
Why isn’t any form of martial arts in the Olympics
This is the most badass thing I’ve seen all year
This don’t even make no sense! Damn

izzy's playlists!
sheepfilms
cherry valley forever
Three Goblin Art
I'd rather be in outer space 🛸
Stranger Things

pixel skylines

JVL

#extradirty
Claire Keane
Aqua Utopia|海の底で記憶を紡ぐ
Not today Justin
PUT YOUR BEARD IN MY MOUTH

Andulka

ellievsbear

祝日 / Permanent Vacation
we're not kids anymore.
will byers stan first human second

tannertan36
i don't do bad sauce passes

seen from Malaysia

seen from United States
seen from Nepal
seen from Argentina
seen from United States
seen from United States

seen from Nepal
seen from United States
seen from United States

seen from United States

seen from Ecuador
seen from Ecuador

seen from United States

seen from United States

seen from United States
seen from United States
seen from United States

seen from United States
seen from Malaysia
seen from United States
@theseekr
I’d pay top dollar to watch this for an hour
Why isn’t any form of martial arts in the Olympics
This is the most badass thing I’ve seen all year
This don’t even make no sense! Damn
im obsessed w physical closeness, romantically….not even sexually just if u date me it’s all hugging all the time we are gonna lay in bed and im gonna cuddle w u, we will stand in the kitchen and i will stand hip to hip w u, u will sit on the couch and i will stroke your hair and kiss your forehead….it’s so intoxicating as a concept
https://archive.org/details/DontBeaS1947
Here’s the whole video. It’s called “Don’t Be A Sucker” and it’s 17 minutes long.
don’t just scroll past this actually watch it, it’s only 2 minutes long. If you re-recorded this today word for word with modern actors and places, it wouldn’t even look out of place as a PSA
I decided to see how much of the Code Lyoko theme song I could fit on Yumi’s forehead using size 12 Arial font…for science
Conclusion:All of it, with room to spare
Eclipse.
Comic Writer Masterpost
I get asked of how to write for the comics form a lot, and have put a bunch of advice in a bunch of different places. I want to put it all in one place. This is a work-in progress thing, which I’ll try and add to as things occur to me. Failing that, I’ll be using a Writer Advice tag from now on so you can click that.
THE START
This is how I started. Warren Ellis’ seminal - by which I mean in its real sense rather than my usual use of “flecked with semen” (Though with Warren, you never know) - COME IN ALONE column featured a three part sequence on how to write comics.
This was my in. I still think it’s a good in for you.
(For my generation of comic creators, I’d say C.I.A. was enormously influential. If you have any interest in knowing the intellectual soup where a lot of us came from, you may want to read the whole thing. Or don’t, because you are THE FUTURE, remember, and fuck old people like you, Gillen.)
Anyway - the three parts…
Part One - Preparation Part Two - Script Part Three - Pitch
This is basically what I paraphrase when explaining comics to people in the pub.
Some of it is dated slightly - especially in the third part, as you almost certainly won’t be pitching like that now (though some core aspects certainly are). The core craft and discipline is 100% on point. Take this, internalise it, make it your own.
BOOKS
Warren writing above said that in his day they had it hard, as no-one wrote about comics craft. My generation had it easy, he noted, as there were some books. Your generation has it easier still, as they’re shitloads of them.
I’ll probably edit in more books here as I progress, but I want to put the core two that I think everyone needs to read.
UNDERSTANDING COMICS - Scott McLoud COMICS AND SEQUENTIAL ART - Wil Eisner
The former will give you the basic tools to dissect comics. The latter is a master at work. Take them, internalise them, make them your own.
If you’re talking about story structure generally (i.e. not just comics), when asked, I normally recommend reading McKee’s STORY and King’s ON WRITING back to back. They are both true. They are both 100% contradictory. It will teach you the most important lesson in writing - whatever works, works, and the job is building your own toolbox.
(The secret: writing is enormous. We say “writing” and we’re really talking about dozens of skill-sets.)
EXAMPLE SCRIPTS: The Comic Script Archive is the biggest source of comic scripts online. You’ll see how various people write the form. See what you like. There is no standard method to comic scripts, as you’ll see.
“Where can I find comic scripts” is a question I’m asked all the time. You can find the Comic Script Archive as it’s the top entry on google if you enter “Comic Scripts.”
I’ll say this here as a general thing, as I’ve never said it directly to anyone: if you asked this question, you really need to up your game. If you need mentoring for that, you are not going to make it. Seriously, you can do better. Do better.
If you want to see one of mine, here’s one for Phonogram: The Singles Club. Phonogram scripts are unusual, so perhaps not one to take many lessons from - most artists will club you if you write a script like this. If you want to see me working in a more commercial mainstream stripped-back mode, there was a DIRECTOR’S CUT of DARTH VADER 1, which includes my complete script for the issue. It’s on comixology, but you can probably get it from a shop or Ebay.
OTHER RESOURCES
Decompressed: my comics craft podcast. I’ll do more eventually, probably. I go into detail with a creator over their choices with a book. “Why this panel? Why that panel?” This is basically the sort of questions you should be asking yourself whenever you read a comic for the next few years or so. As Warren says in his essays, yes, it does ruin your reading of comics for a few years, but it’s the cost of doing business.
How To Write For Space (i.e. How Comics Is Unlike Prose): An off-the-cuff piece about how I write for a set format (A 20 page comic).
Antony Johnston explains how to find artists to draw your stuff.
Some advice I gave on pitching comics.
Kelly-Sue Deconnick on writing comics.
Warren Ellis on writing comics.
The Beat’s big compilation of a mass of resources. There is a lot here, so don’t get overwhelmed. Take your time.
The Big Bang writes on selling your creator owned book to retailers. Obviously, this is high level stuff and miles away from where you are now, but this stuff is the nuts and bolts of how the American comics market operates. Just knowing this stuff will make things which otherwise are bewildering understandable.
Creator At Large seems to be trying to gather a lot of industry-centric resources. Worth keeping an eye on.
IDLE PIECES OF BULLSHIT MAXIM I SAY TO MYSELF WHICH YOUR MILEAGE MAY VARY ON
Never forget: you are a parasite. The artist does not need you.
Scripts are love-letters. They are meant to inspire the artist. An artist who is not inspired will create shit work.
Scripts are blueprints. They are not a finished piece of work. They are a design from which one can construct a finished piece of work.
Scripts are not stories - scripts are an explanation of how a story can be told.
When analysing comics, assume the creators had a good reason for making the choice they did. Try and work out why they did. There’s a time you can afford arrogance, and it’s far in the future . For now, assume they know more than you do. Even the creators you hate. Especially the creators you hate.
The last isn’t always true, but you’ll learn more this way. I’m suggesting stances which maximise your chance for growth as a creator at the expense of your emotional well-being.
See also : if someone can’t understand your book, it’s always your fault.
(That one will break your heart, btw)
Bear in mind the Gillen/McKelvie paradigm while analysing comics.
That’ll do to start with.
the sudden decrease in animation quality between the first hunchback and the sequel is both hilarious and sad
The Return of Jafar charliekelly69:
i had to reblog this because im actually pissig mysefl
Let’s take a second to compare Aladdin to The Return of Jafar:
Ouch
Esmorolda and Corpet
kelverse
I’ve been hysterically wheezy laughing at the last gif for about two minutes solid
I get so angry, then u get to the last gif and I’m crying of laughter
Overwhelming Geometry
Why Looney Tunes: Back in Action is objectively the greatest film ever made
No-one ever talks about Looney Tunes: Back in Action and that’s a crime.
Because…
Okay, Brendan Fraser plays a stuntman.
…who hates working with Brendan Fraser.
His dad is Timothy Dalton, who plays an actor most well known for spy films.
…who turns out to actually be a real spy and hides spy shit behind a portrait of himself.
So father and son have to team up to stop an evil genius… played by a near-unrecognisable Steve Martin.
…whose henchman is WWE star Bill Goldberg.
By the way, Steve Martin is the head of the ACME corporation.
Yes, that ACME.
Oh, and among Martin’s underlings are Ron Perlman and Robert Picardo.
So anyway our heroes end up at Area Fifty TWO… which is run by Joan Cusack.
…and which houses all sorts of alien nasties, including…
TRIFFIDS
THIS ISLAND EARTH MUTANTS
ROBOT MONSTER
AND MOTHER FUCKING DALEKS
Plus the twins from Gremlins 2 play the WARNER BROTHERS
Shaggy and Scooby chastise Matthew Lillard over the live action Scooby Doo movie.
Porky Pig and Speedy Gonzales lament political correctness killing their careers.
Brendan Fraser gets to punch Brendan Fraser.
Fucking plus
Plus the whole time he’s accompanied by Daffy Duck and Bugs Bunny, and the whole thing was directed by Joe Dante so you know that’s a perfect fit.
So in conclusion, please watch Looney Tunes: Back in Action. It will most likely change your life.
Damn now I’m actually interested.
these are the most early 2000s nu metal motherfuckers i have ever laid my eyes on, and exactly what i would expect from the people who voiced ed edd n eddy
Some blahs.
-OLI
Andrew Hem
Dropping Ice Down a 90m Borehole in Antarctica Makes a Very Unexpected Sound
clatter clatter clatterclatterclatterclatterclatter [cartoon gunshot].
By Lynda Barry May 2016
Every time I see this I love it more
“Cabin Fever” Oil on canvas 16x20 Available at Corey Helford Gallery Contact [email protected] for inquiries
this doesn’t fit my blog at all but i had to post it here because this story is legit the wildest thing i’ve seen this month and everyone needs to see it. unmute this I PROMISE YOU WON’T REGRET IT
omg!!!!!!!!!!!!!!