#Luca angry birds

[peruvianpicoyohater]

Mujeres (¡Yipi!)

(Nota: Para hacer estos diseños en lo único que me base fueron en los diseños originales y en el arte del propio Tuomas, cualquier parecido con otro rediseño de alguien mas o es coincidencia o fue algo subconsciente)

[fireflyish121]

Happy Pride Month (2024)

Currently I'm unsure about doing this again next year because of how long this year's art took but I'll decide that once next year rolls around

[queen-gale]

Quite a classy look, don't you think?

[wabbles-art-folder]

TODAY'S THE DAY

Happy 10 year anniversary, Angry Birds Stella. Thank you for existing and being a wonderful experience, even if for a brief moment of time.

[kaira-acarau]

Willow and Luca, the two young blue birds. 💖😄

[goofyahhraccoon]

My Favorite Shots In Animated Movies

"That is not a commercial, that is CINEMA!" - Luigi, 2023.

[triannguyen2007]

Unhappy birthday to Lygiamidori.

No one likes on her birthday, because she’s sexualized her OC arts.

[cmors12]

Poppy Dahlia Willow and Luca

[darkwolfgoddess]

On the 4th of September 2014, Rovio released Angry Birds Stella. With an actually interesting story, awesome characters and even it's own TV series expanding on the shenanigans of the Golden Island, it was one of the most unique games of the francise's history.

While discontinued, the memory of this game continues to live on in our hearts. May it last into the future.

HAPPY 10TH ANNIVERSARY, ANGRY BIRDS STELLA🩷💛🩵💙🧡💜🦜✨️🌟!!!!!!!!!!

[justinrichards2001land]

Angry Birds Stella: My Name Is Luca!

[clumpsydumpty]

Luca

[fireflyish121]

[queen-gale]

Kneel before me ⚜️

[sortanonymous]

THIS IS BEAUTIFUL!!! HAPPY BIRDDAY TO THE LAST GREAT ANGRY BIRDS GAME!!!

also holy fuck i'm old

Looks like one of my favorite childhood games turns 10 today...

Happy 10 year anniversary Angry Birds Stella! Thank you for sparking my interest for creating dumb silly comics!

[munson-blurbs]

Headcanon: Eddie is a boob man. Best friend Eddie would one day notice your boobs (maybe in a bathing suit or a low cut top or something) and they become his new obsession hehe

Us? Projecting? Never.

Warnings: smut (18+ only, minors DNI), unwanted boners, semi-public masturbation (m), Eddie's a perv but he's not thrilled about it, Reader has boobs but no size is given (Eddie loves all boobs, let's be real)

WC: 1.3k

Divider credit to @saradika

Stupid D20. 

Stupid Dustin for tossing it so far across the table. 

Stupid low-cut shirt that exposes your chest when you lean over to collect the die, giving Eddie a stupid boner in the middle of Hellfire Club. 

“Hey, Ed!” Gareth calls out impatiently, snapping his fingers in front of the Dungeon Master’s face. “You wanna tell us if we defeated the demogorgon, or are you just gonna stare off into space?”

Eddie clears his throat. “Sorry. Right.” He tries his best to proceed with the campaign as usual, but all he can think about are your boobs and how grateful he is to be sitting down right now. 

When he adjourns the meeting, he’s still too hard to stand without someone noticing. “I’m just gonna, uh, hang back and brainstorm for a few,” he lies as smoothly as he can. 

���Can’t wait to see what sadistic shit you come up with,” Mike says. The rest of the guys slap him five in agreement as they clamor out the door. 

The only people left in the room are you and Eddie. 

Of course. 

“You don’t have to stick around, Sweetheart.” He tries not to sound too dismissive, plastering a smile on his face. 

“You’re my ride.”

Shit. “Oh. Right.” He hedges a nervous laugh. “I’ll be ready in five.”

You nod. “No worries. I’ll run to the girls’ room while I wait.” Before reaching the door, you notice that Lucas’s character sheet has fluttered to the ground. You reach down and scoop it up, revealing the tops of your bra-covered breasts. 

“Sinclair owes me,” you chirp, placing the paper back on the table, remaining utterly oblivious to the way Eddie is straining against his zipper once again. 

To Eddie’s credit, he tries to stop thinking about them. He really, truly does. 

You’re his best friend. He doesn’t want to constantly think about your boobs, or the way they’d feel pressed against his bare chest, or whether your nipples would harden if he sucked on them, or—

“Mr. Munson!” Ms. O’Donnell’s shrill screech snaps him out of his breast-induced stupor. “Is there a reason why you can’t be bothered to listen while I’m trying to teach?”

“N-No, ma’am.”

She huffs out an irritated sigh. “Since you must know everything already, why don’t you come up and solve the problem for us?” She taps the piece of chalk against the blackboard, leaving tiny white dots in its wake. 

Eddie shakes his head, feeling his cheeks burn red. Humiliating himself when he can’t figure out the value of x will be bad enough, but to fail while his sail is at half-mast? He’ll never recover. 

Fortunately, the old bird relents and turns back to the board to continue her lesson. 

Crisis averted. 

Except…is it?

Because the only thing—things, rather—on Eddie’s mind are your tits. And he isn’t supposed to be imagining himself caressing them while you’re bouncing on his cock, moaning his name, saying that only he can make you feel that good…

He’s racing out of his seat the moment the bell rings, making a mad dash for the Hellfire room, relieved to see that it’s unoccupied. The door barely closes behind him before he’s ambling towards his DM throne and frantically tugging down his jeans and boxers. 

“Fucking Christ,” he whispers, inhaling sharply as his cock is free of its denim restraint. He wraps his hand around it and squeezes in his desperation for an ounce of relief. Pre-cum already leaks from his red, angry tip, and he knows from experience that this is not going away without some…intervention. 

Eddie reluctantly lets go of himself and spits into his open palm. He bites his lower lip to stifle a burgeoning moan as he slowly works his shaft, fingers tightening to simulate what he imagines to be the way you’d feel. 

“Thassit, mmmf, feels s’good.” He closes his eyes and rests the back of his head on his chair. He needs you underneath him so he can watch your breasts jiggle with each snap of his hips. 

“Bet you want my cum, huh? Where do you want it?” Eddie keeps his voice low, barely loud enough for him to hear. “Want it on those pretty tits of yours? Yeah, you fuckin’ do.”

His fist flies over his hardness, choked whimpers escaping his lips. He feels pleasure begin to build and moans your name to bring himself over the edge. 

“Yeah?”

Eddie’s head snaps forward, taking a moment to let reality seep in. He’s not buried deep within you; he’s jerking off in a dark room where he plays Dungeons & Dragons, and you’re standing in the doorway. 

“Eds? You okay?”

“Hmm? Oh, yeah. ‘M fine,” he lies, silently brainstorming ways to tuck himself back into his pants without you noticing. 

You arch a disbelieving brow. “You sure? Lucas said he saw you running down the hallway—”

“I’m fine!” He insists louder this time. Shaking his head, he bites his lip and attempts to collect himself. 

The two of you have been friends for too long; you know that he’s far from fine when he raises his voice. You walk to him, determined to figure out what’s wrong. 

And then you see it. 

Eddie says nothing, fully focused on covering himself as best he can and avoiding eye contact. 

It doesn’t take long for you to put the pieces together: semi-hard cock in his hand, sweat beading on his forehead, the pleading mentions of your name. 

“Eddie.” You let your fingertips brush against his shoulder. “Did I interrupt?”

He only nods in response. 

“What were you thinking about?”

Eddie exhales a long breath before answering. “You,” he finally answers. “And th-that shirt you wore yesterday.” His cock twitches at the mere reminder of it. 

You grin knowingly. You’d bought it at the mall specifically because of its low-cut neckline, hoping it would catch Eddie’s attention. 

Apparently, it very much had. 

“You liked it?” 

“Loved it.” He starts stroking himself again, almost unaware of his own movements. “Want you to wear it every damn day,” he adds with a hoarse chuckle. 

Swiping your tongue over your lower lip, you lean in and whisper in his ear, “What if I didn’t wear one at all?”

With that, you lift your shirt over your head and unhook your bra, letting them both fall to the ground unceremoniously. Eddie’s eyes widen, gazing at your exposed chest. 

“Oh, baby,” he breathes, his free hand reaching out to touch them. His thumb grazes one nipple and he gives your breast a gentle squeeze. “Baby, they’re perfect.”

You smile, using your hip to nudge the table away and get on your knees in front of him. “Keep going, Eds.”

He nods again, shifting forward a bit so you’re between his legs. “Gonna…gonna cum all over these perfect tits,” he grunts. “Please. Please, I gotta…”

“You can cum on them, Eds.”

And, fuck, does he. Thick ropes spill out of his cock, painting your chest in a sticky film. He’s crying out your name as he does it, milking every last drop. 

He floats down from the high, staring at your chest and admiring the way he’s claimed you. “That…wow,” he manages, laughing nervously. “Let me clean you up.” He reaches for the tissues, wiping whatever is still leaking out of him before sopping up the mess on your breasts. 

“I don’t know where we go from here,” he admits sheepishly, wadding up the Kleenex and tossing it into the trash. “Like, do I take you on a date? Bend you over the table?” He says the second option teasingly, but you have a feeling he wouldn’t turn you down if you agreed to it. 

You re-clasp your bra and shrug on your shirt. “We could try a date,” you say as casually as you can. 

“Dinner and a movie?”

“I’ll wear that shirt.”

--

[ghibli-collector]

For anyone who’s already seen Boy and the Heron i found this really interesting article where Ghibli Boss/Producer Suzuki was interviewed recently by indie wire and explains the background of the characters from the new Ghibli film, I’ve copied the full article below or you can click the link to go to the interview but once again it contains so many spoilers

‘The Boy and the Heron’ Is So Personal, Hayao Miyazaki Needed a Year to Grieve Before Pivoting in a New Direction

Miyazaki came out of retirement for his first film in a decade, about his friendships at Ghibli with the late co-founder/director Takahata and co-founder/producer Suzuki.

When Hayao Miyazaki pitched “The Boy and the Heron” (GKids, now in select L.A. and NYC theaters) to Studio Ghibli co-founder/producer Toshio Suzuki in 2016, he asked permission to make the story about himself. This took Suzuki — his friend of nearly 40 years at the time — by surprise; the legendary anime director isn’t known for getting so personal. And yet this aligned perfectly with the notion that Ghibli films are devoted to reliving memories.

“I agree that it is Miyazaki’s most personal film because he actually told me,” Suzuki told IndieWire over Zoom through an interpreter. Not only is “The Boy and the Heron” inspired by Miyazaki’s childhood (he endured the firebombing of Japan during World War II and his father was director of the family’s aircraft manufacturing factory), but also his career at Ghibli with his two closest friends: the late studio co-founder/director Isao Takahata (“Grave of the Fireflies”) and Suzuki.

“Miyazaki is Mahito [the 12-year-old protagonist voiced by Luca Padovan in the English-language version], Takahata is the great uncle [voiced by Mark Hamill], and the gray heron [voiced by Robert Pattinson] is me,” Suzuki added. “So I asked him why. He said [Takahata] discovered his talent and added him to the staff. I think Takahata san was the one who helped him develop his ability. On the other hand, the relationship between the boy and the [heron] is a relationship where they don’t give in to each other, push and pull.”

Collectively, it’s a lot to unpack: Miyazaki came out of retirement for the second time after “The Wind Rises” (2013) to make his 12th feature — the semi-autobiographical, hand-drawn fantasy for his grandchildren. It’s about destruction, loss, and rebuilding a better future through imagination, inspired by the novel he adored as a child (“How Do You Live?”).

Mahito loses his mother in the firebombing of Japan and relocates to the countryside, where his father (voiced by Christian Bale), who runs an air munitions factory, marries his sister-in-law, Natsuko (voiced by Gemma Chan). Traumatized, angry, and confused, the boy encounters a talking heron (part bird, part man), who tells him that his mother is still alive and guides him to an alternate world in a magical tower shared by the living and the dead. There he encounters his great uncle, the architect of the tower, and reunites with both his mother (voiced by Karen Fukuhara) and Natsuko.

At first, Suzuki resisted green-lighting “The Boy and the Heron” because of Miyazaki’s age (he’s 82) and the great expense (it is arguably Japan’s most expensive film but has made the equivalent of nearly $80 million at the country’s box office). Yet Miyazaki wore down his resistance with his enthusiasm and impressive storyboarding. The film took seven years to complete, and Suzuki needed to hire some of Japan’s most talented animators outside of Ghibli to handle the task (including supervising animator Takeshi Honda of “Neon Genesis Evangelion” fame). With diminished stamina and failing eyesight, Miyazaki was unable to oversee the production in the same manner as when he was at the height of his creative powers and relied on Honda to draw, redraw, and review under close advisement.

But with the death of Takahata in 20018, a grief-stricken Miyazaki was forced to scale back the role of the great uncle in the story, who had previously been more central to the boy’s life. “After Takahata passed away, he wasn’t able to continue with that story, so he changed the narrative and it became the relationship between the boy and the Heron,” Suzuki continued. “And in his mind, initially, the Heron was something that symbolizes the eeriness of the mansion and that tower, even ominous, that he goes to during war time. But he changed it to this sort of budding friendship between the boy and the Heron.”

Miyazaki first toyed with the idea of exploring the theme of friendship in “The Wind Rises” (inspired by real-life fighter design engineer Jiro Horikoshi during World War II) before abandoning it. “So this time around, when the Heron became the centerpiece of the story, and he came with the storyboards, I was careful for him to not portray me in a bad way,” Suzuki said. “Having said that, I’ve known Miyazaki for 45 years. I remember everything about him. There are things that only I know. There are things that only the two of us know. And he remembers all these small details, which I was very impressed with.”

For example, when Mahito and the Heron sit and chat at the house of Kiriko (voiced by Florence Pugh), a younger, seafaring version of one of the old maids, it is a recreation of the way Miyazaki and Suzuki would meet. “The place that we do our meetings, where we have our conversation is at his studio, his atelier,” he added. “And he has this like large table, but we don’t sit facing each other, we sit next to each other, and we never look at each other when we talk. And what we discussed was very similar.”

During production, Suzuki became impatient to see the new storyboards with the great uncle. It seemed Miyazaki was intentionally stalling while grieving about Takahata. “My question was: ‘So when is the great uncle going to appear?'” said Suzuki. “He built this great character, but he never appears in the storyboards that he would bring me. But it took him actually about a year after the passing of Takahata that he was able to draw that character into the storyboards in the second half of the story.

“And the most surprising thing for me was when I saw the storyboard where Mahito was asked by his great uncle to carry on with this work, this legacy, and he says no — he declines the offer. Miyazaki was someone who followed the path of Takahata for so many years, and I thought it was a huge thing for him [to follow a different path].”

Meanwhile, Suzuki confirmed that Miyazaki has not retired. The film has given the director renewed confidence to keep working on other stories. However, Miyazaki can’t focus on new ideas while “The Boy and the Heron” remains in theaters. “He needs to empty his mind again,” Suzuki said, “and then when he’s emptied his mind with a blank canvas, he usually comes up with new ideas. So we have to wait a little more.”