#damn good deal

[lockheed-martin-unofficial]

This Starscream is a bastard and I love to draw him

[puppppppppy]

who is your favorite AA character? 👁️👁️

ziska… I hope capcom brings her back someday

[hatsunevita]

this is literally one of my favorite panels of the war arc.

i am OBSESSED with deku’s perception of romance and how it’s probably based off popular melodramas and his peers’ stories about their dates.

because you can’t argue with me that that’s the reason why he will have no idea his and katsuki’s relationship is so close to romantic. i’m so sure he’s gonna be the last one to realise his feelings for katsuki aren’t purely friendly and platonic. the guy will be like “oh yeah we’re really close and i care about him deeply and i hate the very thought of him being hurt and i wanna spend the rest of my life next to kacchan but haha that’s just our friendship! we’re not holding hands and sharing crepes so there are no romantic feelings involved🥰”

bro is gonna be so shocked when kacchan finally confesses his true feelings.

[triglycercule]

alright,,,,,is this newyears gift,,,,,, i dont no. but maybe it's late enough that i'll be able to forget that i drew this 😁😁😁😁 mttpoly doodles. whoever sees this sees this

[try-set-me-on-fire]

I got him. I got him.

[serpentface]

Ephenni man participating in a variant of the kagnoma wantouki folk dance. He has come prepared, wearing bell bracelets and belled and pheasant-feathered dancing shoes, and neglecting a tunic and cloak, allowing for the percussive slaps to his chest and stomach to be louder.

"Kagnoma wantouki" groups together a variety of closely related folk dances that occur across the Imperial Wardi cultural sphere, and beyond (the west + south rivers Hill Tribes, Cholemdinae, and Loberan North Wardi groups have also adopted and developed variants, and one western variant has spread to parts of Bur). The dance is performed differently from province to province (sometimes even from village to village) and goes by several more specific names, but it is distinguished as a collective from other folk dances by the commonalities of:

the dancers use their own bodies as a form of percussion, via clapping their hands, slapping their chests, upper arms, stomachs, thighs, and/or shins, and stomping their feet. The name of the dance itself refers to this.

the dance is otherwise dominated by rapid footwork (often emphasized with bells) and is accompanied by up-tempo music.

the dance can technically be performed strictly solo, with opportunities for partnering.

dancers provide some vocalization.

As a folk dance, it serves no direct religious function and is mostly performed by people with no formal training at social gatherings (this is a mainstay of weddings in particular, but occurs at everything from religious festivals to funerary feasts).

Drumming is the only strictly necessary form of musical accompaniment, but many variants/performances make use of tambourines and rattles. Use of a two-stringed bow instrument is common in the west and south. Chanting by the dancers and singing by a musical accompaniment and/or onlookers is a near-necessity, with a specific call and response form of song developing in tandem with this dance.

Costuming (if used at all) varies by region, but belled shoes decorated with feathers are common (for this and many other dances), and men who come prepared for the occasion usually go with a skirt and a nude upper body (baring more skin to make the slaps more percussive). It’s very common to see men fasten their cloaks around their hips and slip the upper half of the tunic off their arms and down to the belt when joining in opportunistically. Costuming for women requires less specificity and usually lacks the feathered shoes.

The dance can technically be considered unisex, but most variants show slight differentiation of choreography for men and women (in large part aligning to typical dress standards). The feminine variant involves active use of the skirt and less slapping, usually limiting it to claps of the hands, slapping the hand of a partner, and a specialized move during rapid percussive sessions in which the hem of the skirt is lifted by the non-dominant hand while the opposite leg is repeatedly kicked up and slapped on the shin in time to the music.

When dancing with a partner (which often occurs opportunistically among a group), both will face each other and attempt to move in time and punctuate the high-tempo sections with slaps of each other's hands. This dance has no particular connotations of courtship (while some other folk dances are at least Rooted in this and require man-woman dance partnerships with very strongly differentiated choreography). If anything, it's slightly more typical for people to partner up with a dancer of the same gender.

It's very common to see 'dance fights' develop between men in particular, especially when two higher-skilled dancers match up and attempt to outdo each other. This is a semi-formalized aspect of the dance, where the competitors will alternate between 'leading' for each section (punctuated by shifts in tempo and shouts) while the other attempts to match their movements as closely as possible, 'losing' the match if they can't keep up. A good quality fight in action will be deferred to by other dancers, who will circle around them and clap in time (while particularly canny accompanying musicians will improvise more complex rhythms, and singers call attention to it). These 'dance-fights' are almost always friendly in nature and often considered to be the highlight of a kagnoma wantouki, either as a showcase of the highest skilled dancers in a group or as a very, very entertaining spectacle when one or both are drunk.

[shit-talker]

I find it funny how Edwin admits to the Cat King that he is taking on cases to try and redeem his soul so if he ever got caught by Death, she would consider not sending him back to hell, but here's the thing... that truth is only true because Edwin believes it is true, but later, we see a flashback to when Edwin has literally just made it out of hell, and the first thing he does is he stays to help Charles when he is dying, risking Death finding him right as he got out. Like...that's not the sort of risk you just take because you want to redeem yourself. That's the sort of risk you take because you're a genuinely kind-hearted and loving person who doesn't want others to feel the same pain as you.

Edwin may think his motives are selfish, but he's been helping souls since the moment he got out of hell - he even helps souls in hell (Simon). So no, Edwin, you aren't helping people just to make yourself look better. You're an actual good person who deserves a better afterlife than hell.

[crimson-nail]

based on my tweet that left its target audience

[themgfujoshi]

News flash: local clown get chased and threatened romantic advances By emo and goth warlords

Said clown that night:

[realbeefman]

stacy is sooo interesting because she's in love with house but knows that they will never ever be able to have a healthy, stable, sane relationship because they're too similar so. she finds house-lite instead and marries him and. essentially moves on with her life! and is successful in this because she's a moderately well-adjusted person!

wilson, in contrast, never manages to escape the inevitable, in spite of his best efforts to find a house-lite of his very own, because he's an absolute fucking freak and ends up glued to house to the bitter. bitter end

[whaliiwatching]

in a queer way, right??

—

sunny brown belongs of course to @brown-spider <3

[mauvecardigans]

three eps into smallville s3 and honestly? bring back the kal-el hair

[corpsentry]

edited my pants

[front-facing-pokemon]

[lunarharp]

fwee top 5 things i had fun with this year :-)

[puhpandas]

I love ggy so much how did they accidentally make the most intriguing hypothetical gay romance ever