#quirkish

[the-copycat-hero]

Monoma MHA 🤝 Luka Alien Stage

blonde, competitive little assholes (/fond) who people in the fandom decide to hate in the Dumbest Ways Imagineable

[corujalesbica]

OK so I couldn't sleep last night. Cue-

Dabihawks number 1 hero x number 1 villain au

OK so basically au that takes place after the war is over. Endeavor is either dead or arrested, Shigarakis dead ( my poor smol boy :c ) and All for One is defeated. Cue Keigo is the number one hero and dabi scapes and decides to keep the League of Villains alive as its new leader, recruiting new members with the sole purpose of helping people who are still forgotten by society + being a chaotic little shit. So yeah he's the most wanted villain in Japan. Aaannnndddd

Theyre dating. And living together. Yeah.

They actually managed to get together a pretty good plan to reform hero society. Their actions, much as they seem random are always coordinated with the others with the goal of changing a quirkish society from the inside and from the outside.

They fell in love when Hawks was a spy and somehow sorted their shit out during the war. And you know what- Here's a quick scene on that.

*******

The wind is quiet tonight, but strong nevertheless. Hawks can always get a grip on these things, his feathers react to the weather quickly, staying glued to him with more force than necessary. Right now, he's in the eye of the storm, and that has absolutely nothing to do with the wind. Before him stands a man as broken as him, scars covering half of his ever healing ever hurting body, blue eyes meeting his with a piercing gaze. He wants answers, wants an explanation. Keigo wont give it to him.

"Kiss me" He says turning on his heels. He's not scared of this anymore. He won't hold back any longer.

"What ?" Dabi sounds angry, but Hawks knows he's just sad. Lonely.

"You heard me" Keigo takes a step forward "Kiss. Me." Dabi seems to consider it. Hawks is a traitor, but he already knew that. They are in opposite sides of a never ending war, and they have been from the moment they were born. The son of a villain who became a hero. The son of a hero who became a villain. And they fell in love like a knife strikes a pulsing heart ; certain and deadly. The moment seems to last forever, and when he finally decides to lean in for a kiss, Hawks puts a finger on his lips. "But do it like you mean it. Kiss me like you mean it, Touya."

"Touya Todoroki is dead." Dabi says it simply, matter of factly, still inches away from the blonde man. "Touya Todoroki," Hawks wraps his arm around the others neck, enlacing his fingers in white hair. "-is Dabi. Touya Todoroki was a broken kid, from what I am told. And Dabi is someone who wants revenge for that child. I want you to kiss me like neither and both. Love me not to forget from your past and not, so I will tell you secrets from the heroes afterward. Love me because you're you and I am me. Kiss me like you mean it. Just it. Nothing and no-one but you and me"

"And if you can't, I'll walk away. If you can't, then there's no reason to stay. If you can't-"

He loses his words, his breath, in Dabis mouth. And he can let go of the worry. Hawks can take that as a yes, as if there were no heroes and no villains, no one else in the world but the two of them. And Touya was kissing him because he meant it.

**********

I just needed that scene out of my head, it was living rent free there. Anyways, back to the au. Now to mislead any enemies from both sides they both decide to invent fake boyfriends. Dabi manages to hide his scars with LOTS of make up and idk if he can take out the staplers but for the sake of our story yes he can. So he hides his scars, puts on a ginger wig and pretends to be this nice little doctor after Hawks officially comes out as bisexual to the press.

As for Hawks,he pretends to be a drug dealer who travels to other countries a lot for business and for that reason is not that present for the leagues shenanigans, also he dresses in all black (he steals dabis clothes for this and he loves it. Dabi pretends to hate it but Hawks goes 'cmon babe is for the sake of the mission :) ' ) I can also imagine him putting on tons of eyeliner for this and most importantly he wears the same wig Dabi does when he pretends to be a doctor, because they find it funny that some people have the theory that 'doctor ' and 'drug dealer ' are the same person cheating on Hawks with Dabi and vice versa.

Anyways I love them and I want them to rule Japan and also rule the world and-

[corujalesbica]

I think that sometimes not acknowledging a problem, in this case autistic struggles, can lead to way more pain than saying 'OK you have this limit other people don't. How do we work around it/ get comfortable living with it?

If we want autism acceptance we have to be okay with ALL parts of autism, including the painful/annoying ones and not just the quirkish or cute traces.

sometimes i feel like people forget autism is a disability. and that’s not a bad thing! i’m all for disability acceptance, im proud of my disabilities. but i feel like we forget autism can hurt.

it hurts that i have to put more time and energy into socializing than others.

it hurts when i need to move so bad, usually cause im overwhelmed by either my surroundings or emotions, that i thrash and hurt myself.

it hurts that i cant be in places that are too loud or too bright, which on bad days can be as simple as a small, quiet noise or dim lights.

it hurts that i struggle to tell when im hungry, thirsty, tired, etc. so i can’t properly take care of myself. it doesn’t help my insomnia and i get very nauseas and get UTIs.

i 100% believe in autism acceptance. i don’t want a cure. but i also want us the acknowledge that it can hurt. it doesn’t mean my entire life will hurt, but some parts will. and i want a community where we can see both sides, see the hurt, and celebrate it anyway.

[tamarabeck]

Tesla, the inventor

We share a nationality, Nikola Tesla and I, but it is his quirkish reputation that draws me to all manner of Tesla related thing. There is his corner, his museum, the statue. And now his opera. No, not his in fact but by Phil Kline (concept, music, and lyrics) and Jim Jarmusch (story concept). The Lives and Dreams of Nikola Tesla as summoned by the Honorable Spirits of the Grand Gotham Hotel…

[thediamondedition]

Paradise. Photo by Akeo Nakano for @studio5company ————————————————— #streetwearlondon #berlinstreetwear #amsterdamrap #hiphoppodcast #blackmenfashionguide #Blackstyleguide #Paradise #MobbDeep #RapRadar #RapRadarPodcast #HipHopBlog #HipHopPodcast #streetwearclothing #streetstyleoutfit #Streetstyled #StylishBlackMen #Quirkish #QuirkishTalk #blackwomenrock #BlackWomenHair #curlyhairgirls #CurlyGirlsRock #StylishCouple #LoveGoals https://www.instagram.com/p/BqXjeRmFD5q/?utm_source=ig_tumblr_share&igshid=1ordrslwo1r0i

[austempered]

"I told you I didn't need your help! I was doing fine on my own!" (Wagner)

Tetsu blinked once, a little surprised by the outburst, but certainly not that offended. He appeared to be dealing with someone a few years younger than him and while he didn’t necessarily think vigilantes were all dangerous or criminals by default, he couldn’t really support their assumption that they were exempt from the rules.

“I get what you’re trying to do, trust me, but going it alone can be dangerous. Especially since you’ll not only be facing villains, but the law as well. I don’t mind throwin’ you an assist this time, but… If you really wanna go it on your own, then I won’t be able to intervene if you get caught.”

[coco-wanwan]

Last night I had that weird dream where I was Izuku big sister. My quirk seems to be a sort of repulsion quirkish thing (I don’t remember clearly) and I was able to do some amazing jump thanks to it and race that brocoli head across the city. 

huuuuuuh brain what are you doing?

[cleverwordsandotherstuffilike]

Daisy (“Black Watch Debatable”) died December 22, 1931, when she was hit by a Yellow Cab in University Place. At the moment of her death she was smelling the front of a florist’s shop. It was a wet day, and the cab skidded up over the curb — just the sort of excitement that would have amused her, had she been at a safe distance. She is survived by her mother, Jeannie; a brother, Abner; her father, whom she never knew; and two sisters, whom she never liked. She was three years old. Daisy was born at 65 West Eleventh Street in a clothes closet at two o’clock of a December morning in 1928. She came, as did her sisters and brothers, as an unqualified surprise to her mother, who had for several days previously looked with a low-grade suspicion on the box of bedding that had been set out for the delivery, and who had gone into the clothes closet merely because she had felt funny and wanted a dark, awkward place to feel funny in. Daisy was the smallest of the litter of seven, and the oddest. Her life was full of incident but not of accomplishment. Persons who knew her only slightly regarded her as an opinionated little bitch, and said so; but she had a small circle of friends who saw through her, cost what it did. At Speyer hospital, where she used to go when she was indisposed, she was known as “Whitey,” because, the man told me, she was black. All her life she was subject to moods, and her feeling about horses laid her sanity open to question. Once she slipped her leash and chased a horse for three blocks through heavy traffic, in the carking belief that she was an effective agent against horses. Drivers of teams, seeing her only in the moments of her delirium, invariably leaned far out of their seats and gave tongue, mocking her; and thus made themselves even more ridiculous, for the moment, than Daisy. She had a stoical nature, and spent the latter part of her life an invalid, owing to an injury to her right hind leg. Like many invalids, she developed a rather objectionable cheerfulness, as though to deny that she had cause for rancor. She also developed, without instruction or encouragement, a curious habit of holding people firmly by the ankle without actually biting them — a habit that gave her an immense personal advantage and won her many enemies. As far as I know, she never even broke the thread of a sock, so delicate was her grasp (like a retriever’s), but her point of view was questionable, and her attitude was beyond explaining to the person whose ankle was at stake. For my own amusement, I often tried to diagnose this quirkish temper, and I think I understand it: she suffered from a chronic perplexity, and it relieved her to take hold of something. She was arrested once, by Patrolman Porco. She enjoyed practically everything in life except motoring, an exigency to which she submitted silently, without joy, and without nausea. She never grew up, and she never took pains to discover, conclusively, the things that might have diminished her curiosity and spoiled her taste. She died sniffing life, and enjoying it.

E. B. White wrote this obituary for his beloved dog Daisy

[wallpaperpainting]

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[idalaida]

Trying to say that I'm so fucking tired in a quirkish way so I can at least laugh at my desperation.

[gothicghostie-blog]

Frankenstein Films as a Form of Escapism

In 1991, James Whale’s Frankenstein was inducted into the National Film Registry “as being culturally, historically or aesthetically significant" to American culture (“FAQ - National Film Preservation Board”). Its unique and imaginative design made it one of the most iconic films in history worthy of preservation. When the film was released in 1931, it represented what the American people desired most. People during the 1930s struggled with the harsh realities of the Great Depression and were searching for relief through various forms of escapism. The very nature of Frankenstein as a movie gave people all across the country a way to come together to cope with the hardships they faced. In addition, the film’s completely unrealistic plot was the ideal story for people to immerse themselves in. Therefore, the Frankenstein films of the 1930s provided a form of escapism for the American people during the Great Depression because people wanted to focus on fantastical, unrealistic horrors rather than the reality of their own tribulations. The Great Depression was a time in American history when “the standard of living collapsed due to unemployment, underemployment, and wage reductions” (“Escapism and Leisure Time 1929-1941”). The economic hardships of this era resulted in many having difficulty with emotional stability. According to this source, studies at the time showed that the longer people were left unemployed, the more likely they would become emotionally distressed or even fatalistic as a result. Additionally, they go on to add that the worsening psychological state of people at the time forced them to turn to various forms of entertainment in order to cope (“Escapism and Leisure Time 1929-1941”). This coping method known as escapism can be defined as “an activity or form of entertainment that allows people to forget about the real problems of life” (“Escapism”); however, people during this time could no longer afford their expensive vacations and had to opt for cheaper forms of entertainment. They were “attending movies, listening to the radio, dancing to live music, and reading cheap magazines or books containing sensational or gruesome materials… to escape from the uncertainties, anxieties and loss of self associated with the Depression years” (“Escapism and Leisure Time 1929-1941”). In particular, watching movies was a pastime that was gaining popularity among people living in the United States. The American people had a significant relationship in the 1930s with films as a result of the advancing technology and accessibility of this leisure activity. The whole nature of film was changed with the advent of sound since it added an extra dimension to the movie watching experience (Wilson). Films were as popular as ever due to this innovation in movie technology, and “in 1930, 11 million people could be accommodated in movie theaters with a yearly attendance close to the national population” (“Escapism and Leisure Time 1929-1941”). Movie theaters were becoming more abundant and people were excited about going to the cinema. They were enthusiastic about watching movies and especially those of the horror genre. Sound added an extra layer of terror by creating suspenseful music that signaled nearby danger and also amplified ominous events (Wilson). Moviegoers “flocked into cinemas to be scared by supernatural monsters wreaking havoc on largely fantastical worlds, events far removed from the everyday realities of Depression” (Wilson). A horror movie released during this time when people were eager to be scared and forget about reality was the film Frankenstein. Frankenstein directed by James Whale was based on several works. The main inspiration for the film, from which it was radically altered, was the literary classic Frankenstein, or a Modern Prometheus by Mary Shelley (Highham 157). However, the adaption from Peggy Webling theater play was the main source of material for the movie’s screenplay (Rohrmoser). The movie’s story follows the characters Henry Frankenstein and his hunchback assistant, Fritz. The two steal bodies from graves and a brain from a medical university to use in Frankenstein’s experiment. Unfortunately, Fritz has a mix up with the brain that he stole and took one labeled as “abnormal,” so when Frankenstein created an artificial human being made from various parts of different cadavers and brought to life by electricity, the Monster was nothing more than ugly, dumb, and brutish. Disappointed in his creation, Frankenstein locks up his troublesome Monster in a cellar where it was abused by his assistant. Enraged from his mistreatment, the Monster kills Fritz and escapes. He wreaks havoc in the village, and the community comes after the creature intending to kill it. The Monster is found in an old windmill that is then set on fire by the villagers where the creature was thought to be burned to death (Rohrmoser). In short, the plot of the film is unrealistic enough for those watching to immerse themselves completely within this entertaining and dramatic story. What made the revival of this classic unique and memorable was the director James Whale’s style and the atmospheric design of the film. Whale during the time of the film’s production had “seen the great German silent horror movies [such as] ‘The Cabinet of Dr. Caligari’ and ‘Metropolis’” and was inspired by their “starky dramatic lighting and impressionistic use of sets” (Rose). He incorporated their techniques to create a set that had “quirkish charnel humor” with “bizarre angles involving vertical objects” that “slanted against the artificial sky” (Highham 157). The setting of the film appeared to be that of a far off fictional land where people “seemed somehow fragile and out of place” (Rose). Whale, along with the production team, truly made his own unique world within this picture; therefore, Frankenstein’s eccentric movie set ultimately created an immersive atmosphere for the film. Equally so, the iconic performance and appearance of Boris Karloff as the Monster was another element of the film that made it something people at the time were craving to see. This casting choice for the character was a pivotal element in solidifying the movie’s memorableness. With the help of Universal Studio’s makeup artist Jack Pierce, Karloff brought to life the Monster in an unforgettable way. The Monster’s appearance is the most striking aspect of Frankenstein since Pierce’s artistry made “a truly horrible creature, with a hinged skull, electrodes protruding from his neck, and a stiff legged, lurching walk” (Gorman 2462). Pierce had also built “an artificial square-shaped skull…he fixed wire clamps over Karloff’s lips, painted his face blue-green, which photographed a corpse-like gray” (Rohrmoser). Frankenstein’s Monster was portrayed as a horrid, undead abomination through this dramatic makeup transformation, and its appearance gave it an air of being some foreign and otherworldly creature. Despite the Monster’s unsightly appearance, Karloff was able to give the character a “sympathetic quality” and “was able to convey a wide range of emotions” for it (Gorman 2462). He portrayed the character as something that was feral, lost, and had a childlike sense of helplessness (Atkinson 15). Audiences at this time could unknowingly relate to this creature that shared their feelings of distress from their surroundings. Moreover, individuals during The Great Depression experienced profound suffering and projected their feelings into this character. Since audiences felt powerless in their own lives by circumstances out of their control, they felt a sense of helplessness similarly as the Monster. Their lives were altered in a short period of time while the Monster felt frightened being thrusted into a world that he had no knowledge of and did not want him. Both experienced tremendous emotional distress from these difficulties they faced, and this made them feel hopeless, scared, and angry. Despite the Monster appearing to have no obvious similarities with the audience, especially with its appearance, they were able to subconsciously relate to this creature who shared their feelings of despair and frustration. It was safe for moviegoers to project their emotions into this character and cope with them without knowingly confronting their emotional state. Additionally, they were terrified of this creature and could see it as a representation of what they feared most, their helplessness resulting in death. The Monster had no control over his own life; therefore, it escalated to the point when he was tormented, forced to become violent, and eventually killed. Individuals also interpreted this as a visualization of how their lives could potentially end up should they allow themselves to resort to desperate measures such as crime in order to survive. This was also a way for them to project their desires of what they wish they could do into the Monster. Thus, the masked relatableness between the two ultimately lead to the exceptional reception of the film. When the film premiered in the winter of 1931, it was an overnight success. Frankenstein became a sensation and “was voted one of the films of the year by the New York Times and earned Universal Pictures twelve million dollars” (“Escapism and Leisure Time 1929-1941”). It performed better than Universal’s other blockbuster horror hit Dracula which was released the year before. Although he was not invited to the film’s premiere initially, the movie made Karloff an overnight superstar. Its success spurred the creation of two more films, The Bride of Frankenstein (1935) and the Son of Frankenstein (1939), in which he would reprise his role as the Monster (Gorman). The films success was a result of it providing the people at the time with the escape from reality that they desired the most. For a few cents and a couple of hours, they were granted the experience of being immersed within a world far removed from their troublesome reality of the Depression. Individuals have consistently looked for ways to escape from the troubles in their lives through any activity available to them. During the Great Depression people were enthusiastic about watching movies and this genre of film, so Frankenstein’s release could not have came at a better time for the American people. Despite the nature of Frankenstein with its horror elements, it still gave audiences something exciting and entertaining to watch. They were already reading material that was gruesome and thrilling so watching a movie with those elements simply just provided a visual escape for them. The film’s design with its atmospheric and fantasy feel transported audiences to a place unlike that of the world in which they lived. This was exactly what they craved most during the Depression. Of equal importance, the memorable performance from Karloff made them believe in this undead creature who they could subconsciously relate to and therefore feel comforted by the fact that someone else felt a loss of control over their own life. Even though the film did not explicitly depict that, people during the time projected their struggles and desires into this outrageous and fictional story. It comforted as much as it did frighten them which is the reason why it became a box office success. Consequently, people during the 1930s found escape through watching horror movies such as Frankenstein because the films provided moviegoers with immersive material that was distant from their everyday struggles and unfortunate reality.

[thediamondedition]

“THE SHADOWS BETRAY YOU, BECAUSE THEY BELONG TO ME...” Photo by Jory Johnson. Feat: The Legendry @vaughnzie —————————————— #streetwearheat #hiphoppodcast #blackstylist #hiphopblog #rapblogger #RapRadar #Quirkish #QuirkishTalk #Menswearblogger #menswearblog #streetwearheat #streetwearblog #Halloween4K #Halloween #MichaelMyers #osakastyle #japanstreetstyle #ArtistsofIG #StylishBlackmen #StreetwesrGod #InfluencersofIG #Mensstyledaily #shahrazadali #thedarkknightrises #ChristopherNolan #johncarpentershalloween #Fashionbombdaily https://www.instagram.com/p/BpXKIo9H0JA/?utm_source=ig_tumblr_share&igshid=1bkvkmos2rnfx

[thediamondedition]

“IF YOU GOT THE SOCA, I GOT TBE BIGGIE...” Photo by @arface_ Taken at the @Soullennial BBQ hosted by @_lawdp/Check our Brother’s new record live in his Bio! ————————————————— #Quirkish #QuirkishTalk #blackmenrock #blackmenstyle #blackwomenart #blackmenbelike #NaturalHair #TeamNatural #menswearblog #mensstyleblogger #mensstyleblog #Blackmenwithstyle #BlackCouples #BlackRelationships #unlimitedblacklove #dancehallreggae #BeresHammond #BGKI #BlackGurlMagic #blackstyle #trini2dibone

[thediamondedition]

“WE CAN ARGUE about who ain’t shit today all we want, but if neither of us knows how we got here, what does it matter? Let me heal you while you heal me. Let me show you your magic inside and I’ll show you mine, and we’ll crush all this shit together...” Photo by @Darrentalent Shifting by @ayewonsi Book by @i_am_zaza_ali ——————————————- #BlackLove #Quirkish #quirkishtalk #Blackcouples #Blackrelationships #Blackmendate #BlackWomenDate #blackwomensmiling #Blackmua #blackmomsblog #Zazaali #drjoydegruy #Travelnoire #NaturalHair #TeamAfro #trini2dibone #trinigyal #Readersareleaders

[thediamondedition]

“IF THEY’RE CUTE ENOUGH, they’ll talk over the music for you.” A dance is a dance, but a conversation is my swing, bachata y Bossa Nova. Rhythm like a Nadal and Serena volley. Photo by The Amazing @arface_ Featuring @kheeda.cru Peace to @soullennial & @_lawdp —————————————— #keepitreal #Quirkishtalk #Quirkish #WuTangForever #HipHop #menswearblog #menswearblogger #mensstyletips #Blackrelationships #BlackLove #BlackKings #BlackQueens #BlackPress #trini2dibone #ArtistsofNYC #drjoydegruy #mwalimukbomanibaruti #MoorsofSpain #osakastyle #blackukgirls #uknaturals #Blackandwhiteart #ReadersofIG #BrasilJazz #joaogilberto

[thediamondedition]

What you’re really looking at is a group of traumatized people who are trying to figure shit out for themselves, because of a lack of a parental template, molestation, disappointment, or all of the above y más. Even parents whom we may have considered to be great are terrible at communicating, so in lieu with creating our paths, we are tasked with not being our parents, losing to our pasts and repeating a vicious cyclic hurt, akin to Willie Bosket and the Boskets, never healing, and never thriving, in effect. To thrive means to mend with our shattered hearts, and only then shall our gateways open. Photo by the God @darrentalent ————————————————— #Relationshipissues #Quirkish #Quirkishtalk #relationshipsbelike #Coupletalk #Blackmentalhealth #joydegruy #drjoydegruy #posttraumaticslavesyndrome #blackgirlmagic✨ #streetweardaily #streetwearnomads #streetwearsource #streetwearnyc #artistsofnyc #mensfashionblog #mensstyleguide #blackmenrock #BlackLove #bowerypoetryclub #readersofig