#temporary cover

[furiarossa]

Danny Runner is a fourteen-year-old boy with a normal family: mom, dad, a nerdy older sister... and a secret.

Because what kind of fourteen-year-old are you if you don't have a secret? Danny's, however, is terrible and scary: something happened to him, an accident, yes... an accident that is transforming him into something else, something inhuman.

Danny is scared. And alone. And he knows he can't ask his parents for help.

Until he meets someone who seems to have contracted the same strange condition: it is Vladislav Korolkrovi, a mysterious figure from his parents' past. Danny asks him for help... but it seems that this is the biggest mistake of his life.

And this is where the hunt begins.

Get ready to run, exploring a new world, among creatures never seen before and others that, familiar as a recurring dream, will tell you the mythological story... of ghosts!

Temporary cover (we'll make a better one later!) for a book inspired by Danny Phantom, a new story (a completely new rewriting, if you will) that you can both read as a fanfiction (if you know who are the characters to which we are referring) and as a new, original story, because we're gonna introduce everyone from the start :)

We're gonna slowly post the story here:

A03: [English][Italian]

Wattpad: [English][Italian]

★ Instagram|Facebook|FurAffinity|Deviantart|Commission prices★

[cloudsjulett]

[transingthoseformers]

Orion and D-16 having an intimate moment involving painting each other but they don't exactly have any practice so by the end of it they're both a bit of a mess, but the ✨vibes✨ were amazing though

[sainte-melasse]

Had enough of my white wall so I dug through all my prints to decorate it last night. I'll be honest, most of it is from @die-rosastrasse ♡

[rianokyss]

i love him sm

[acidhydraart]

PYROSPHERE (work in progress)

going for a fiery vibe here, likely a battle theme for mechs and/or lancer rpg specifically (as a counterpart to previous song name of CRYOSPHERE which was very much also for that sort of thing) EDIT: Now finished!

[cassandracain52]

Got super excited the other day cause I found one of the few comics where Stephanie Brown was Robin

wasn’t until I got outside that I realized it’s the one where she gets fired🫠

[crows-bottle-cap]

i stole a water because its called be gay do crime not be gay follow the law

[naamahdarling]

.

[canonkiller]

forgot to mention this when it happened but I reached my Ko-fi goal ( 🥺 ) so once I have the necessary people on board with the idea I'll be getting a wheelchair for the Rough Days. my hot wheels if you will

[bigprettygothgf]

biggest single lot of transformers ive ever bought at once. im feeling so normal

[mumintroll]

i want to apply to work at the doc martens shop but they want a cover letter and i so cannot be bothered + i think theyre looking for someone with more experience than me so it wld probs be a waste of effort anyway

[spurloser]

[artsyjesseblue]

Lotura Week Day 6: Wardrobe Updates Welcome

“Two Galra con artists with royal airs”, trying to fool Varkon, the mighty space mall cop. As promised, here is my illustration inspired by my Day 1 fic, Kosmic Shopping.

I might have had too much fun with this.

@loturaweek2023

[touyasdoll]

threw a Jenna Marbles themed birthday party for my brother and sister today, which was lit, but my husband shaved off his eyebrows to write HELL YEAH on his face 😭

[wonder-worker]

Margaret of Anjou’s visit to Coventry [in 1456], which was part of her dower and that of her son, Edward of Lancaster, was much more elaborate. It essentially reasserted Lancastrian power. The presence of Henry and the infant Edward was recognised in the pageantry. The ceremonial route between the Bablake gate and the commercial centre was short, skirting the area controlled by the cathedral priory, but it made up for its brevity with no fewer than fourteen pageants. Since Coventry had an established cycle of mystery plays, there were presumably enough local resources and experience to mount an impressive display; but one John Wetherby was summoned from Leicester to compose verses and stage the scenes. As at Margaret’s coronation the iconography was elaborate, though it built upon earlier developments.

Starting at Bablake gate, next to the Trinity Guild church of St. Michael, Bablake, the party was welcomed with a Tree of Jesse, set up on the gate itself, with the prophets Isaiah and Jeremiah explaining the symbolism. Outside St. Michael’s church the party was greeted by Edward the Confessor and St. John the Evangelist; and proceeding to Smithford Street, they found on the conduit the four Cardinal Virtues—Righteousness (Justice?), Prudence, Temperance, and Fortitude. In Cross Cheaping wine flowed freely, as in London, and angels stood on the cross, censing Margaret as she passed. Beyond the cross was pitched a series of pageants, each displaying one of the Nine Worthies, who offered to serve Margaret. Finally, the queen was shown a pageant of her patron saint, Margaret, slaying the dragon [which 'turned out to be strictly an intercessor on the queen's behalf', as Helen Maurer points out].

The meanings here are complex and have been variously interpreted. An initial reading of the programme found a message of messianic kingship: the Jesse tree equating royal genealogy with that of Christ had been used at the welcome for Henry VI on his return from Paris in 1432. A more recent, feminist view is that the symbolism is essentially Marian, and to be associated with Margaret both as queen and mother of the heir rather than Henry himself. The theme is shared sovereignty, with Margaret equal to her husband and son. Ideal kingship was symbolised by the presence of Edward the Confessor, but Margaret was the person to whom the speeches were specifically addressed and she, not Henry, was seen as the saviour of the house of Lancaster. This reading tips the balance too far the other way: the tableau of Edward the Confessor and St. John was a direct reference to the legend of the Ring and the Pilgrim, one of Henry III’s favourite stories, which was illustrated in Westminster Abbey, several of his houses, and in manuscript. It symbolised royal largesse, and its message at Coventry would certainly have encompassed the reigning king. Again, the presence of allegorical figures, first used for Henry, seems to acknowledge his presence. Yet, while the message of the Coventry pageants was directed at contemporary events it emphasised Margaret’s motherhood and duties as queen; and it was expressed as a traditional spiritual journey from the Old Testament, via the incarnation represented by the cross, to the final triumph over evil, with the help of the Virgin, allegory, and the Worthies. The only true thematic innovation was the commentary by the prophets.

[...] The messages of the pageants firmly reminded the royal women of their place as mothers and mediators, honoured but subordinate. Yet, if passive, these young women were not without significance. It is clear from the pageantry of 1392 and 1426 in London and 1456 in Coventry that when a crisis needed to be resolved, the queen (or regent’s wife) was accorded extra recognition. Her duty as mediator—or the good aspect of a misdirected man—suddenly became more than a pious wish. At Coventry, Margaret of Anjou was even presented as the rock upon which the monarchy rested. [However,] a crisis had to be sensed in order to provoke such emphasis [...]."

-Nicola Coldstream, "Roles of Women in Late Medieval Civic Pageantry", Reassessing the Roles of Women as 'Makers' of Medieval Art and Culture