#tony h.

[remyfire]

[meidui]

aren't you glad he didn't decide to be a supervillain

[stateofborderline-taylorsversion]

Hiding🫣

[airoarts]

[Image description: A digital drawing of a character who is a fusion of several different Tumblr Sexymen. He is tall and thin, standing with his hand on his hip, with purple skin, cat ears, and a cat tail, Komaeda-esque wispy white hair, a permanent smile with sharp yellow teeth, and one blue-and-yellow eye with a black sclera. He has red dots on his cheeks and skeleton feet. He is wearing a navy-and-red train conductor cap; large glasses tinted pink on one lens and yellow on the other; a gray suitcoat that splits into two near the end, with a yellow pyramid pattern on the inside; green elbow-length gloves; pinstriped black-and-green pants that are cut at the mid-calf; a white dress shirt that is layered and trimmed with lavender at the bottom, with a thin brown belt visible; a lavender tie; and pink fluffy slippers. He also wears a yellow strap around his shoulder and torso, and has a fluffy pink truffula pin and a badge on his suit that looks like a blue clock. He is holding a red scepter with an eye pattern in the middle. The background is a pale peach-pink color. End ID]

i decided to revisit the idea i had several years ago of a tumblr sexyman fusion, a post that got pretty popular at the time, since there are now different sexymen who are popular and also the concept of tumblr sexyman has been built upon significantly.

this is a fusion of sans, the onceler, reigen, tony the talking clock (based on aishaneko’s classic humanization), bill cipher, raymond, ingo, spamton, purple guy, komaeda, and alastor. can u spot the design elements from each one?

[starker-sorbet]

High school boyfriends

[gothhabiba]

Literary Africa—outside, notably, of the work of some white South African writers—was an inexhaustible playground for tourists and foreigners. In the novels and stories of Joseph Conrad, Isak Dinesen, Saul Bellow, Ernest Hemingway, whether imbued with or struggling against conventional Western views of benighted Africa, their protagonists found the continent to be as empty as the collection plate—a vessel waiting for whatever copper and silver imagination was pleased to place there. Accommodatingly mute, conveniently blank, Africa could be made to serve a wide variety of literary and/or ideological requirements: it could stand back as scenery for any exploit, or leap forward and obsess itself with the woes of any foreigner; it could contort itself into frightening malignant shapes in which Westerners could contemplate evil, or it could kneel and accept elementary lessons from its betters.

For those who made either the literal or the imaginative voyage, contact with Africa, its penetration, offered thrilling opportunities to experience life in its inchoate, formative state, the consequence of which experience was knowledge—a wisdom that confirmed the benefits of European proprietorship and, more importantly, enabled a self-revelation free of the responsibility of gathering overly much actual intelligence about African cultures. So big-hearted was this literary Africa, its invitation to explore the inner life was never burdened by an impolite demand for reciprocal generosity. A little geography, lots of climate, a few customs and anecdotes became the canvas upon which a portrait of a wiser or sadder or fully reconciled self could be painted.

[...] Thus the literature resounded with the clash of metaphors. As the original locus of the human race, Africa was ancient; yet, being under colonial control, it was also infantile. Thus it became a kind of old fetus always waiting to be born but confounding all midwives. In novel after novel, short story after short story, Africa was simultaneously innocent and corrupting, savage and pure, irrational and wise. It was raw matter out of which the writer was free to forge a template to examine desire and improve character. But what Africa never was was its own subject, as America has been for European writers, or England, France, or Spain for their American counterparts.

—Toni Morrison, "On 'The Radiance of the King.'" The New York Review, 2001.

[statisticalcats2]

[blacktales]

I keep simp on these Top 4 ass creatures

JUST PLEASEEE WHYYY

[iron-idols]

Anton Hrust

[nakurumok]

Hurt and comfort

[yes-i-am-happyaspie]

Oh.

The MCU is recycling actors now?

AND we've brought the Russo Bros back?

I like RDJ. I understand the comic connection between Doom and Stark.

Still...

I dunno.

I don't think I'm on board...

[redvelvetwishtree]

What I've been asking for a while now!! You all love watching animes and reading and watching stuff with such themes but can't seem to understand it now that it's really happening.

Given how obsessed western media and Israel were with the "bUt h@m@s" narrative this time, it makes it plenty obvious that ham@s is no longer the t€rr0r1st body that Israel once empowered and enabled it to be. It's just people/freedom fighters wanting their land back after they've experienced decades of similar barbarity it appears.

And how anyone thinks Palestinian people will come out of the current massacre, mass murder and cruelty all chill and cool is beyond me. Do you seriously expect they won't want to avenge their loved ones after the stuff Israel did to their families??? The school year in Gaza had to be ended because all kids were DEAD. Entireeee family lines have been wiped out. Their hospitals, refugee camps, bakeries, schools everything has been turned to dust. Their internet and phones were cut off while aid was refused entry and all of this is stuff you can read without crying, and feeling sick I haven't listed the stomach turning shit yet.

Oh btw are you all still seriously believing that Israel is out there doing you a favour by t@rgEt1ng h@m@s? They're just killing and slaughtering and destroying so they can expand their colonized land later (this has been said by Israeli politicians and people). Also, they don't care about hostages from their country so before demanding their release from h@mas, talk to Israel.

And what happens when they're done getting rid of h@m@s which I know they're not doing that but still? Palestinians will thank them and carry on with their lives? What have you all been encouraging and celebrating Ukrainians for? Why doesn't that same logic apply here? You don't expect one ounce self-defence from Palestine later??? After alllll that was done?? Get your brain checked.

[strawberrybyers]

marvel drives me crazy with hiring some of the same actors to play different characters but i love rdj so much that i’ll let him playing dr. doom slide.

i kind of get why he was chosen as dr.doom as dr. doom takes on the identity of iron man for a period of time, but like dr. doom isn’t tony stark. i mean idk how they’ll play it out in the mcu and i know they like all the alternate universe stuff so maybe they may play a “tony stark becomes dr. doom in another reality” card. but what would’ve been better than all of this is if they just didn’t fucking kill tony stark to begin with!!

[churippu]

I couldn’t have drawn him any faster…

[blueonwrestling]

I would like to make the arguement that nobody really deserves an award for being "booker of the year" this year when it comes to american wrestling.

I think All Japan or CMLL's booker should be the winner as they've both had a very hot year each, with my personal vote going to the CMLL booker Painco quite frankly.

Tony Khan has booked Dynamite from a 9 out of 10 weekly show down to a 8 out of 10 weekly show, and while i still think AEW is the best weekly program going in america, booking your show down, even if just by a little doesn't make you the booker of the year, along with 2 aew ppv's being quite weak this year, DoN being the 2nd worst of all time in my opinion and World's End being 3rd worst of all time I just don't think he's had the booker of the year award level good booking, it's been good, but there has been episodes that have sucked.

Also Tony Khan has booked weekly ROH as kinda just maintence booking? The PPV's for ROH have been a run away success and all 3 of them this year have been some of the best, but the weekly tv lacks quality and alot of stories, which they're starting to do more of now absolutely, but alot of ROH matches are announced at the last minute for PPVs instead of being built up.

Weekly NXT shows, I say this unironically, if you like weekly NXT shows that much that you think Shawn Michaels is booker of the year you need to get yourself checked out, how do you dress yourself in the morning, are you mentally all there, are you stupid, are you fucking mental, a horrid product with fucking terrible sub high school drama acting and fucking terrible matches that are the worst of gif wrestling.

And Raw and Smackdown, Smackdown just doesnt matter quite frankly the show doesn't matter at all, nothing happens on Smackdown, and Raw being the best of WWE's tv programmings by default is a nuts situation to say, but Triple H has done a horrible job with pretty much everything on Raw/Smackdown, Rhea has done nothing this year, the fake world title Seth Rollins has is laughable, Cody has been spinning his wheels and Roman still exists.

So theres my thoughts for this "booker of the year" stuff, gun to my head and you force me to pick an american booker im picking Tony Khan, but I still say he's booked AEW into a slightly worse position than it was last year.

Edit* When I say america, I do mean just the bigger promotions, the bois over at DPW and Chris Hero are also in the running for bookers of the year with how well they've booked their small indie promotions.

Revolver and Defy too have had strong years.

[absinthefog]

misc doodle dump