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#what this boils down to is:
simmyfrobby · 2 months
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i hope you don't mind me asking — but how / why did you pick the teams you cheer for currently? i just realized we don't have favorite teams in common but i love your energy and all of your poetry posts so much 🫶
oh so the penguins just happened to be the first team i found when i googled “hockey” but the bruins were an accident and also a mistake.
i don’t entirely know why i like the teams i like. i think i just tend to pick one character or dynamic i find interesting and follow that down a rabbit hole. i got into hockey after watching the pens 2009 cup documentary
(big strong manly dudes who talk about sports like it’s war and celebrate hard hits, playing through injuries, and getting into fights, who also nicknamed their little goalie friend Flower and made sure to give him forehead kisses after every game. i didn’t stand a chance)
so sid, geno, tanger, (talbot), and most of all flOWER were my first loves and ive kinda just stuck with them ever since.
at one point i tried to put together a spreadsheet to figure out which other teams to root for (based on their names, logos, place in the standings, nr of scandinavians etc). i immediately eliminated all the red white and blue teams because i thought the colour combination was unimaginative, then eliminated all the teams whose logo was just a letter because i thought that was stupid, then forgot all about the spreadsheet because a bruins fan was nice to me and i decided to root for her team just because i liked her vibe.
(dragged one friend down the marcheron rabbit hole with me and we watched game 7 together and i will truly genuinely never stop feeling guilty about putting her through all that. then bergy retiring broke me unfixable etc etc and now we’re here)
minnesota kinda became my team a few months ago, mainly because flower plays there, but also because i got to watch them play in stockholm and that was v exciting for me. the wild have been getting most of my attention lately because that’s the fandom where i have the most fun. whereas the goalies and the superstars tend to suck up most of the oxygen in other fandoms, wildblr for some reason tends to focus on the fourth liners and the losers and that’s more my vibe just in general.
hockey is only really an internet hobby for me, and none of my Real Life Friends really care about it, so i need some fandom friends to yell about these things with. im also several timezones behind and i catch most games a few hours after the fact, so if i have to scroll through a lb of a fandom that’s very negative i tend to just blacklist that tag. there’s a few teams i now see very little of & don’t massively care about for that reason.
this turned into a much longer reply than i intended but also i just really liked the question & you worded it real kind so i didn’t want to half ass it.
there’s other players i still like even though i don’t keep up w the team much (eichel, natemac, that little slutty guy from montreal, bertuzzi, tk, ej, etc etc) but there’s only so many hours in a day, you know?
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jewishfalin · 5 months
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Hey uhh @/nativenews has been posting antisemitic shit and platforming sketchy tweeters can we maybe stop rbing from them
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marzipanandminutiae · 10 months
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quotes by Victorians about the 1920s view of their generation's women
"We are frequently told that the Victorian woman...generally behaved like a pampered and neurotic infant. This is all moonshine. I do not think that I ever saw a woman faint before I came to London in 1869, and not often after then...they enjoyed a hearty laugh, and a good many of them a contest of wits with any man." -Nineteenth Century, a Monthly Review, 1927 (written by a man born in 1850)
"What queer ideas the girl of 1929 has about the Victorian period- they are not a bit true...Marriage was by no means the end and aim of our existence. Oxford and Cambridge claimed quite a few of us after school days were over. We had great ideas about 'life' and what it all might mean to us." -St. Petersburg Times, 1929 (written by a woman born in 1853)
"True, debutantes were chaperoned at balls. But that fact did not prevent them from dancing as frequently as they chose with their favorite partners. The idea that girls in the Victorian era spent their days sewing seams and practicing scales is another fallacy." -Gettysburg Times, July 1, 1927 (quote from the Dowager Lady Raglan, Ethel Jemima Somerset, who lived from 1857 to 1940)
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rogersstevie · 12 days
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She's often accused of playing the victim, that's a big line in like the Kanye stuff, and so on, like she's self-victimizing. But to me, what's actually kind of interesting, and it's almost an artistic flaw of hers, is that she is unable to be the victim. Like, in Dear John, which is one of her best songs, she has that, you burned all the other girls you date out, but not me, I got your matches before you could burn me. And so like, she actually doesn't play the victim, she's just kind of honest. Like, if somebody releases a music video of you with like, a giant nude wax Taylor doll, she'll be like, that's kind of revenge porn and I don't like it. That's just hitting back, right? So like, what actually irritates people about her is her refusal to be the victim of a situation, but like, they call it playing the victim.
B.D. McClay, Know Your Enemy: Taylor Swift Derangement Syndrome
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jekyllnahyena · 22 days
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Give it some time Fox, he's trying his best
more dumb doodles in the Fox is the fav and thus has somehow ended up with an allpowerful evil grandpa
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egophiliac · 2 days
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Hi there! I really love your comics and how expressive they are. How do you go about making the characters in your comic so expressive?
thank you! 💚💜💚 I am REALLY bad at explaining things, so my apologies if this doesn't make a lot of sense, but maybe there's something helpful in here somewhere. :')
1. warm up! drawing is a physical activity, after all! so if I'm planning on sitting down and drawing for a while, I usually start off by taking a couple of minutes to doodle a bunch of circles and lines and random shapes, just to get my drawing arm goin' again and get back into the physical groove. just stuff like this:
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and just do that for however long you feel like! you can kind of feel when your arm starts to loosen up and your strokes get more confident. it makes it a lot easier to get those swoopy big lines and gestures!
2. play around with how you use your lines! paying attention to the shapes that they're making will change a lot about how much force and life your drawing feels like it has. (no way is better than another, it just depends on what effect you're going for and how it looks as part of the larger whole.)
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and you can also use lines against each other to get different vibes:
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it's not really a matter of "you need to make sure all your lines are always doing this all the time", it's more like...being aware of it, and getting that into the general thrust of a pose, if that makes sense? like a lot of smaller lines of action, beyond the big one that goes through the spine.
(just gonna use my own art as examples, apologies)
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if you have a good foundation of tension, then all of the little bumps and contours of a character's details won't get in the way of it, and it'll still come through.
and don't forget about negative space either! the spaces between things have their own interesting shapes too!
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I don't mean this to come off as, like, all these extra things that you need to be constantly thinking about and stressing over. more like...just try different stuff and then see how it works and how it changes the feeling! if you find a good shape, see if you can exaggerate it and make it more interesting, and how that affects things! angles and shapes are a LOT of fun to experiment and mess around with, especially when you're going more cartoony. :D
3. acting!
just...spending a little time to think about what the characters are actually doing! (aka the "figuring out what everyone is doing with their hands" bit.) this is more a personal preference, but especially in multi-panel comics, I like to have them be in the middle of doing stuff. not just big actions, but smaller things -- like even just how they're sitting or standing -- so that it feels like we're looking in on the middle of a scene, instead of a couple of characters just standing around neutrally and staring straight ahead while talking at each other.
this probably sounds really obvious, but it is one of the most fun parts for me! I love trying to find some little action or something that they can be involved in, especially if it's relevant to their character or adds an extra joke. (for some reason this usually involves me being mean to Sebek) (I'm sorry)
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it doesn't need to be everyone Always! Doing! Something! all the time, especially if starts becoming distracting (sometimes they do actually need to just be standing around neutrally and staring straight ahead, especially if there's a bigger action going on that you want the audience to focus on instead). but even just figuring out some kind of non-neutral pose for them to be in can add a lot and make it feel less generic!
3. thumbnailing!
this is, again, very much a personal preference; unfortunately, every artist really is different, and we all have different processes that work better for us. so I can only speak to my personal experience! but I find what helps is to start REALLY rough -- not so much as in messy, as in not trying to start right into actually drawing everything out. like, literally just starting with stick figures and :O faces.
it probably doesn't sound relevant when talking about Drawing Expressively, but I find it's really, really helpful to have already figured out what everyone should be doing (acting!) and what the overall general layout and flow of things should be, before getting into the actual meat of drawing the characters. like having a sketch for the sketch!
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(good compositional flow is something I struggle with, and text layout especially, so this stage also helps a LOT with making sure things are fitting where I want them and staying consistent/not breaking screen direction/etc.)
then after that, I can go ahead and focus on getting those Shapes and Lines and Angles and all that, without having to think too much about the layout or where things should go!
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(of course, the downside of that is that my thumbnails are usually way better than my actual drawings, alas alas.)
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4. this is more philosophical, but...give yourself some slack. the stress of Making Things Look Good is, ironically, often the biggest problem. (see: thumbnails looking better than the actual drawings.) so...let yourself draw shittier and without regards to accuracy. make things just for yourself without thinking about posting or showing them to anyone else. draw stupid faces and wrong proportions because they feel better that way. focus on what's fun and not on getting a perfect end result. "draw expressively, not well", as they say -- you can always tighten up things like proportions and details later, if you really want to.
that's all WAY easier said than done -- god knows I haven't really managed it -- but even just aiming for that attitude really, REALLY helps. if your lines are confident, they'll look a lot more alive and expressive than lines that are exactly technically precise but have no rhythm in them. (this is why tracing photographs tends to look so weirdly stiff and unrealistic, by the way -- even if you're drawing realistically, you usually need to exaggerate and stylize a little bit so it doesn't look lifeless.) it's a balance between caring about what you draw, but also being willing to let things go a little bit.
↑ I hope some of this helps! I don't know if any of this was actually what you had in mind, let alone much of it actually made sense outside of my head. :') but hopefully you (or other people) will be able to get something out of it!
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24-compass-roses · 5 months
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*sees subway* orv reference
*sees sunfish* orv reference
*sees lemon candy* orv reference
*sees a rlly ugly squid* orv reference
*sees character* orv reference
*sees reader* orv reference
*sees author* orv reference
*sees 49% 51%* orv reference
*sees sword and shield together* orv reference
*sees Korean guy in a white coat* orv reference
*sees Korean guy in a black coat* orv reference
*sees a constellation in the night sky* orv reference
*sees story* orv reference
*sees story based off another story* orv reference
*sees story based off another story that’s based off of multiple other stories because the thing about stories is they never really die, they just get retold and remade into other stories and the point of a story is to keep on telling it and telling it because it may save someone’s life someday* orv reference
*sees the incarnation of love itself, strong, raw, hurting, and absolutely desperate to reach one stupidly wonderful and wonderfully stupid person who so stubbornly refuses it each and every time because they don’t believe they deserve it despite a cacophony of voices loudly insisting that they DO, they do deserve it, and that maybe love isn’t something that’s earned through deserving at all but instead given and received* orv ref—
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lazylittledragon · 1 year
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i'm going to scream i got accused of being a transmisogynist by someone on twitter because of this specific part of my t4t steddie art
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behold! the Kings of Mega Gay!! they're Frolicking!
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kiiingsnake · 3 months
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Thank you for answering that mecha ask, it was very helpful!! Though if I may, could I ask if you have any advice/tips for people who are new(ish) to drawing mecha? or just struggling in general I guess
first off, sorry for taking so long to answer this- it made me really have to think about how the hell i structure my mecha drawings in the first place. so here's my best advice, structured in a very on-brand confusing and shitty manner:
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really, when you're just starting out its all about taking a base shape and warping it. the biggest thing is exaggeration- what you exaggerate and where you do so really does depend on your own tastes/goals for the robot. high exaggeration reads as super mechanical/otherworldly/technical, while keeping it close to the base shapes you want to replicate will make it seem more organic.
a good thing to remember the whole time is that you're putting a shell around a frame! it's like trying to draw an animal but with only hard bits (well, most of the time). so your base shape layouts aren't exactly indicative of what will be your mecha's internal and external structure. you can exaggerate inwards to make it seem like, say, an armored skeleton, or only exaggerate outwards to seem like a carapace on a bug. it's really just a whole lot of pushing and pulling within your original silhouette and weights!
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thelaurenshippen · 3 months
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I spent a chunk of yesterday making a bunch of these trope memes for atypical's shows and when I tell you I BLANKED on how to describe a show I spent the better part of my twenties writing...
I'm really curious, TBS listeners, what tropes/identifiers/hooks would you use to get someone to listen to the show?
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thestarlessdark · 2 months
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The scene where Mitsuri's parents secretly watch her as she dyes her hair black in order to look like an acceptable bride is a scene I think about a lot.
The look of sheer pain and sadness on their faces feels like a punch in the gut to me, mainly because I've never encountered any parent who actually cares that much about their child. In fact, I nearly cried when I first saw that scene.
Where I live, first impressions are everything. If you mess up in front of others, you are seen as a disappointment and parents can go to almost any length to make their children seem like perfect angels in public, going as far as pressuring them to hide their true self and craft a more palatable persona for others to interact with.
Mitsuri's parents are the opposite of this. They love her for who she is and are never seen telling her to 'act like a lady,' which is amazing considering the time KNY takes place in. They are anguished instead of thrilled when they see Mitsuri trying to cover up her real personality.
Seeing parents truly love their child for who they are will never feel boring or overdone for me, considering how rare it is in real life.
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uncanny-tranny · 8 months
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Piggybacking off this post I made last night, but I think two things can be true at once:
Being diagnosed or undiagnosed can both be disadvantages. Neither a state of diagnosis nor undiagnosis can be more "beneficial" because both can be harmful dependent on the situation. We need to be open to the possibility that a diagnosis can be helpful, harmful, a mix, or neither, and not having a diagnosis can also be helpful, harmful, a mix, or neither.
Basically, disability is complex. We live in an ableist world that simultaneously demands disabled people adhere to strict standards but also just not exist in the first place. It's hard enough to navigate diagnosis, and making it harder is only going to harm us, not abled people. They don't care about the intricacies of disability, more often than not.
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cryptvokeeper · 2 years
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don’t get me wrong I think the general interpretation of Leo being like “I put up a cocky front but deep down I don’t actually think I’m that great and that’s why I have something to prove” is good. It’s cool, plenty of drama/angst potential and probably what the creators were going for, I’m here for it.
But there is a distinct appeal to me of the slightly-to-the-left interpretation of Leo being like “it’s not a front, I know I’m that good/smart/skilled, but I also know I’m seen by others as just the goofball face man and that’s why I have something to prove.”
#Rottmnt#Wild metaphor incoming but it’s like the difference between a hersheys bar and fancy Ghirardelli or something#At the end of the day they’re both chocolate. But ones got a bit more depth.#where was I going with this again idk I got caught up in food metaphor#It’s like. With the first one it boils down to character A (in this case Leo) going “I’m useless because I’m not good at [thing]”#Resulting in those around him either going “of course you’re good at thing! Remember the time you were good at thing?”#Or sometimes “it doesn’t matter that you’re not good at [thing] we love you regardless of what you can provide”#And again THATS GOOD THATS SOME GOOD SHIT#I LOVE THAT#but with the latter it’s more like “I know I’m good at thing *but I don’t know how to prove it to you*”#And that gives you the best of both worlds where you CAN get character A feeling bad but not for their lack of thing#But because if no can see it surely they *must* be doing something wrong right?#And ALSO you get the characters around them getting all sorts of feelings of “we didn’t do enough to show we believe in them”#Or “we didn’t notice how hard they tried”#Cuz you can get that a little in the first one but it can come off as kinda meh cuz they didn’t actually do anything wrong#It also has more opportunities for emotions besides straight sadness#You can have anger and conflict of “why am I not good enough for you?!”#That straight sef deprecation doesn’t always allow for#You can also have jealously and envy that feels less toxic and more justified#Not that it strictly needs to be justified mind you#Sometimes some toxic feelings stemming from perceived inadequacy are fuckin *chefs kiss*#But again it’s abt the VARIETY yknow#This isn’t even about Rottmnt anymore I’m just rambling#It’s my post and I get to choose the bullshit tags
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angie-long-legs · 1 month
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//thinking about how angel and husk are such opposites in the sense that, husk looks back on his life with regret over the things he did, whereas angel looks back with regret over what he didn't do
husk's afterlife is reflecting on the mistakes he made in life, making them all over again and not giving a fuck because he can't exactly sink any further
angel's afterlife is the regret of dying young, and finding himself trapped in a brutal situation while chasing the opportunity to live his truth in death
husk's grief is for a life wasted, while angel's grief is for a life cut short
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His heart was too weak to listen, so I gave him a little bit of mine.
Soon they realized their new creation could do their job for them, finding the broken parts of the Ever After.
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