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SHANTI - 木綿のハンカチーフ

Original by OTA HIROMI (太田裕美) 

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Limits of the Human Body by Soda Pop Avenue

Credit goes to SPA, but I wanted this here for a writer’s reference. This way we know exactly how far we can push our characters ;)

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That one time Raph wrecked Mikey's precious comic book and didn't think it was that big of a deal:

That one time Mikey wrecked Raph's precious magazine and didn't think it was that big of a deal:

That one time Mikey had a semi-legitimate reason for wrecking Leo's precious comic book (trying to snap him out of a zombie-like state), but Leo didn't mind because "materiel possessions are fleeting"-OH WAIT. No, my bad. He attacked Mikey with a mop that time, didn't he?

I'm not pointing this out to blame any of them. It's just... I really love how much like REAL siblings they are. It's totally different when it's your own stuff that's getting ruined, isn't it, guys?

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Will & Destiny 

Read More

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the official Dangan Ronpa twitter posted this today!

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Magma Dragons by DragonsAndBeasties★

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Hydrangea Cookies Tutorial

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One Piece: Strong World

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I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are. "We have a word for that in Japanese," he said. "It’s called ma. Emptiness. It’s there intentionally.” Is that like the “pillow words” that separate phrases in Japanese poetry? "I don’t think it’s like the pillow word." He clapped his hands three or four times. "The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness. But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.

Rogert Ebert, on Hayao Miyazaki (via pseudolirium)

And this is why I often gravitate to works that have this even if “nothing happens” a lot of the time.

(via eshusplayground)

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"Never include anything the audience can reasonably and easily assume has happened. Never pass on exposition unless the missing fact would cause confusion. You do not keep the audience’s interest by giving it information, but by withholding information, except that which is absolutely necessary for comprehension.

Pace the exposition. Like all else, exposition must have a progressive pattern: therefore, the least important facts come in early, the next more important later, the critical facts last. And what are the critical pieces of exposition? Secrets. The painful truths characters do not want known.”

— Robert McKee, Story.

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Part 1 of my soon to continue series on printing! Today we look at colour and that oft asked question of “Why do my prints looks so different from the screen what happened”. Next time I’ll be covering DPI and file setups. Do you have any printing questions you want answered?

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WHAT IF

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必殺！ゆるしてにゃん♥

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ice sheets & glaciers in greenland

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Cassali scribbles when I’m in London

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no response on any level red alert this vessel’s under siege