so at work i doodled on my hand
and my coworker was like ”Awww what a cute little girl! Why is she-“
first of all hOW DARE YOU
Ayy so the Costume Fairy Adventures Kickstarter has actually managed to hit 50% funded in only 5 days! That’s super cool! But you know what would be even cooler? 100%.
I’m still waiting to get a little bit more money in myself so I can back it personally, but until then here’s another little plug for a project I’ve been a part of for a long time now. Any support you could give would mean a lot, and not just to me!
70 hours left and $1000 to go!! If we could get just 100 people to pledge $10 we’d be good to go! Please help out if you can, even if it’s just by reblogging this!
Stacker x Herc
It’s little early but. Yup, Merry Christmas!
OH GOD OH GOD OH GOD
THIS IS SO SWEET AND BEAUTIFUL AND LOVELY
THERE ARE NO SADS
ONLY HOT DADS AND THEIR ADORABLE KIDS AND MISTLETOE AND GRUMPY CHUCK AND CHRISTMAS SWEATERS
Raise your hand if you used to play with these things for hours and if you came across them again you would still play with them for hours.
I bought a big box of vintage wooden pattern blocks off ebay a few months ago. they’re pretty great
I bought a thing of these off amazon recently. They’re wonderful.
Fuuuuuuuck I need these. I also need therapy.
THESE WERE SO GREAT OMG
holy shit I forgot about these
where can i aquire these
~An immortal legend. As you’ve only imagined.~
~Put your faith in what you most believe in
Two worlds, one family
Trust your heart
Let fate decide
To guide these lives we see
A paradise untouched by man
Within this world blessed with love
A simple life, they live in peace
Softly tread the sand below your feet now
Two worlds, one family
Trust your heart
Let fate decide
To guide these lives we see~
Jane Porter- England
Professor Archimedes Q. Porter/Mr. Porter- France
Tarzan’s biological parents- Denmark and Norway
Baby Baboon- Chibi!Romano
~Man, if Alfred ever did have dreadlocks….*shudders*~
A thing about Hogwarts Houses in general: they can be thought of as indications of a person’s motivation, or of their loyalties.
Gryffindors are driven by their morals and are loyal to the world, or at least to their idea of what the world should be. Gryffindors will always stick up for what they believe in, and they will help anyone in need (hence, “daring, nerve, and chivalry) unless it’s a person they feel is wrong or against them. At that point, you become the enemy.
Hufflepuffs are driven by a sense of fairness, which is not quite the same as morality. Hufflepuffs are the type to believe that everyone should have an equal chance, and they are better at seeing the shades of grey between a Gryffindor’s absolute right and wrong. They are loyal to their friends, or to the group they consider themselves a part of.
Ravenclaws are driven by enlightenment. This is very different from book smarts. It’s not terribly unusual for Ravenclaws to not excel in academics, because it’s not about the grade for them; it’s about the knowledge they gain, and whether they consider that knowledge interesting enough to bother with. They are loyal to their passions, which could be anything from books to art to fantastic creatures that may or may not be real.
Slytherins are driven by recognition. That could mean fame or power, or it could just be the validation of the people around them. They are loyal to themselves. This, by extension, means they are fiercely loyal to those closest to them, the ones they consider their own, because harm to their own is essentially the same as harm to themselves.
(Note: I’m a female customer sitting in a pub. I’m approached by another male customer while I read a book.)Male customer: “Hello, my name is ***.”
Me: “That’s nice.”
Male customer: “So can I have your number?”
Me: “Oh. Actually, I’m gay.”
Male customer: “You want to have sex with women?”
Me: “Well, not right now. Right now, I just want to read my book.”
Male customer: “That’s bulls***! If you’re a lesbian then you want to have sex with women!”
Me: “Honestly, I just want to read my book.”
Male customer: “You’re lying to me, that’s very rude! I’m going to complain!”
Male customer, to a waitress: “That girl over there is being really rude. I want you to do something, it’s disturbing my day. She just lied to me and told me that she was a lesbian, and now she’s mocking me.”
Waitress: “What am I supposed to do about that? Make her straight?”
Male customer: “Just do something about it!”
Waitress, to me: “Hello, there.”
Me: “Hello. I’m sorry about him.”
Waitress: “Oh, it’s no problem! So, can I have your number?”
Male customer: *looks horrified*
Me: “Er, yeah, sure. Here.”
(I write my number on a napkin and she takes it, still smiling.)
Waitress, to male customer: “See? She’s a lesbian.”
Male customer: “That’s not what I wanted you to do! I didn’t want you to ask her out, I wanted you to make her leave! I demand to speak to your manager!”
Waitress: “Oh, he’s just popped out. I can get his boyfriend for you though if you want?”
Male customer: *storms out cursing*
(It turned out that the waitress was kidding about her manager, but she wasn’t kidding about asking me out!)
(via notalwaysright.com )
“the customer isn’t always right” stories are some of my favorite stories ever
Entitlement and I don’t even know what to call it - shut down by the waitress. But really? This shouldn’t ever have to happen.
Oh man, this show has been nothing but just brilliant and I am incresingly impressed by what it does.
I’ve already praised it from the beginning of taking the tokusatsu/henshin-hero genre it’s paying tribute to seriously and now it’s also paying a very interesting examination and criticism of it.
Already from a few episodes ago we’ve notified the unfortunate joyless punch-card attitude the main providers of the superhero genre seems to have regarding their own products (Toei’s Super Hero Taisen being one major example of that attitude in real-life).
In this episode we also deconstruct and examine the monster-of-the-week formula. It plays the idea of why normal people never seemed to care about the monsters in many tokusatsu shows (while some shows have provided reasons and a touch more consideration, they aren’t the majority), and the suggestion that the monsters they are fighting are way too beyond compheresion.
It really reminds me of Kamen Rider Kuuga, in how it examines how messed-up the monsters are and how the public attitude reacts.
In Kuuga the answer is that the monsters are every bit the horrible and completely alien beings they have to be to make the monster-of-the-week work, and bypasses the civilian problem by having the monsters genuinely affect daily life.
Here the monsters are intentioanlly playing up the familiar iconography and causes the public to lose interest in that there even are monsters around. Its a good criticism on the formulas henshin hero shows rely on, but also a subtle point on apathethy. Apathethy is the true villain of the show that has prevailed from beginning and is still there.
Not to mention the Torture’s kaijins themselves are now implied to be way above the game than we once thought. The plot of “making people gossip more” and “buying all the apples” are now not the sign of charming silliness, but a front masking something very terrible undearneath, brought by scenes such as with the mooks unsettling self-awareness and Masayoshi’s astute question of “Harazuka, what are we fighting?”.
Speaking of Masayoshi, his attitude has changed also noticeably changed for the worse. The formula has brought forth a decay in his goal and morality. No longer is he fighting for a better tomorrow for society and upholding justice and truth, but simply fighting a monster per week. Once before he could have cared for the safety of Mari, but now is only concerned on fighting Torture. Its an arguement I’ve never seen given before; Does the fighting monsters every week in a lot of toku shows actually constitute as true heroism?
It also constructs a dilemma for the story using all these elements. The kaijins of Torture pretty much operate using bottom-of-the-barrel Nigerian scams, and the people couldn’t care less. How does Samurai Flamenco represent justice anymore?
It reminds me of Kingdom Come, where the story asks the question “at what point will the superheroes become simply authorial gods who use humanity as it’s playground?”
I am so glad this show didn’t just made itself into a cute joke that only cheaply plays with the genre’s iconography that so many others would do, but instead became a very interesting piece that truly offers a well-deserved examination on the japanese superhero genre.
(Although Ultraman is more or less completely missing from the picture, but then again Ultraman is a different beast entirely, a cross of different ideas and its genes still living on in the mecha genre for example)