Winter days | Mark Twain


“I know the look of an apple that is roasting and sizzling on the hearth on a winter’s evening, and I know the comfort that comes of eating it hot, along with some sugar and a drench of cream…

I know how the nuts taken in conjunction with winter apples, cider, and doughnuts, make old people’s tales and old jokes sound fresh and crisp and enchanting.”


An exploration of visual styles of Wes Anderson, David Fincher, Quentin Tarantino, Alfonso Cuaron and Terrence Malick using stock footage and music from Shutterstock.

For more on this video, and to see all of the clips we used making it, see our blog post at:

Sky High by Earlie Hudnall

"What if Superman grew up as a black boy in America?"

The Sunday Kinfolk story, Black Superman, is slated for release in 2015. As the story is centered around racism in America, we’re inviting photographers who maybe interested in being part of the collaboration to submit an email inquiry with a link to your portfolio/website/Tumblr for further consideration to contribute to this portrait series highlighting black boys. 

This portion of the project is NOT limited to Chicago. In fact, King Texas will start shooting in Brooklyn, NY so if anyone is interested in having their son, cousin, nephew, brother or family friend photographed, please contact me directly here. I’ll provide additional information at that time.

'The point about Snow White is that you can keep fighting. The point about Snow White is that even when those who are meant to love you put you in an intolerable situation, you can run away, you can make friends, you can cope. And that message,' he says with a smile of satisfaction, '– that even when all is at its darkest, you can think your way out of trouble – is huge.'
—  Neil Gaiman to Gaby Wood, “Neil Gaiman on the Meaning of Fairy Tales”.

jellyfishline asked:

so in the interest of promoting positivity, what's your favorite thing about season 10? mine would probably be the use of unreliable narrators/parallels to detail conflicting perspectives. spn has always been great about showing contrasts between character's differing opinions, but this season it seems like it's really stepped it up a notch--basically every episode has dealt with a conflict of ideals and/or perception of reality. thoughts?

-pulls up a chair, spins it, and sits in it backwards-
You and me - we need to talk. Because this was literally the subject of the conversation I was having with sleepsintheimpala and androbeaurepaire that this rush of positivity stemmed from.

I am in awe of how they’ve chosen to deal with conflicting perspectives on various concepts within the confines of just nine episodes. We are being constantly bombarded with questions this season:

  • Who are you?
  • What are you?
  • Are you a human?
  • Are you a demon?
  • Are you a monster?
  • What constitutes a good man?
  • What constitutes a good father?
  • How do you kill an idea?

All of these questions and more leading back to single-most important question we’ve ever been asked in the history of the show:

Where is the truth in Supernatural?

And the answer is simple: Everywhere.
The truth of Supernatural is everywhere because the truth exists uniquely within each and every character. Every character has their own interpretation, their own version of the story - their own entire construct of their world as seen through their individual perspectives, shaped by experience, by emotion, by upbringing, by time, by existence, by nature. Just like us. The truth in Supernatural is everywhere because “truth” is the greyscale of the technicolor world of our humanity. It’s life.

Season ten has done much more than just give us parallels and mirrors and unreliable narrators. It has completely constructed the nature of existence - the nature of humanity - within in a television show. Yes, it gets entirely confusing because parallels are parallel to other parallels and mirrors are reverse mirrors to the mirror that is a mirror to an entirely different character than you’re thinking about.

But we’re through the looking glass here, people. This is Jabberwocky on freakin’ steroids. All the characters are playing a game, and that game is called Survival. Everything is opposite, time is running backwards, and you can’t have your freakin’ jam today. Translation: nothing is at it seems, flashbacks of the past are keeping everyone from moving forward, and the things they all want most - love, family, whatever - they can’t have them today. All those things were in the past, the things they left behind after all the choices that they made. Or all of those things are in the future, waiting for choices to be made. But today - everyone is just trying to keep playing the game to stay alive.

The thing about truth, about perspective, about people, about the characters, is that they can only fully understand their own truths. They are defined by their truths - by the life they have lived and the choices that they have made. And these truths can be altered, even if it seems wholly impossible. Because all it takes is the idea and the will to challenge the foundation of one’s entire existence, to deconstruct it, and lay a new foundation built from those things that they had wanted most that they had left behind. Change, choosing who you want to be, rather than what you were shaped to be - it all seems hopeless. But Alice used to think that impossible things were impossible, too.

Alice: There’s no use in trying. One can’t believe in impossible things.
The White Queen: I daresay you haven’t had much practice. When I was your age, I always did it for half-an-hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast.

"Impossible" is as relative as the truth because one’s own truth defines their willingness to believe in the utterly impossible. And when you live in a world of the supernatural, of monsters, of demons, of angels - a world of the impossible - you have to believe. And therein lies hope for our protagonists.

Supernatural is about storytelling. And each story you hear will be different because the framing of each story is dependent on the storyteller. And the storyteller is the product of their truths, of their lives, of their perspectives. The storyteller is shaped by the past that they’re running from and the future that they can’t yet conceptualize because they’re just trying to survive today. But eventually, the show must go on. Eventually, they have to learn that surviving ain’t living. They have to find faith in the impossible and find their truths as they are written in the stars and across the hearts of those who pull them back from the edge of the desolation of the weight of an existence that was never meant to be theirs. They have to believe. They have to have faith in themselves.

THAT is why I love season ten. THAT is why I love Supernatural.



maybe you’re great at telling them or maybe you just like reading fanfic or fuck i don’t know maybe you’re absolute shit at writing endings or maybe you don’t really consider yourself anything special when it comes to writing but you do it anyway cause it’s fun and something you enjoy well lemme tell you something friendo have i got a site for you. and i do mean you specifically, individually, as in i don’t know a single person on this nerdy ass website who wouldn’t get some kind of enjoyment out of this

wiplit is an open-ended, collaborative storytelling engine with infinite possibilities.  write a beginning.  any beginning.  then watch as people like you take that infinite potential and fill it with story.

the site just entered its open beta period and it needs users!  if you’ve got a handle you want to snag this is your lucky day, and if you’ve got the spark of a story inside of you, this is your chance.  i mean man, i enjoy a nice full-bodied meme and all, but i honestly think this kind of massive creative collaboration could be the start of something completely new for people like us on the internet: a bridge between storytelling and social networking, like a digital campfire that we’re all huddled around just waiting to hear the first words of the evening

cmon nerds get in here and tell some stories with me

(oh yeah and a reblog would be appreciated yo, let’s get the word out)


Episode 15 of One Time is one of my favorite videos on the Internet (and not just because the prompt was my idea!). Curated by Leslie, featuring:

Nancy’s Reads -…
ItsRadishTime -…
Chris Sanders -
marinashutup -…
Mike Falzone -


STORYBOARDS! Monster High “Freaky Fusion” 

When we were working on this film, I really wanted to work on this sequence and greedily, took it for myself, to see if I could storyboard a romantic scene.

Here’s the set-up: So Frankie is all upset about her heritage and wondering whether she is just a piece of parts  - since she is really just made up of different human’s body parts… does she have a soul?

In the script: (it was a good solid script btw) the things written were the dialogue, and the actions of Neighthan approaching, Frankie grabbing Neighthan, (but not the pop-off hand bit), and then Frankie electrocuting Neighthan. From there, it is my job as a storyboard artist to bring this scene to life so that it is just not a bunch of ‘talking heads’

INTERPRETING THE SCRIPT: here’s how I decided to visually depict the words  on the page.

I set up the super-wide shot to show Frankie really small in frame - really show that she is feeling ‘small’

Neighthan, the ‘love interest’ approaches her and tries to strike up a conversation with her - as ‘love interests’ should do. Frankie isn’t even thinking of romance at this moment, so I had her physically leave the side 2-shot and create physical distance from Neigthan… with their dialogue continuing over the extreme wide-low-angle shot of the set - for even more ‘distance’

She does come back to continue her conversation and at this point I also wanted to reiterate the romantic possibilities of the moment by surrounding her in ‘Twilight-esque’ string lights and candles

She moves back to Neighthan and when she actually refers to herself as ‘parts’ I had her look at her hand and I made it  ’pop off’ and start to stroke Neithan’s hair.  This was for a reason.  Her hand could be the ‘catalyst’ to spark the romance -  to awaken Frankie to this person in front of her, and get away from from her introspection. This seemed in-line with Frankie’s character, it seemed like something her ‘hand’ would do.

She again breaks free, separating herself to continue her self-exploration, and when they sit up against the wall, I had Frankie slam her ‘hand’ down onto Neithan’s hand. This again would give her ‘hand’ an opportunity to awaken Frankie to the romance… she finally notices what is happening, and her sparks fly… electrocuting Neithan in the process.

She goes to see if he is alright, and he awakens to finish their conversation… we finish on a shot of Frankie and then the wider shot of the set, including a ‘heart shaped’ whirlpool of lava.. and close out scene, ‘bookmark it’ the same way I started it, with a wide shot of the environment and bats wiping frame to black. :)

i love how fans act like there can be no in-between for artists: either you must have had everything planned 100% from the beginning and never deviated at all from that ~master plan~ or else you must have planned 0% of anything because clearly planning nothing is the way an entire animated production can get made

did it ever occur to people that, oh gee, idk…shit could be somewhere in the middle? that in fact a perfect balance in art-making between planning and letting your story lead you forward in unexpected directions you never originally imagined is the key to successful storytelling? crazy thoughts, huh…

Congratulations to all the Sundance supported 2015 Golden Globe nominees, including Ava DuVernay for Selma.  DuVernay becomes the first African-American women to receive the director nomination.

DuVernay premiered Middle of Nowhere during the 2012 Sundance Film Festival, where she won the Dramatic Directing Award.  Actor David Oyelowo, who starred in Middle of Nowhere, is also nominated for a Golden Globe for his portrayal of Martin Luther King Jr. in Selma.

Check out a 2012 interview with DuVernay discussing Middle of Nowhere and find out more on the 2015 Golden Globe nominees here.

Photo by Clayton Chase / WireImage


+++ Limited print edition available in online auction now +++

Just follow this LINK
or just drop me a line to info/at/ hoploid /dot/com


"Horatio" the Gold-Pug

A Gold-Pug is mythical creature - half koi/goldfish, half pug.
It is an important character and magical animal in the story:
"Es klingt so wild und dunkel"*
* The story is one of four and part of the “It´s A Quest, Baby!”-Project.

Linocut, limited edition #1 of 19 prints, each one a unique copy,
printed with golden letterpress/relief ink:

- 10 prints on black cardboard 220g/qm
- 3 prints on dark red cardboard 300g/qm
- 3 prints on petrol cardboard 300g/qm
- 3 prints on slightly structured and striped wallpaper

 for sale, framed or unframed, available on request.
Find out more about the project and the print production process.


/// For VISUAL INSPIRATION in illustration, graphic design, packaging, art and a lot more … just follow HOPLOID ON TUMBLR.
Thank You! ///



Artist statement: “My paintings are psychological landscapes and emotionally complex narratives. I combine references to art history, pop culture, natural science and personal chronicles to represent the conflicts of life. The titles are important elements. Like me the stories are at once funny and sad.”

Visit Anna’s website to learn more about each work. Find Anna and MP on Facebook here and here.

“When analyzing literature, theorists and critics often talk about the “contract” that is made between author and reader when a reader picks up a book. It’s a promise implicit in every work of fiction: read this and you will be entertained. What form this entertainment takes depends on what kind of book; it might be informative, thrilling, hilarious, inspiring, terrifying, or any number of experiences. But it must be entertaining or the reader will simply put it down and move on.

The same principle holds true for film and, of course, for video games. But with video games, the need for player interaction adds an extra dimension to the promise made by the medium. The promise is not simply “this game will provide you with entertainment,” but also “you, the player, will help shape this story.” This ‘shaping’ of story can be as basic as determining whether the hero succeeds or fails, or as complicated as choosing what pixel to place where in an infinite digital space.”