feel free to use if u want i guess

That man was once a king,
Until he lost everything.


happy birthday @mattsmartin!!!  ❤

(six 720x1280 toronto maple leafs phone screens, feel free to use even if you aren’t the wonderful elise)

ectopic-constellation  asked:

Howdy, I found a couple of old notebooks about a year ago and it turns out I also had nightmare demons (and candy demons idk what I was thinking there). I was planning on redoing the species but when I found you on youtube I didn't want people to think I was copying you. They aren't very similar to yours but would you feel offended if I built on my silly ideas I came up with when I was about 8? (Sorry for typos if any)

i guess haha as long as you didnt use my species as a building block or anything haha 

i cant guarantee what other people will think tho so just dont be surprised with accusations o3o but feel free to link them to this ask if u need to lol 

Seventeen’s reaction when you ask for a piggyback ride

🐳 ~ We make BTS, EXO, 2PM, SEVENTEEN and GOT7 reactions, scenarios and outfits so feel free to request. –> reactions & outfits//scenarios


Penguin // Admin Sage // Me(Admin Mary)


“get on princess”


“sure jagi”


“you have been watching too many k-dramas again, haven’t you?”


“did you say piggyback?”


“Of course jagi!” *u r mingyu*


“i.. guess…”


“the one that usually gets piggybacks is me but i guess there is a first time for everything.”


“sure, you cutie!”


m:“first woozi hyung, now you. no thanks.”

u:“but i want a piggyback ride” *gif*


idk either:



“i don’t see why not”


“how about a kiss instead?”


“hop on” *shy shy*


“can you give me a piggyback too?” i dare you to say no

*i don’t own the gifs**


anonymous asked:

i HECKING LOVE ur "hp & the future he doesn't want thanks" fic so fricking much!!! it's perfect!! i want to read it forever!!! the character dynamics r perfect and ur dialogue is A1 and ur luna is actually who i aspire to be. legit i ask myself would seefin's hp and the future luna do this? if yes the i do it no questions bc she is how i want to live. thank u for sharin ur gift with us plebs we're all the better for it

Ahhh this is so sweet!!!! Thank u so much!! Did u know that right now I am in the process of writing a harry/draco/luna/neville polyam fic in that… universe? I guess? Obviously u can feel free to ignore that if it’s not ur thing but it’s going to be really cute xoxoxoxo

Animating my OC!

It’s progress! I’m still not done rigging everything, but I decided I want to test it out before I go further to see if I rigged things correctly!

This was done in Live2D 2.1 (trial), and I plan to do animated commissions in the future! I would love to know if people would like animated commissions so feel free to message me if you’re interested so I know if I continue down this path? I just lost my job and I really, REALLY need money ;u;

If people ARE interested I’ll be using my OC as an example and I’ll start as soon as I finish this! If not, I guess I’ll go add this as portfolio material and find a job online hng. I really love animating and breathing life into characters and I would love to animate other people’s OCs in the sometime honestly hnng.

So, yeah, tell me what you think? Also reblogs are extremely appreciated so I would know if people are interested hnng.

An Interview with Chris Corner of IAMX: His Project, His Vision, His Life

U: Right off, I want to start talking about Everything is Burning, your latest mini-album. In what way is this a continuation of your last full LP, Metanoia, as is suggested by the title?

C: It was basically, the songs that were written for Metanoia–I had too many songs, and these are the outtakes from that album. It was such a special album for me; it was a very personal journey that it felt like those songs needed to still be a part of that era and to be connected with the emotion of that album and to basically finish off the story of that record. So, it was important for me that they weren’t seen as a separate entity, that they are a continuation of that record. Kind of like a completion of that era.

U: Did you have any more songs other than the seven that you released?

C: I did. I had a couple more, but I think that it was enough. I mean, it was meant to be a mini-album, just a small addition to what was already out there. But then, management had the idea of putting on the remixes there, so I let them get on with that.

U: Could you elaborate on how the title relates to the songs in this release?

C: Well, Everything is Burning is the title of one of the songs that was actually going to be on Metanoia. It’s pretty much self-explanatory, a sort of observation or reflection of the state of humanity and the world and how that related or fed into my own illness, my own struggles with depression, anxiety, and that’s basically what the whole of Metanoia is about. Going through a dark time coming out stronger through the other side. Everything is Burning is just one piece in the puzzle of a more angry side of the project.

U: Angry?

C: I guess angry, yeah. Disillusioned, angry.

U: Well I definitely notice more screaming on this release than on your past releases, which leads to my next question. Metanoia, meaning a change in mind or an inner transformation, suggests that you have had a personal change. Is the concept of everything burning a part of that change you had in the making of Metanoia or is it another change, a post-Metanoia change?

C: It is post-Metanoia, but I think it’s the resolution for me; the completion of the change. When I wrote Metanoia, I was still dealing with the aftermath of the problems that I’ve had and part of dealing with the problems is writing about the problems, discussing the problems, having therapy, whatever you have to do. That was a long period for me. it was about two, three years where I didn’t really write. I couldn’t be creative. I was in a very dark hole. Being able to complete Metanoia–or, well, finishing the record–was the beginning of my recovery. I would say that Everything is Burning is the endpoint. Well, endpoint suggests that it’s never going to come back, but it’s more–for this time, it feels like the resolution of that change.

U: Since you mention that, I wanted to discuss the album cover. We see a face hidden in smoke, presumably portraying the meaning of the title. But if that were the case, would ‘Everything’ refer to yourself, as in possibly saying you are the one burning–the one maybe suffering–or something along the lines of that?

C: Yeah, I mean that’s integrated into the meaning. I think the frustration or the depressive feedback that you get from observing the world when you’re in a sick state, when you’re in a difficult state, it makes things worse. You become hypersensitive to watching news, you become antisocial.

U: It almost makes you hate the world.

C: It does, but because you’re so focused internally–I mean if you learn to avoid “triggers,” then you can slowly come out of that illness. It’s totally possible. But, the thing about the idea that it’s internalized–the personal burning–is also true. That is what was happening. It’s compounded by the world outside. So you do have to switch off and internalize it. You do have to repair yourself away from the rest of the world.

U: How did the design for the cover come about? Who made it?

C: It’s actually a picture by a French artist who we contacted cause we really liked her artwork. She does only self-portraits. She’s called Laurence Demaison. She does very unusual self-portraits. That’s her self-portrait [in the album cover]. She does quite elaborate setups with analog photography and it’s all self-taken. She’s very creative. We loved them. We asked her if we could use some of her stuff and she said yes, so basically we used it for the whole campaign. The picture on the front of Metanoia is also her. She’s a very interesting character.

U: Did that influence songwriting in any way or was that after the songs were written?

C: It was around the same time actually, and I could see in her art that she was also a very introverted, frustrated, also humorous person. I felt a real affinity for her work. It didn’t specifically influence what I was doing, but it definitely complemented what I was doing.

U: Speaking of complementing things, I want to switch over to the second half of Everything is Burning. How did you get in contact with the artists who remixed your songs? Did you pick out these artists specifically or did they contact you?

C: Some contacted me. Sometimes we contacted them. Often, it’s a very relaxed thing. It’s not like big record label contacts big artist and pays big money. It’s very much who we know and who we like and who likes us. It’s very important for me that the person understand the music, wants to do it and isn’t doing it for the money. So, the collection of artists is people that we do connect with.

U: You have someone like Gary Numan on there, who is a legend in the electronic scene.

C: He is a legend. He’s actually become a friend. He also lives in L.A and we’ve been thinking about collaborating on some level somehow and I asked him to do that. He loved the song, so he wanted to do it.

U: Are there any sounds that you wanted to experiment with or explore for this mini-album? I know you mentioned these were outtakes, but would you say the process for these seven songs differed from the others in Metanoia?

C: With Metanoia, I felt I had to go back to my electronic roots a bit, simplify my setup. I was very antisocial at the time, so I didn’t really want to collaborate. I didn’t want to do any recordings with anybody else, so I did it all myself in the box, you know, in the computer. So, a result of that was that it had a much more electronic sound. With this, I picked up a guitar again, and I started to add some acoustic guitar, some electric guitar and be a bit more free-form, or organic, with the recordings. I guess it’s a little bit more expansive in its sound than Metanoia was. Maybe that’s the difference.

U: Going into live performance, how would you describe the relationship between yourself and your audience?

C: I feel like it’s very close. It’s very intimate. Maybe it’s the music, maybe it’s me as a person, but I like total honesty in people and I want to see the truth in people when they come to the concerts. I don’t feel like there has to be any barriers or walls between us. I mean, people like to dress up, people like to kind of escape reality for the day, just like I do, and that’s part of the ritual. That’s part of the dance that we have with each other.

U: It’s cathartic.

C: It is totally cathartic, and I love that side of things. You really sort of transcend reality. I think we all know how to connect on that level, so I want them to be moved in a way they can release their inner beast in the same way that I can onstage and that’s very important to me. It is very intimate.

U: I like that word, 'beast’.

C: Yeah, it’s how it feels all the time. It’s in all of us and I think if I can provide a platform for people to release that, then I’m very happy with that.

U: Seeing as how you’ve lived in Berlin and London before and now you’re living in L.A, how do American audiences contrast to that of European audiences?

C: I think they’re [American audiences] a little more, not naively enthusiastic–I think that’s the wrong way to say it–but just generally, it’s in their genes to be more enthusiastic about things. I feel that there’s this sort of energy, this 'go get them’ kind of positivity, which, for a European, is very attractive, particularly if you live somewhere like Berlin and it’s very dry humor, almost humorless.

U: Stern in a way.

C: Stern, yeah. Very direct, very cold and that can be quite sexy, but over time, you become a little bit worn down by–

U: The seriousness of it all.

C: Yeah, yeah. I’ve always loved coming to America. I mean, I’ve had some great times and bad times and I used to actually hate L.A, for instance, which is ironic because I’m living there now. (laughs) I think, because when you tour, you dip into it very lightly. You see the plastic, empty, soulless nature of it. You only skim the surface and the more I went back there the more I saw that there was a much more deeper side to it that now I’ve tapped into and I really love.

U: It’s like you need to get drenched into a culture in order to understand it.

C: Yeah, you need to be there for a long time and to really get to know people, to know how things work. You know, the industry is full of bullshit as well; it’s everywhere. At least L.A people are honest about the fact that–

U: They’re pretentious.

C: Yeah, exactly. So I like that part of it and touring in America is quite refreshing as a European. It’s a lot of fun here. And I’m not saying I don’t have that in Europe, but it’s very different. America’s huge, but there’s a common mentality and you go from state to state, which, in Europe, is like country to country. You get the same kind of buzz. In Europe, you go from one country to another and like, you go to Amsterdam and people go like that (claps monotonously), and you go to Russia and people are going insane. So, it’s emotionally more of a roller coaster than it is in America.

U: It’s a bit more stable here.

C: Yeah.

U: Now, you’ve said that your audience preference is more intimate, but how do you feel about festivals? Do you think the preference in audience, whether big or small, has anything to do with the impact of the show?

C: No, for me it has nothing to do with it. That’s why I still tour, because it doesn’t really matter about size. In fact, size can be horrific for someone of my sensitive nature. I don’t like–actually I hate festivals, to be honest. I always did, I always will.

U: Why is that?

C: I think it’s because the speed of things–the turnaround is always quick, so you don’t have much time to get onstage. The atmosphere is often one of slightly aloof competition, in terms of musicians backstage, because there’s lots of different bands at various levels, all kind of looking at each other. It’s not like, we don’t all sit backstage and, you know, 'hey guys, how are you doing’–it’s not like that. It’s quite cold. I don’t like that side of things, not because musicians are bad, but sometimes they can’t break down that barrier to connect. I’m better than I used to be, but I still have difficulties with that. I don’t like the idea of getting out there and having to win people over. I do like my crowd. It’s a safer thing for me and I do love that they understand, that they know the history and what it’s about. Sometimes festivals can be amazing, because you gain a lot of followers and you tap into something you could never tap into. That’s great, I understand the business of it, but it still doesn’t make it any nicer for me. I don’t like it. It’s a quite cold experience.

U: Yeah, I mean people might not be there specifically to see you but maybe another act.

C: Of course, yeah. They might be curious, which is great, you know. You come, some like you, some don’t like you, whatever. I think it’s because you can’t read them, and I love to read. I guess I often see or I expect the worst in people which is bad, you know. It’s a part of my nature that I don’t like, but I have done that all the time and I think that they’re thinking negative things unless they show me that they’re not showing me negative things. That’s just a part of my insecurity. All artists are insecure anyway.

U: To conclude the interview, I wanted to know what your assessment of IAMX is, seeing it transform from how it began to how it is now. What do you see in the future of the project?

C: IAMX is a complicated project, because it doesn’t feel like a project. It feels like my life, which isn’t necessarily healthy and it hasn’t been healthy in the past, because it’s become quite difficult for me to connect and have a life outside of this thing. I got better at that recently. I got better after I had a breakdown basically. (laughs) It took a crisis to get me to a situation where I thought, 'okay, I need to slow down, separate myself from this “job” and have a life as well.’ And that was good. I did that for a while and now I’ve come back to liking what I do even more, which is great, so that’s a really positive thing. It’s still quite overpowering emotionally, because it is very private and personal–the stuff that I’m talking about most of the time. You know, sometimes I’d like a break from that. I don’t want to be thinking about me all the time; I’d like to be thinking about something else. Playing guitar in somebody else’s band or something like that. It might be quite cool. But in the end, it is my form, my way of connecting with humanity and being accepted and loved and making myself feel good about myself–all of those things. I would be lying if I said I didn’t love it, so that means I do love it. I still love it and I think I always will. I will probably always do it. You’ll see me wheeled onstage at some point. (laughs) Yeah, I’ll still be doing it when I’m 80 years old or something, because, I mean–it’s a way of life. It’s nice. It’s not just a job.

U: Trying to visualize you in a wheelchair. That would be a sight to see.

C: (laughs) That would be a sight to see. Maybe we can integrate the wheelchair into the setup somehow.

U: Yeah, make it a bit industrial or something.

C: Yeah, yeah, industrial wheelchair. Lots of lights flashing on it. (laughs)


I made them for this blog but I guess I should upload them because it took forever to get this l guess I should upload

Transparent Shinya for all your transparent Shinya needs, feel free to use, credit me if u want


notice: these commissions are still open but i am planning on re hauling this sometime soon! hopefully to include gba fe style portraits and with newer examples!

its summer and i dont have a job right now. and i feel like im good enough to open commissions so let’s get this party started.

my email is jadesnap@gmail.com, email me any references, preferences, or anything else you want. this is all that’s available right now! i don’t think there needs to be much more, though. 

interactions between characters are good too! don’t feel discouraged since i didnt put any up as an example. i’ll update you on progress/ask you if it’s lookin good via email. 

i will scan and clean up traditional copic drawings. these are the drawings i use for my stickers! 

you have free reign to do whatever u want with it like go wild. 

once again, my email is jadesnap@gmail.com. currently i’m only gonna accept payment through paypal. MY EMAIL FOR THAT IS (you guessed it) jadesnap@gmail.com

(if you want more references my art blog is over here!)

Here’s an A/U idea that I couldn’t find a plot for:

Ever since Dipper was a kid, he’s had trouble with nightmares and sleeping. Of course, his parents worried and tried everything to help him, but Dipper just would not sleep sometimes. Then, one day he gets so sleep deprived that he just kind of flips- completely different personality and behaviors and insists that his name is Bill.

And Bill, well, was a hazard to himself and others; pouring soda into his eyes, throwing himself down stairs, and being creepy. But, as soon as he passed out he became Dipper again and didn’t remember anything he had done.

As long as Dipper got plenty of sleep, Bill didn’t make an appearance. Dipper started to take sleeping meds to keep Bill away (though he kept having nightmares). Dipper just began to think of it as something of his childhood, like he had done it for the attention or something, and forgot all about Bill.

But, then he goes to college… and while trying to keep up with the course work he starts skipping his sleeping pills. Guess who’s back? Bill. And Dipper gains the reputation of being the guy who gets really weird when he doesn’t sleep enough.