Fallout 4 trash bin doodle dump! A disgusting amount of this–okay, like 100%–is my OTP(s) and sketches in relation to an AU plot-baby @lady-of-rohan and I have and talk about pretty constantly, flip floppin’ from fluff to angst like there’s no tomorrow. I’m going to keep coming back to this like a goddamn drug! Comments/descriptions included in each pic.
so I haven’t played a Pokemon game since like the first iteration of the Hoenn region, but I’ve managed to keep track of the geeeeneral storyline of each generation because of what each new evil team has wanted to achieve. like I’ve seen people blog about it, vague mentions here and there online, etcetera
for the life of me
I cannot figure what in the Hell the goal of Team Skull is supposed to be
the only thing I’ve been able to discern about them is that they’re constantly rapping and breakdancing. is this their evil scheme??? take over the world with breakdancing??? I just
@cluelessnutter it’s not precisely what you suggested, but it’s along the same lines so I hope you like it and thank you for the request!
Spoiler-free, 10+, romantic fluff :) I used Cheritz’s naming convention of not-quite-the-brand-name, see if you can tell what games I’m referring to, haha ;)
get sick if you eat the dough before I’ve baked it!”
Seven guiltily removes his hand
from the bowl and licks the dough off his fingers. “It’s really good, though~”
he says, smiling. You move the bowl farther away and motion with your fingers
for him to back up.
“You’ll ruin your appetite if you keep eating,” you say. “And after I’ve put all this work into the meal, too!”
Yoosung returns from the living
room and gives Seven his best withering glare. It’s not terribly effective. “Are
you bothering her?” he asks.
Seven grins and holds up his hands
in mock surrender, then notices there’s still a bit of cookie dough on his
finger and licks it off. “Nope~” he says.
Did some concept art and colour keys to figure out how my shot will look for @gemanimate! I had the honour of taking part in the first iteration of Gem Animate where I focused on fluidity of the animation and cinematography. This time around, I want to work in a flat, graphic style and push the design.
Manufactured in the 1870′s by Webley & Scott - serial number 27970. .455/476 Enfield six-round cylinder, double action, pivoting captive ejector rod and side loading gate. The new model is easily distinguished from the first two iterations of the Webley RIC revolver by looking at its fluted cylinder, its elongated barrel and its knobby ejector rod.
What Makes the Stones the Stones aka Stones vs. Beatles
The story is the stuff of rock and roll legend. Two old school friends run into each other on the London tube. One has a stack of records under his arm. The other can’t believe that they are the same then-little-known blues and rock and roll records with which he is obsessed. They get to talking and soon, with the help of a few new friends, a band is formed. We can all thank the fates that Mick Jagger and Keith Richards got on that train together.
In 1962 the first iteration of the “Rollin’ Stones” played their first show. The next year, the band’s original line up (Mick Jagger — vocals and harmonica, Keith Richards — rhythm guitar, Brian Jones — lead and slide guitar, Charlie Watts — drums, Ian Stuart — piano) found its groove. Performing covers of American blues and rock and roll songs, the Stones cultivated a following in London. They soon found themselves recording and signed to a label. Confronted with what songs to release, they regularly made decisions that, in hindsight, provide a neat contrast to their main contemporaries, and rivals for the spotlight, the Beatles.
It is impossible to understate the cultural impact of the Beatles. The first boy band. Beatlemania. The Ed Sullivan Show. Four scrappy lads from Liverpool with a love of 50s rock and roll introduced a whole new generation to the hip-shaking truth that Elvis first brought into popular culture. But their innovation was that they did so in a way that not only made teens scream, but also let parents (the hipper ones anyway) tap their toes too. Songs like “Please Please Me” are the kind of harmonizing, major-key rockers that made the Beatles a force to be reckoned with. The title also offers the kind of clever twist that make Lennon/McCartney one of rock and roll’s premier songwriting teams.
In contrast, the Stones put out altogether swampier, rootsier, and more deadly material. Even their more pop-oriented fare had a different edge (“Let’s Spend the Night Together” [more overtly sexual] “Mother’s Little Helper” [the horrors of suburban life laid bare] “It’s All Over Now” [a song about love that also summons the apocalypse in its title]). Released only two years after “Please Please Me” the Stones’ cover of Howlin’ Wolf’s “Little Red Rooster” — to this day the only blues song to be number one on the charts — is everything the Beatles are not. It is slow, sinuous, and features a solitary vocal presented starkly against a slinking, unsteady slide guitar. As is so often the case with the Stones, as a counterpoint to the molten menace on top, there is an undeniable groove underpinning the whole ramshackle structure with Richard’s rhythm guitar melding perfectly with Charlie Watts’ sparse drumming and Bill Wyman’s tasteful bass.
The videos of the Stones performing “Little Red Rooster” provide another window into how they differ from the Beatles. When the Beatles performed for television, they were united. Brought together by their similar haircuts and matching suits, they bopped along amiably and wore their electric guitars in matching poses. Paul McCartney’s left-handedness meant that he and Lennon looked even more perfect; mirror images coming together to sing harmony parts and splitting into flawless reflections of each other on either side of the main microphone. In interviews, all four were affable and, while potentially snarky, always goofy and likable.
The Stones by contrast were a much surlier and more rag-tag bunch. Keith Richards has said: “You either wear the white hat or the black hat. They wore the white so…” This makes it sound like the band had no choice. The truth is the black hat fit more naturally on the Stones. There are two illustrative videos of the band performing “Little Red Rooster.” In one they are crammed together on a tiny “stage” surrounded by hip teens. Keith is playing a big acoustic guitar that he struggles to find room for, and Brian Jones has an electric that looks like it flew in from space. Mick struggles for space in the center, selling the lyrics with flicks of his expressive eyes, and Bill Wyman looks like a statue off to the side; one that happens to play bass. The group has no natural visual cohesion. They are shoved together by happy accident, the ties that bind them, strictly musical.
The other video of “Little Red Rooster” is much starker, almost shocking. The camera opens on a dark soundstage. Tree branches flicker in the front of the frame as mausoleum doors swing open. Mick Jagger stands alone on a blank set that is dimly reminiscent of a nocturnal graveyard. The camera swings down from its starting height and comes to fix on his face. As it moves in we see him lazily flipping a harmonica over and over in his hand. In that moment it may as well be a switchblade glinting in the moonlight.
The rest of the video is almost entirely focused closely on Mick’s face; the sole spot of light in the deserted studio. The band are revealed only as barely-lit specters at the very end of the song. Jagger throughout always knows which camera is on him at any given time. He switches his gaze between them effortlessly. Every hint of innuendo and danger in the lyrics is made explicit (but not cheapened in being revealed) by his subtle gestures and movements. This is not the Mick Jagger that dances across stadium stages, but the communicator. In this video, the enigmatic storyteller who can deliver any lyric, shows himself.
Imagining the Beatles even attempting something like “Little Red Rooster” is impossible. Envisioning any of them doing what Jagger does in that video is equally impossible. The Beatles and the Stones have many similarities. It would be foolish to deny that. However, there are also significant and important differences between the two bands. The Beatles, Liverpool boys from a working class town, and the Stones, middle class art school drop outs from soon-to-be-swinging London, were on similar but increasingly divergent paths. Thrust together by popular music’s appetite for opposition and their respective manager’s desire to cash in on the success of the other, the band members never harbored any animus towards each other. Even on their earliest recordings, the elements of what make these two pillars of contemporary rock and roll so wonderfully different were present. The Beatles had an ear for harmony and looked to early rock and roll to find their greatest inspiration. The Stones had an innate talent for drama and danger and found the blueprint of their voice in the work of delta and Chicago blues men as well as the harder rocking elements of the first wave of American rock and roll. These two starting points are what lead these two bands made up of men of similar ages with similar interests to, by 1969, record albums as exceptional and different as Abby Road and Let it Bleed.
They’re an old villain concept that I never really worked out–I guess you could say they originally belonged to the veeeeeery first iteration of Killjoys, when it was a LOT more fantasy based. Even though the ideas behind this character don’t translate too well to the current story, I like em too much to leave out in the cold.
Used almost all of this groovy floral to make this coat…which actually fits better over…well…over that bodysuit…but I decided to go ahead and try out the first iteration of the next Curvy pattern I want to share, a pull-on tank dress. (The velour is a bit…bulky…) And look, the coat has pockets!
Omg so I spent a few hours before giving up on my programming hw (bc I couldn’t figure out damn templates ) and just never turned it in (it was due last night at midnight) but my prof sent out an email saying that book problems with templates can be simplified so
alvin and the chipmunks is so goddamn weird. there’s been reboot after reboot and the fact that their first iteration looked nothing like chipmunks just makes everything even more convoluted.
in all honesty if i had to pick my favourite designs it would be the original for the almost UPA aesthetic as well as the live action CG movies. as terrible as the movies are, its the only version where they actually look like rodents and not some creepy furry toddlers.