Hello there~ I guess i have to ask you something. i browsing your blog from the beginning to now and noticed the breasts size growing everytime if you got more follower....I mean sure i like big breasts , too. But doesn't it hurting your charackters ? I mean The weight of the boobs hurt the back and i don't like to see anyone get hurt. That doesn't mean you have to stop drawing big Boobs, i just want to say every size have his own pro & cons and i prefer the healty size, cause i care about girls
nico’s skeleton is remodeled for her mecanical part and big boobs,
candy is creature from outer space,
nora and tina are devil and angel,
so , you guys don’t need to worry at all ^_^
The Last Airbender, The Legend of Hercules, Splice, Con-Air, 2012, Face/Off, Hansel and Gretel: Witch Hunters, The Happening, Knowing, Battlefield Earth
Anaconda, Grease 2, Mario Bros, Rock-A-Doodle, Kazaam, Volcano, Street Fighter, Mortal Kombat, Teenage Mutant Ninja Turtles 3, The Hobbit
Howard the Duck, Mega Shark vs. Mecha Shark, Dragonball Evolution, Mac and Me, Camp Blood, Flu Bird Horror, Titanic: The Legend Goes On, From Justin to Kelly, Tommy and the Cool Mule, Sex Lives of Potato Men
Vehicles as physical terrain and a chase in three dimensions
Much has been made of the brilliance of director George Miller’s decision to create such a high-concept action film, but the mechanics of how he’s done that are even more breathtaking than the fact he dared to do it at all. Miller has taken the physical tropes of action films and re-imagined each one of them.
Instead of being a linear trajectory, the standard high-speed chase becomes a complete cat-and-mouse at one point, when the pursuer abruptly becomes the pursued. Instead of having a single threat from overhead in the form of an aircraft, Miller engineers a jawdropping sequence involving tall, swaying rigs on moving cars to create the harrowing, chaotic effect of innumerable villains dropping out of the sky. The chase ultimately extends off the ground and becomes the equivalent of the kind of three-dimensional battle you’d expect from Star Wars.
And instead of a standard “fight-on-top-of-a-train” scene, Miller deconstructs and uses every part of a moving semi, while the camera moves in, around, and under high-speed vehicles with a fluidity that makes the cars themselves feel as though they’ve become a physical landscape.
Who killed the world?
Like the original Mad Max trilogy, Miller’s dystopia is drenched in political commentary, but while the film’s feminism has recently taken center stage, its environmentalism is far more strident—not in the least because its message of a world ruined by hopeless dependence on oil comes just days after the U.S.authorized the beginning of drilling in the Arctic National Wildlife Refuge, a hotly debated issue that’s been the center of four decades of controversy. “Do not grow addicted to water,” Immortan Joe tells his parched people, “lest you start to resent its absence.” Nothing will grow in once-lush spaces in the Wasteland because Immortan Joe has pumped the water away from its sources and poisoned the soil through fracking. Fury Road is so overtly moralistic on the subject of conservation that the urgency of the chase eventually seeps into a kind of metaphor for climate change, in which humanity is racing barely ahead of its own environmental destruction.
Tumblr I want to quote all of my Mad Max review at you. It’s so important. Please everyone go see it, go send the message to Hollywood that we can have strong, solid action tropes as well as complex female characters with so, so much agency over the plot and themselves, and that these things can exist together to make stories that much stronger.
Ang sakit lang kapag yung taong mahal mo, may dinadalang problema pero hindi man lang shineshare sayo. Feeling mo ang wala kang kwenta mo, feeling mo hindi sapat yung pagmamahal mo sakanya. Nakakalungkot lang, bakit kasi ganon.
the purple veins of an orchid
mist clinging to pines
the dip in the waltz
a geode cleaved in two
tunnels thrumming their pulse
lungfuls of winter wind
the dusty burn of smoke two streets over
an invasion of fireflies
fields with moonlight beating down
picnics caught in the rain
and petals in the hair
stones glistening at low tide
sound waves from outer space
and ink smeared palms
a warm shoulder in the dark
and the snap of a wind-ruffled sail
rooted yet rootless