At the party this little girl said to my baby sister,

“I’m gonna marry him…” very softly while pointing at me, but to her agony, all the other little girls heard her and started fighting over who was gonna marry me.

Little girls are so cute when they get together.

Time flies...

Thinking my usual circuitous thoughts..
Over the last six months I’ve cut off or cut out alot of people, places, things that were hurting me.
While it is definitely a bit harsh, it had to happen. I will continue being the brute that I am, continue refining my little place in this world.
Sometimes you just have to save yourself, ya know?


Bakugou Katsuki | Quirk: EXPLOSION |
Happy Birthday to my sweet Fay bby! ( @yuuchiroz )

Thank you official art. Thank you.

First of all, yeah mate Sarumi is not cannon we all know so stfu. Take your salt home with you. Let us appreciate the lovely official arts and drama CDs etc with our little ship trashes in our SMALL WORLD (❤️)

In the latest official illustration of Spoon 2Di, these are a few things we should get noticed:
- pattern on their outfit is Dragon (Saruhiko) and Phoenix (Misaki). As a Chinese person who just got married I can 100% verify that this is what we used in the wedding ceremony. The groom’s side always decorates with dragons, and the bride’s side decorates with phoenixes.
- Saruhiko and Misaki are wearing one earring (or a ear cuff, because it didn’t show properly if they actually got a piercing, or just a clip on/hung on ear accessory) each, right and left respectively. On that thing, it’s a 囍 symbol. Again we use this in Chinese weddings. You can say this is a Chinese New Year theme so that’s why they use this symbol because apparently it’s popular. No, we don’t use this in CNY. We use 福 or 發 meaning fortune and wealth.

Now move onto the art from Animage Sweet,
- they are bare feet. I haven’t actually seen them taking their shoes off in any arts before (except the Onsen one where obviously you have to). This is what you’re like at home. Bare feet.
- the mugs. Again they are using the same coloured mugs like what they were using in middle school, in that small apartment. But now they are using one with their clan logo on there, not even annoyed at each other. They have grown up, moved on, admitted that their clans are where they belong, understood each other’s need and build a peaceful relationship again. I love this development of them. In the past they would probably break each other’s mugs and fight lol.
- the necklace Saruhiko is wearing. Well this one is not 100% because basically it’s just necklace with black stones/gems. But I will happily take this. So some people on Twitter find out that this black gem is for “marriage harmony”. It’s to give courage to face difficulties and overcome stress, and also to maintain a relationship’s balance and harmony. It’s very popular among married couples.
- that outfit. Same material and style. This fuzzy fluffy outfit, that I’ve only seen Saruhiko wearing them (eg. Otomedia Valentine’s Day illustration). Now for the first time Misaki wears it, different colour, same pants. Did I hear boyfriend outfit or couple outfit over the other side? LOL

Well, again these are only my headcannon interpretations from the arts. Official didn’t say anything about it ;) but I will happily imagine their relationship myself (as what GoRA told me in Spoon interview lol). And after their reconciliation, I haven’t seen Saruhiko’s annoyed/tsudere faces in the illustrations. All I see are happy smiles. I kinda miss that but the same time I’m happy for them ;)


‘To feel’ is the primal condition in animation. It contains the ROOT information to how an animated movement should unfold and behave.

It is common wisdom then, that a ‘feel of force’ should be determined first and felt before animating.  At this early stage, it is abstract but acting as anchor for all the detailed definitions to emerge.  

Like a phrase of music, the interest of a movement is heavily depended on the manner in which it unfolds, within a given length of time.  

The key objective is to commit to a specific ‘feel’ of force, its strength, fluctuation and directional flow within the length of a scene.  From here, the critical timing sense to a phrase of movement is established.

(Above, a partial scene from ‘My Little WORLD’)

‘Extremes & Inbetweens’-

In the mechanic anatomy of an animated scene, there are essentially just 2 types of drawing- they are either an extreme or an inbetween (and sometimes a mixture of both within a drawing).  This identification helps keep the animation workflow streamline and clear.  

The extremes charted the path of an action, providing all necessary anchor points and act as the skeleton that holds a movement.

The inbetweens are strictly followers, following diligently within the established charted path by the extremes and control the velocity of a movement.  The inbetweens filled in the ‘space-time’ dimension, providing a ‘feel’ (like mass) to the skeletal structure made of extremes.

Generally we put emphasis on the extremes, but the inbetweens are equally important as the flows of velocity are also critical information.  (Imagine all the extremes are in right places but the inbetweens while staying on path but spacing relation is off, we’d get a very ineffective result.)

In attempts to communicate the animating process, we named drawings to describe our workflow.  Because there are many different approaches, the terminology can become cumbersome, causing the workflow to be unnecessarily complex.

The many terms are keys, storytelling keys, extremes, breakdowns and inbetweens.  For me, the terms can be understood as follow-

Keys- are the major moments in an action.  They are extremes but fewer in numbers and incomplete by themselves.  They need more added extremes to uphold a movement.

Storytelling keys- are extremes that address the emotional points in a scene.  There might be just one storytelling key or several, pending on the complexity of the emotional flow.  They too are incomplete by themselves and need supportive extremes to be complete.

Breakdowns are trickier based on certain workflow. They can be a breakdown extreme or the simpler breakdown in-between.  Originally, a breakdown is really an inbetween that addresses the widest gap between extremes.

In shaping up an animating workflow, it is very resourceful to fully understand the functions of terms in relation to personal significance, as they will affect communication in a more collaborative environment.

And so truly simply- it is just extremes and inbetweens (in an equal and balance partnership).

‘The Exaggerated Nature’-

Animation has an inherent exaggerated nature.  Taking note to how this special quality came to be on screen enables the animator to applying the animated mechanics and performance more effectively.

This exaggerated nature happens because of its graphic look (regardless of medium used) in each single frame being projected at 24 frames per second.  

To understand this nature, we can begin by observing how a live-action sequence is traced into drawings frame-for-frame then projected back on screen (same to straight motion-capture without any alteration).  We noticed that the movement appears sluggish and lighter than the same live-action counterpart, lacking energy and no sense of life.  By taking some frames out and retimed the drawings to a slightly faster speed, we find that some sense of energy is restored.  Also, by exaggerating the drawings at key high and low points of the movement, the animation begins to feel better still.

It is very resourceful to recognize that animated movement functions on its own set of physics taken roots from the real world, that it MUST be exaggerated to some degrees in time, space and graphic elements to enable its texture to become alive.

The more realistic a style, the less overall exaggeration is needed.  The more designed a style, the more it needs to be exaggerated.  This exaggerated nature is in relation to the motion mechanics and differ from the exaggeration in performance style.  

An example is the scene above from ‘My Little WORLD’ (an indie feature I’ve been working on for quite some time now…), the performance style is more subtle and controlled with less acting exaggeration, aimed to subconsciously communicate sincerity.  But the film’s graphic styling is more designed and required the movement mechanics to be more exaggerated accordingly.

To me, animation does not aim to capturing reality, but rather an exaggerated reality, allowing the viewers to ‘feel’. (This quality is the reason why animation is generally very immersing for the worldwide audiences.)


Bạn mình gửi cho mình bài hát này. Mình nghe nó vào buổi sáng trời hơi âm u, bỗng nhiên bật cười vì đã phung phí nước mắt. Nghĩ tới thế giới nhỏ xíu của mình, không thể nào ôm đồm nhiều thứ như vậy được. Quan tâm tới những người, những điều mình thương, vậy là đủ lắm rồi.

Take care of the one you love,
Take care of the one you need,
Take care of the one who needs you most,
The one far from home, the one that fills your soul.
Take care of the one that holds your hand,
When it’s cold.