twelve feet tall

🎄buckynat christmas headcanons🎄

❄️Bucky and Natasha go to get a Christmas tree the day after thanksgiving because Bucky is just too excited and Natasha can’t say no to him

❄️She has to say no when Bucky tries to get a tree too big for their apartment:
“But, Nat! It’s perfect!” “James, our ceiling is not twelve feet tall. Go look at the seven foot ones.”

❄️Bucky and Natasha make hot chocolate and watch all the cheesy Christmas movies on tv

❄️ugly sweaters. just all the ugly sweaters

❄️Natasha lets Bucky put her in a sweater but refuses to help him get Liho into one

❄️They’re both terribly impatient when it comes to Christmas and will snoop on their presents so they each have to get creative with hiding places

❄️Baking cookies quickly turns into a food fight which quickly turns into sexy times

❄️Both Bucky and Natasha ambushing each other with mistletoe all over the house

❄️Natasha drags Bucky to the mall to take pictures with Santa

anonymous asked:

I'm not even excited to work with the Guard roleplayers at this point. I don't have anything against any of them in particular, but when someone starts shit somewhere, we call for the guards, and two fucking Worgen, one of them being like twelve fucking feet tall, and a some "BLIND" Night Elf Druid roll up to the scene? It kind of totals my immersion into the whole thing. I'd love justification on why the STORMWIND CITY guard, would take in Night Elves and Draenei? Go make your own guild.

Or go make your own guild too? Chill out.

9

Game of Scenery | Statues in the House of Black and White

Statues of them stood along the walls, massive and threatening. Around their feet red candles flickered, as dim as distant stars. The nearest was a marble woman twelve feet tall. Real tears were trickling from her eyes, to fill the bowl she cradled in her arms. Beyond her was a man with a lion’s head seated on a throne, carved of ebony. On the other side of the doors, a huge horse of bronze and iron reared up on two great legs. Farther on she could make out a great stone face, a pale infant with a sword, a shaggy black goat the size of an aurochs, a hooded man leaning on a staff.

What would the anthropomorphic personification of the Midwest look like? I’m imagining a demonic corn entity, at least twelve feet tall, with cold eyes that gleam from deep inside its corncob face and breath like hoarfrost. When it’s in a good mood, it smells of grass clippings and rain on cement. When it’s angered, it smells like burning tires. Its appearance is forewarned by the sound of thousands of locusts.

#NotOnView

“Conceptual artists are mystics rather than rationalists.They leap to conclusions that logic cannot reach.”
— Sol LeWitt

LeWitt’s version of Conceptual Art in the 1960s and ‘70s emphasized the original idea that generates a work rather than the execution or final object. While often associated with straight lines and geometric forms, LeWitt always
explored irregular shapes as well. In the late 1990s, nongeometric forms became especially prominent in LeWitt’s wall drawings, sculptures, and large
gouache paintings, with each type of work informing the other. By 2000 LeWitt had begun a series of sculptures he called Splotches for their eccentric contours and bright colors. At over twelve feet tall, Splotch #22 is the
largest and most complex—as well as the last—of LeWitt’s nongeometric forms. Two working drawings are on the wall nearby.

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