EVEN CARTOON NETWORK KNOWS NICK IS A MESS
my friend told me to watch this cooking video while listening to sad music. so i mixed a little something for you all
stop taking bucky’s metal arm away
stop taking charles’ wheelchair away
stop taking clint’s hearing aids away
disabled superheroes are important stop sucking please
I read this wrong and I was just picturing them all confused as to who keeps taking their stuff.
"Steve have you seen my arm anywhere?"
"Nope, sorry Bucky. By the way, have you seen Clint’s hearing aids? He hasn’t been able to hear a damn thing all day"
How many Hogwarts boys do you think Madam Pomfrey has to fix every year because they messed up trying to cast an Engorgio on their dicks
The difference between period pains and getting kicked in the balls is that one is a compulsory monthly event and the other one is probably because you were being a dick.
Oh I finally got around to colouring more stuff. This time the lovely husbands.
Thanks to misawashi for the scans.
Sometimes I can’t take this anime seriously.
mad-madeline-ace asked: Hello there. I was wondering if you have any advice on concealing information with a third person omniscient narrator. I am writing a post-apocalyptic novel and at one point there is an interaction between the leader of a rebel movement and a person who is essentially a foot-soldier of the opposing movement. It is going to be revealed later that the foot-soldier is actually a spy working for the rebels, but I don’t really want the reader (or the two people observing the encounter) to know that this is the case. The problem is, I am inside of the rebel leaders head on and off throughout the scene. I don’t know how to conceal the information without outright lying to the reader, which seems like a sketchy thing to do. I have thought about simply avoiding his perspective for the duration of the scene, but I’m not sure if that will mess with my ability to convey the general emotion of the scene.
If you imagine being in the rebel leader’s head throughout the whole scene, odds are he’s not thinking about the foot soldier/spy the whole time. His mind is going to be focused on other things, too. So, I think the trick is to be inside his head at the moments when he wouldn’t be thinking about the fact that the foot soldier is really one of his spies. Try not to be in his head when they first come into contact in the scene, when or right after the foot soldier/spy speaks, or when he leaves or anything else significant happens to him. That way you avoid points where he might logically be thinking about who he really is. But, at the same time, this is a great place for a little foreshadowing so that the reveal isn’t totally random later on down the line. You can have them make eye contact, for example, or have him purposely trying not to look at the spy throughout the scene—that will be enough to clue the reader into the fact that something’s up, they just won’t know what.
wow the fifty shades of grey movie looks intense