Crowzya - Crowzya

The talent is way too raw Ô.ô

Scenes in anime vs. real life. The attention to detail is amazing! This comes from Garden of Words.

Really nice and soothing to watch :)

Every time I watch this, I tear up. Wonderful animation from Glen Keane, who also worked on The Little Mermaid, Beauty and the Beast, Aladdin, and Pocahontas. 

@vodkahead MOOOOO LOOK AT THE KITTIES!!!!!! \(*o*)/

16+ Maine Coon Cats That Will Make Your Cat Look Tiny

I'm a puddle of goo

Shay smoking a cigar.

Was talking with friends about the smell of his pheromone: leather and tobacco.

I don’t know who I am anymore 

McHanzo Week Day 3: Undercover|| Downtime

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA <3<3<3<3<3<3

Young Samurai boys 

Too late (Fiction)

So... I decided to share something with you guys... It used to be a text in French I kept in a sketchbook where I doodle and sometime write things. I remember being in a weird mood when I wrote it xD I translated the text so you can all enjoy. I made it gender neutral too, so if you want, you can picture yourself. So, here ya go folks...

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Lifting their head up, they looked into the mirror. They only saw a fuggy miasma, heavy and stifling, wrapping a dark shadow. Glinting eyes followed every move they made, a deep chuckle vibrating through the mirror. The human stood frozen, unable to look away from the scene. Though, after some minutes of mutual staring, the shadow finally spoke up.

A malicious, striking voice, coming from the deepest abysses boomed in the mirror’s glass. Poor human. Every word echoed through their mind, as if hearing once wasn’t enough. They could only listen to those cutting words, still unmoving. “Truth hurts, small one.” Yeah, it was indeed true, most of the time.

Many days passed and many times did the small human came back in front of the mirror, the shadow always there, waiting for them to come back patiently. It knew they would always come back. It knew its prey; it knew them all too well. No secret could be kept hidden, for the shadow knew everything the world could handle.

The small human was curved in the palm of its hand; too naïve to see what was before them. They thought the shadow would always be there for them. Even in their darkest mood, hidden under their cover, they couldn’t see the shadow, but they knew it was near. It was always waiting for them.

One day, from a mutual agreement, they both tied a red thread to their pinkies. From what the shadow said, they now would always be linked together, no matter the distance. They would always be connected, no matter what situation.

The shadow took a lot of space into the human’s life. When needed, it always whispered advices and kept them company. It was peaceful for once, some could say. However, soon the tread became two, then three, then too much. Bound from everywhere, the small human became a puppet for the shadow to play with.

Happy with its successful plan, the shadow toyed with the puppet for some time, enjoying some entertainment. But soon, after some days, it grew tired of them. It was bored already. However, what could it do? The shadow was still bound to the puppet.

One day, an idea popped through the shadow’s mind and with some witchcraft, vipers slowly began gliding down the threads. Hissing their forked tongues, they headed towards the puppet, apprehending their prey.

How beautiful they were. Their charming magnetic eyes, their cold blooded scales, their sharp fangs so deadly opened… The small puppet tried to open their mouth to greet them.

But with synchronized snaps… It was too late.

I told Miyazaki I love the “gratuitous motion” in his films; instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

“We have a word for that in Japanese,” he said. “It’s called ma. Emptiness. It’s there intentionally.”

Is that like the “pillow words” that separate phrases in Japanese poetry?

“I don’t think it’s like the pillow word.” He clapped his hands three or four times. “The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness, But if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.”

Which helps explain why Miyazaki’s films are more absorbing and involving than the frantic cheerful action in a lot of American animation. I asked him to explain that a little more.

“The people who make the movies are scared of silence, so they want to paper and plaster it over,” he said. “They’re worried that the audience will get bored. They might go up and get some popcorn.

But just because it’s 80 percent intense all the time doesn’t mean the kids are going to bless you with their concentration. What really matters is the underlying emotions–that you never let go of those.

— Roger Ebert in conversation with Hiyao Miyazaki