the gentleness that comes, not from the absence of violence, but despite the abundance of it.

4 years later XD I hope you all enjoy this sketchy little Finn I did last night

more minimalist kylux Commission Me/Buy Me a Coffee♥/My Etsy/My Redbubble

Here in time for the spooky season, have a doodled  vampire Finn and a werewolf Rey enjoying each other’s company. 

“Confronting fear is the destiny of a Jedi.”

In my art history class we’re discussing museums and repatriation and I am so fucking angry

Just wait until I have some free time, I’ll post my favorite whiny bitch responses from European museums.

First, a fun fact: “It is noted in the report that some 90% of African cultural heritage currently exists outside of the continent and is displayed in major Western museums.” So keep that in mind when reading these.

Let’s get this party started, shall we?

“Unlike Nazi-looted art, what was taken in the former colonies are not recognized as criminally obtained under international law.”

Then there’s the Parthenon Marbles, and if you don’t know, it’s a whole big Thing with a near comical backstory. But this post is long enough as is, and I don’t want to bore you. In short: Britain has bunch of the carvings and statues that were left in the Greek Parthenon, and Greece wants them back. Here are some choice bits from the British Museum’s current official stance on the marbles:

By the way, this document that is less than 1,000 words mentions that the public can view the them “free of charge” no less than 3 times.

Fun times.

Sources: (x) (x) (x) (x)

I actually was given a C minus in this class in my undergrad for calling out museums for being whiney about repatriation. My professor HATED me and we would get into heated arguments about how stolen artifacts needed to be returned. God those were the days….lol FYI this professor Dr.Wilson got mad one day and told me to go back to Mexico and asked me if I was legal. I know this anger…lol 

Greece’s Acropolis museum is literally a huge fuck you to the British Museum. The New Acropolis Museum opened in 2007. It looks amazing

Since you can’t dig anywhere in Greece (especially right by the Acropolis) without hitting ruins or artifacts, they built a glass floor so that visitors can see the ruins below the building.

A huge part of the design for the new building was to emphasize that Greece is ready and capable of caring for the Elgin Marbles (a huge defense the British Museum will give is that colonized countries don’t have the resources to care for the artifacts properly). So they went out of their way to make this as clear as possible.

The top floor of the building is entirely devoted to the metopes and friezes around the Parthenon. Like, so devoted that they even oriented the top floor to align with the actual Parthenon

So if you walk around the floor, everything is oriented as if you were walking around the actual Parthenon.

So the two ends of the floor are dedicated to the two pediments. And they were very particular with how they’re displayed.

Wow there sure are a lot of things missing.

They left space for where the Elgin Marbles should be. All of the pieces are labelled. For all of the missing pieces, there is a sign saying that that piece is in the British Museum. It’s pretty hard to miss when entire sections are not there.

That entire floor is just to show that they all belong together. The pediments need to be back together. Get your shit together British Museum

You missed my favorite part of the museum:

They have separate room devoted to these statues, with a spotlight shining on the empty spot where the sixth one is supposed to be. It was the saltiest museum I have ever been to, and I was living. My favorite part was when the tour guide pleaded to us to write to the British Museum and ask them to return the artifacts, and an older man from India muttered under his breath, “Ha! Good luck with that.”

That aside, it’s also one of the most beautiful museums I have ever been in. The architecture is stunning. If you ever get a chance, absolutely go to it.

For those who don’t know the story behind why all these Greek statues are in Britain, buckle up for a wild ride.

The Parthenon has a storied history, obviously, as it is was an incredible temple in a major Mediterranean port. It had started to show wear and tear over the years, and different people had attempted at various points to “save” it, or at least save the carvings. Most of the time, these attempts did more harm than good.

Then along comes Thomas Bruce, a Scottish nobleman more commonly know as Lord Elgin. Between 1799-1803 he acts as British ambassador to the Ottoman empire, which controlled the entire region that is now Greece. He gets really interested in the old works of the classical civilizations and asks the Sultan of the Ottoman empire if he can undertake an extensive study and recording of the art at the Acropolis in Athens. Not only does the Sultan say yes, his agreement states that Elgin can “take away any pieces of stone with old inscriptions or figures thereon.” It is agreed by all parties who are not the British Museum that the Sultan was referring only to the various pieces that were scattered across the ground, but not anything still standing.

Elgin interpreted this wording to mean, “Take anything you want. Go absolutely hog wild.” So he did. He sawed many of the marble carvings off the building to make them easier to transport, which did damage to both the carvings and structure of the building itself. Here’s my favorite part: one of the ships he was using to transport the marbles sank. When Elgin found out, he sent a letter to local authorities asking them to retrieve the cargo, which he referred to as “stones of no interest to anyone but myself.”

He took literal metric tons of artwork, which he wanted to use to decorate his home back in Britain. Except he poured so much money into this project that he went into debt and had to sell the marbles. Parliament bought them (which was not a popular decision at the time) and put them in a public museum. Then in 1832 Greece won its independence from the Ottoman Empire, and the marbles have been a point of contention in Greek-British relations ever since.

Here’s another quote from the British Museum displaying an astonishing degree of ethnocentrism!

The most recent volley in this fight was Britain saying, “well, we can’t give you the marbles, your museum is too dinky to display them in their full splendor.” In response, Greece built the above museum.

As many people mentioned in the comments, Black Panther was fantastic in that it brought the issue of museums and repatriation into the public view. Now with more voices joining in, hopefully change can happen more quickly.

You left out the part where the document giving Elgin permission to take them may or may not be a forgery, also!

This was a part of this I was not familiar with! And wow! I looked into it, and there is decent evidence that the agreement from the Sultan was faked! This story just keeps getting better and better!

The British Museum’s excuses not to repatriate the marbles are BULLSHIT. It’s just that. Excuses.

The British Museum Says It Will Never Return the Elgin Marbles, Defending Their Removal as a ‘Creative Act

Reminds me of when I was watching some documentary about nazi-looted art, and one of their experts is standing in the British Museum talking about how it was an atrocity, and how the theft of culture was such a travesty.

And I’m just kind of “Huh, that sure is an interesting stance considering where you work, dude”.

Finished Valkyrie and Pegasus fan animation :)

Shuri by artgerm. Variant cover for Black Panther #1.

To people who use "þ" as an aesthetic "p"

þink again.

getting thorny in the linguistics fandom

þorny*

That also goes for using ß as an aesthetic B. 

On my old server, there was a character named ßillyßadass.

This never failed to make me laugh, because that letter is not pronounced like B. It is a sharp S. 

That guy named himself SsillySsadass. 

Also to people who you Σ as an aesthetic E

that’s an S too, Σo maybe check next time

oh boy

Д as an aesthetic A? Дon’t be a дumbass.

И as an aesthetic N? don’t be sillи.

П as another aesthetic N? stoп it.

У as an aesthetic Y? ty bad.

Ш or Щ as an aesthetic W? nope. it’s “sh” and “shch”!

Я as an aesthetic R? surprise! it’s “ya”.

ah yes, that classic horror film SNYEYAPOVUL DIAYAIES

This is pronounced Stargoat.

Reblogging for Stargoat.

STARGOAT

THIS MAKES ME SO HAPPY

look. look at this beautiful sword meme. i’m going to cry

@petermorwood

I saw and reblogged this one a while back, but it’s always worth repeating, and this time I’m adding a bit of background info comparing common fantasy sword features to the Real Thing (with pictures, of course.)

Leaf-bladed swords are a very popular fantasy style and were real, though unlike modern hand-and-a-half longsword versions, the real things were mostly if not always shortswords.

Here are Celtic bronze swords…

…Ancient Greek Xiphoi…

… and a Roman “Mainz-pattern” gladius…

Saw or downright jagged edges, either full-length or as small sections (often where they serve no discernible purpose) are a frequent part of fantasy blades, especially at the more, er, imaginatively unrestrained end of the market.

Real swords also had saw edges, such as these two 19th century shortswords, but not to make them cool or interesting. They’re weapons if necessary…

…but since they were carried by Pioneer Corps who needed them for cutting branches and other construction-type tasks, their principal use was as brush cutters and saws.

This dussack (cutlass) in the Wallace Collection is also a fighting weapon, like the one beside it…

…but may also have had the secondary function of being a saw.

A couple of internet captions say it’s for “cutting ropes” which makes sense - heavy ropes and hawsers on board a ship were so soaked with tar that they were often more like lengths of wood, and a Hollywood-style slice from the Hero’s rapier (!!) wouldn’t be anything like enough to sever them. However swords like this are extremely rare, which suggests they didn’t work as well as intended for any purpose.

I photographed these in Basel, Switzerland, about 20 years ago. Look at the one on the bottom (I prefer the basket-hilt schiavona in the middle).

A lot of “flamberge” (wavy-edge) swords actually started out with conventional blades which then had the edges ground to shape - the dussack, that Basel broadsword and this Zweihander were all made that way.

The giveaway is the centreline: if it’s straight, the entire blade probably started out straight.

Increased use of water power for bellows, hammers and of course grinders made shaping blades easier than when it had to be done by hand. This flamberge Zweihander, however, was forged that way.

Again, the clue is the centre-line.

Incidentally those Parierhaken (parrying hooks - a secondary crossguard) are among the only real-life examples of another common fantasy feature - hooks and spikes sticking out from the blade.

Here are some rapiers and a couple of daggers showing the same difference between forged to shape and ground to shape. The top and bottom rapiers in the first picture started as straights, and only the middle rapier came from the forge with a flamberge blade.

There’s no doubt about this one either.

The reason - though that was a part of it - wasn’t just to look cool and show off what the owner could afford (any and all extra or unusual work added to the price) but may actually have had a function: a parry would have been juddery and unsettling for someone not used to it, and any advantage is worth having.

However, like the saw-edged dussack, flamberge blades are unusual - which suggests the advantage wasn’t that much of an advantage after all.

Here’s a Circassian kindjal, forged wiggly…

…and an Italian parrying dagger forged straight then ground wiggly…

There were also parrying daggers with another fantasy-blade feature, deep notches and serrations which in fantasy versions often resemble fangs or thorns.

These more practical historical versions are usually called “sword-breakers” but I prefer “sword-catcher”, since a steel blade isn’t that easy to break. Taking the opponent’s blade out of play for just long enough to nail him works fine.

NB - the curvature on the top one in this next image is AFAIK because of the book-page it was copied from, not the blade itself.

The missing tooth on that second dagger, and the crack halfway down this next one’s blade, shows what happens when design features cause weak spots.

So there you go: a quick overview of fantasy sword features in real life.

Here’s a real-life weapon that looks like it belongs in a fantasy story or film - and this doesn’t even have an odd-shaped blade…

Just a very flexible one…

If you want more odd blades, Moghul India is a good place to start…

My colorblind ass cant see shit

Frick

u got it right amfjskgkskgk

Not perfect, but I think I got it for colorblind people (seeing as i am one).

Reblogging for the non-colorized version because my colorblind husband was finally able to see this meme his friends teased him with

The Evolution of Douchebag Style [full video]

Oh, he’s good.

I don’t know whether he deserves an Oscar or a restraining order.

I die laughing at this every god damn time. The prayer hands are so fucking funny

the fact that he’s topless in all of them is what really makes it tbh

I AM DECEASED 😭😭

for the love of god UNMUTE this

SOME OF YALL DO NOT NEED ACCESS TO TECHNOLOGY 💀💀💀

how’d you make a blank post?

please tell me

This is the most hilarious thing to see on mobile.

Prince Finn and Princess Rey attend the royal masked ball as a Vampire Prince and Princess. Han II is the merriest pirate in the galaxy and Lucia a celestial butterfly. Even tiny Eida Jade gets in on the masked fun!

Done by the beautimous @iraya on commission. Thank you so much!

@finnreyfridays