rainbowchewynuggets
rainbowchewynuggets
BRIAR!!! - sig. RCN / CLH - any pronouns - 1996 - I'm here making fan art/comics/animatics and some original stuff. Feel free to reach out. Please reblog, please don't repost. Thanks!
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Old reblog from my old blog
Am I too late for this?
#redraw reigen#reigen arataka#mp100 reigen#mp100 fanart#mob psycho 100 fanart#reigen fanart#mob psycho 100#mp100#mob psycho 100 memes
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Wait wait I forgot a couple things--
There. That's it.
Hello, I'm still here!
I just moved again, and I wanted to share some stuff I made before I did.
So I was working on an idea for an episodic serial comic about a small polycule with mild super powers trying to live a quiet life together in an apartment in a small city--hanging out, running errands, going to work, and trying to duck the feds who want to take them away to be "studied". Just a cute slice of life thing with some spice to heighten the magic and preciousness of mundane life.
It woulda been called UNSUCOTH (Untitled Supernatural Comfort Throupple).
I didn't get far into making it, and I may never. I think I started it because I felt really sad and lost and missed my hometown. And now that I live there again, I don't really feel that motivated anymore. I just want to go outside all the time lol.
But here's the cast anyway because I love them, they're a part of me, and they may show up in later posts and projects regardless.
This is Chesah. They have psychic powers (largely Akira style, but they've always had a spiritual/emotional connection to the stars and are starting to think they can also talk to the dead). ((My notes also say they have acid blood? What??)) They work as a clerk/archivist in the filing room at a very outdated office. People leave them alone, so they get to use their powers to do their job and listen to music all day.
They are my inner goth who never got to come out.
This is Kanai. He can influence local temperature, air pressure, precipitation, plant life, animals, and kind of effectively the sun? A lowkey nature god, though he's too humble to claim the title. He splits part time as a line cook and a delivery cyclist. Really, he'd do any job where he gets to be in a group or meet new people.
He is the 90s beach dude I want to be.
And this is Briar. He's a shapeshifter who has used his powers to explore his gender and humanity, as well as extend his lifespan by hundreds of years. She does odd jobs--any relatively anonymous contract work she can get. It's safer that way of course, but he also enjoys trying new things and getting to blow in and out of people's lives like a phantasm (with the exception of Chesah and Kanai's lives--he loves them to death).
She is the metalhead I almost forgot I am.
------------
It's also worth mentioning that I had a funny little gender awakening after I started this.
Turns out I'm genderfluid! Yippee!
These three characters represent archetypes that have developed through my projects and hcs since I was 14. I always put a bit of myself into my ocs, but I put these three to paper and realized that they're much bigger chunks of me. All the stuff I'd been repressing all my life.
(Also, I should clarify that I'm a white redneck American. The ethnicities of the throupple obviously don't apply to me. They're based on other people I know or cultures I want to know more about.)
I especially looked at Briar and said to myself, "Oh, that guy really is just what I look like on the inside." So I named myself after him.
Can you do that? A reverse self-insert?
Still, all three of them have been my guides through this wacky, cool period of my life. I'm having all kinds of complicated feelings about it and am very slow in the process of exploring it as I put my new life together.
Look forward (maybe) to some kind of post about how agenderism, shapeshifting, and monster kinning factor into this. (Legitimately. I think it's really cool and I hope I can sort out my thoughts well enough to explain it.)
Anyway, thanks for reading.
Signed, BRIAR!!!
#ocs#my ocs#briar#kanai#chesah#monster the cat#unsucoth#projects#comics#comic ideas#genderfluid#gender awakening#coming out post ig
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Hello, I'm still here!
I just moved again, and I wanted to share some stuff I made before I did.
So I was working on an idea for an episodic serial comic about a small polycule with mild super powers trying to live a quiet life together in an apartment in a small city--hanging out, running errands, going to work, and trying to duck the feds who want to take them away to be "studied". Just a cute slice of life thing with some spice to heighten the magic and preciousness of mundane life.
It woulda been called UNSUCOTH (Untitled Supernatural Comfort Throupple).
I didn't get far into making it, and I may never. I think I started it because I felt really sad and lost and missed my hometown. And now that I live there again, I don't really feel that motivated anymore. I just want to go outside all the time lol.
But here's the cast anyway because I love them, they're a part of me, and they may show up in later posts and projects regardless.
This is Chesah. They have psychic powers (largely Akira style, but they've always had a spiritual/emotional connection to the stars and are starting to think they can also talk to the dead). ((My notes also say they have acid blood? What??)) They work as a clerk/archivist in the filing room at a very outdated office. People leave them alone, so they get to use their powers to do their job and listen to music all day.
They are my inner goth who never got to come out.
This is Kanai. He can influence local temperature, air pressure, precipitation, plant life, animals, and kind of effectively the sun? A lowkey nature god, though he's too humble to claim the title. He splits part time as a line cook and a delivery cyclist. Really, he'd do any job where he gets to be in a group or meet new people.
He is the 90s beach dude I want to be.
And this is Briar. He's a shapeshifter who has used his powers to explore his gender and humanity, as well as extend his lifespan by hundreds of years. She does odd jobs--any relatively anonymous contract work she can get. It's safer that way of course, but he also enjoys trying new things and getting to blow in and out of people's lives like a phantasm (with the exception of Chesah and Kanai's lives--he loves them to death).
She is the metalhead I almost forgot I am.
------------
It's also worth mentioning that I had a funny little gender awakening after I started this.
Turns out I'm genderfluid! Yippee!
These three characters represent archetypes that have developed through my projects and hcs since I was 14. I always put a bit of myself into my ocs, but I put these three to paper and realized that they're much bigger chunks of me. All the stuff I'd been repressing all my life.
(Also, I should clarify that I'm a white redneck American. The ethnicities of the throupple obviously don't apply to me. They're based on other people I know or cultures I want to know more about.)
I especially looked at Briar and said to myself, "Oh, that guy really is just what I look like on the inside." So I named myself after him.
Can you do that? A reverse self-insert?
Still, all three of them have been my guides through this wacky, cool period of my life. I'm having all kinds of complicated feelings about it and am very slow in the process of exploring it as I put my new life together.
Look forward (maybe) to some kind of post about how agenderism, shapeshifting, and monster kinning factor into this. (Legitimately. I think it's really cool and I hope I can sort out my thoughts well enough to explain it.)
Anyway, thanks for reading.
Signed, BRIAR!!!
#ocs#my ocs#briar#kanai#chesah#unsucoth#projects#comics#comic ideas#genderfluid#gender awakening#coming out post ig
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one of the best fics i've ever read, one that had me addicted to my phone and crying, wasn't even prose. it was a huge, casual, bullet-pointed outline with every detail of an au that the author never got around to writing in full. and it was amazing.
let this be a message to all you who want to write but can't do it "normally": write it! someone out there will eat it up. whether that be poetry, tiny drabbles, or bullet pointed list: your work is always worth it. your art (yes, art!) will alway deserve to have its moment in the spotlight. why? because you made it. even if it wasn't done in a traditional matter, it came from your brain and your creativity and that is amazing.
♡
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I LEFT WIX
My website is currently down! For a long time!
Because I finally walked out on Wix as boycott in support of Palestine. I'm not walking out because I recently found out it's an Israeli company--it's because they are actively supporting cowardly anti-Palestinian narratives and pushing their little "Stand with Israel" widgets.
If you use Wix, I highly encourage you to check out other site builders. Here are a few suggestions. Wix has really sucked anyway, especially considering that they're about to implement a 300%+ price hike in February. If you were ever on the fence, now is an excellent time to get out.
#boycott wix#boycott for palestine#free palestine#free gaza#gaza protest#palestine protest#palestine boycott#how to help gaza#how to help palestine
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youtube
IT'S DONE IT'S DONE IT'S DONE IT'S DONE
I've been grinding away at this for months. I can't wait for people to see it. This project turned out to have a lot of gears behind it, so check out the artist statement below!
vvvvvvvvvvvvvvvvvv
I love this song. The first time I heard it, I already began picturing a story where a woman stumbled upon a gathering of birds in the forest and became so enthralled by their song that she partied with them until she became a bird, herself. It turns out that isn’t too far off from the singer, Yma Sumac’s, first experiences learning to sing. She would imitate the animals near her home in the hills of the Andes mountains as a very young kid, developing a vocal range that would make her famous later on.
From there, I fell into a montage of research on her life and the Peruvian festival music that defined her early career, as well as the complicated story of the exotica music she became most known for in the United States. I followed that up with a month-long dive into northwest Peruvian culture, mythology, ornithology, flora, and topographical studies. Then, I blacked out somewhere during the drawing phase, and now I’m here.
While I really value what I’ve learned while doing this project, I think it’s important to note that I did it all as an amateur researcher and a foreigner to the subject. I decided it would be a little conceited to try to make a totally accurate depiction of a traditional Peruvian festival, so I instead focused on referencing the regional variation of these traditions. Costumes and music have their own specific designs and textures depending on the area, and dances and festivities reflect local history. Yet, it all shares the same themes of celebrating prosperity and surviving hardship. Common motifs and characters reflect a shared heritage and cultural identity that coexists with individuality. It’s all just very cool to me.
So I asked myself, what if these birds had their own version of these traditions? What would a bird sing a folk song about? What would be new and cool to Yma, but still familiar enough that she could join in? (I got lucky, since Peruvian festival culture is already very reverent of birds and feather patterns.)
What I ended up with pulled a lot from the Carnaval de Cajamarca, which originated in the next town over from Yma’s childhood home of Ichocán. It also references these dances, among others:
Huaylarsh - Los Emplumados - Marinera - Tondero - White Dance / Los Chunchos
It’s also important to know that I took a lot of creative liberties with my research to pull the story together. I hope I haven’t used any elements in a harmful or insensitive way–and if I have, I’d like to know so that I can apologize. (I also missed out on some cool stuff, like the White Dance always having shaker beads on the legs.) I highly encourage you to have a look at some of the sources I did, and to look further if you’re interested. I found it all very enlightening, and I hope you will too.
Yma’s wikipedia, which seems like a mostly accurate overview based on other sources
Her official website, curated by a fan and friend
A segment on NPR about her musical career
The interview I got the opening from
The ornithology archive that saved my ass
I’d like to work on uploading all the frames as an image reel somewhere so they can be looked at individually. Might take a while, though.
Thanks for watching!
(To those using a screen reader, the video description follows this message. I'd like to apologize for putting the description as the last thing on the post. Not only is it extremely long, but this seemed to be the rare instance where the description would benefit from the context of the post's commentary before being read itself. I wrote and formatted this description in a way that I hoped would apply to aid various disabilities that impede enjoying music videos, and I am very interested in getting feedback.)
DESCRIPTION
[The following is presented as an animatic (a series of still images edited into a video) set to music. The art is drawn with condensed yet fuzzy pastel-like linework and full color. The song used is “Chuncho” by Yma Sumac. The song was composed to imitate the various sounds of tropical birds and animals. It has no lyrics, at least in a traditional sense. I, the describer, have tried my best to translate the especially abstract nature of this song into language that can be interpreted through text. Please use the best of your imagination to fill in the rest. An audio description will always refer to the visual description that follows it.
Audio: A male interviewer asks, “Since you are referred to the bird who became a woman in your native Peru, Ms. Sumac, may we hear your exotic voice?”
Visuals: A title card appears with gold lettering on a black background. It reads one word: Chuncho. The word is depicted as if it were carved into a flat surface with loose individual strokes.
Audio: A woman answers, “I will try to imitate the birds, as I did in my earliest years in the mountains of Peru.”
Visuals: Credits appear, also in gold text: Sung by Yma Sumac (Zoila Augusta Emperatriz Chàvarri del Castillo. Drawn by Carlie Hughes (rainbowchewynuggets).
Audio: The music begins with the steady four-note strumming of a guitar, which will continue throughout the song. Then, it is accompanied by low ragged notes from a heavy woodwind instrument.
Visuals: A green cicada flicks its wings as it rests on a plant with jagged leaves and a little white flower growing from the middle. Beetles of green, red, and yellow crawl around on trees and ferns among puffy yellow blooms. Yellow humpback beetles huddle together on a cold stone surface as mothlike butterflies cling to hanging purple-grey moss in the background. A cluster of butterflies of black, green, blue, orange, purple, and red flare their wings along stems and vines. A line of spiny cocoons hang from a vine leading up the center of the group.
Audio: A vocalist, the same woman as before, begins to sing in vocables. Her first notes are short, round, and bubbly, like the chirping of a small bird. The lilt of a flute follows.
(“B-bm, bui-bui-buiii…”)
Visuals: A small village sits on the side of a forested and scrub-covered mountain at night. Buildings twinkle with yellow and blue window light through the darkness. At the edge of the forest, a tall lean woman appears with warm orange skin, long black hair, a simple green dress cinched at the waist with blue trim on the neck, hem, wrist, and waist, and a powder blue shawl tied at the chest. She sneaks away from the village into the temperate tropical forest, glancing back to make sure hasn’t been followed. She grows more at ease as she leaves the buildings behind and strides between bushes, deeper into the trees. She passes a flowering plant with orange petals. Its bulbs are held aloft on long, long stems.
Audio: The vocalist sings in elongated threads of notes, wavering in a minor key in a mischievous way.
(“Whu, hu-uuuu…”)
Visuals: The woman grazes her fingers along a bush with little black berries and white spiky flowers. Her hand passes up and down with the shape of the bush, like the rise and fall of an ocean wave. She walks uphill, past pink clover and increasingly frequent stones.
Audio: The vocalist clicks and rolls her tongue with her notes, like drops of water splashing across stones.
(“Dlu, dlu-dlu-dlu-dlu-buiii…”)
Visuals: A voice suddenly gets her attention. The voice passes by as a green line with wide wave forms. The woman follows it. She passes through a stone forest–dense moss-covered rock formations that reach up toward the sky. The ground below is streaked with snake trails. The line of song is now yellow. It leads her forward along a trail through the rocks. She climbs a more precarious formation of boulders, through dense shrubbery and a dramatic rocky landscape. As the voice shifts redder, her colors shift pinker. Even the environment’s colors are shifting to pinks and blues. She climbs a hill, past tall spindly trees and a nearly vertical mountainside. The pink line of song leads her still upward.
Audio: The vocalist belts out the deep throaty call of a tropical bird trying to be heard far and wide. The notes increase in frequency, then widen into a whoop that softens to a murmur. The flute follows her with a few short forceful notes.
(“Ah, bya bya bya-bya-bya-bya-bya-byaaa, whoa-whoa-whoa-whoa-wi, wa-wa-wa wiii…”)
Visuals: When the woman reaches the top of the hill, a light shines up at her from the other side, returning her original colors. Below, she sees a gathering of human-sized bird people celebrating on a leafy platform. They’re dancing in different sized circles around a tree at the center. Rainbow colored ribbons of different lengths have been tied to the branches of the tree and hang down to form the silhouette of a condor. More ribbons and colorful bulbs hang from the leaves above. The line of song (now light blue) travels in a circle around the tree trunk. The camera zooms in, revealing details of the birds and their costumes. The birds are pigeons, hawks, cuckoos, seedbirds, and corvids. They’re all dressed in colorful hats, vests, slacks, and dresses with patterns that reflect those of their feathers. A circle of spotted woodpeckers closest to the trunk wear purple gowns and party hats. The party’s singing expands the blue circle of light. A wider circle of yellow, green, and white birds sit and watch the celebration from the edges of the platform. As a line of bright manakin birds zip by with their hands clasped together, the woman approaches from a nearby branch. She’s enticed by the party and joins the dance, clasping hands with a green parrot and leading the line with a broad smile on her face.
Audio: The vocalist makes a quick sudden series of escalating notes, then makes a hard sound with her teeth and returns to a low whoop. The flute echoes her.
(Ba-bana-baba-cht!, waw waw waw waw waw waw waw wiii…”)
Visuals: The birds switch to individual dances. A short red woodpecker and a tan long-necked bird with ribbons in her hair dance and sing together, their lines of song intertwining. The woman and three pigeons in red and black dresses stomp their heels in a quartet dance. She follows their steps flawlessly, familiar with the type of dance. When they begin to sing and whistle, she joins them–though her voice isn’t as strong as theirs and her line of song is thin and brittle.
Audio: The vocalist makes a low growl, at first imperceptible, that grows to a steady rumble. The flute follows.
(“Rhhh…, rhh, rhh rhhh…”)
Visuals: Then, the lights darken and redden. The woman stops to notice all the other birds heading to the back of the platform. They climb and flutter up to sit in fruit-bearing branches that grow just beyond. The woman finds herself a spot and picks a piece of fruit to eat. She takes a bite as a show begins. A band of various birds wearing ponchos and cloth hats sit down by the show platform. They play their instruments (flute, guitars and a drum) and count in the performance.
Audio: The vocalist makes more short bubbly chirps. They grow higher in small strings of notes until the phrase ends with a low long note.
(“Bom-bom, t-bom-bom-bom, mbom-bom wiii…”)
Visuals: Five owls appear, bathed in magenta spotlight before the center tree trunk. All of them have their yellow-spotted wings wrapped to mostly cover their black and gold-trimmed dresses. The four owls on the sides are short and red, while the one in the center is tall and bright purple. As all five begin to sing a golden song, they operatically open their wings and extend their feathers. As the light darkens to violet, the black and gold patterns in the folds of their wings leap out as if exposed to blacklight. They extend their arms upward and then double over to kneel on the stage, fully splaying their wings in a dramatic display. The woman watching is transfixed.
Audio: The vocalist rolls a noise from the back of her throat. Once, twice, three times–before hitching the roll up and down and letting it trail off. The flute makes a low hollow arc of a note.
(“Ghhh, ghhh, ghh gh-gh-gheee…”)
Visuals: Cut to the next performance. Two teams of blackbirds with long waving feathers compete, standing on each other’s shoulders to form two pyramids. The one at the top of each team lunges forward to try to strike the other with a long stick, propelled by their team. Their feathers glow with yellow light from above. The team on the left—with orange vests and red sashes—strikes first, only nearly missing. They gloat as the lime vest and green sash team on the right recoils and protests. Then, it’s the green team’s turn to take a confident lunge, forcing the red to frantically pull back in time to dodge. On the next strike, the red team buries the stick in the top of the enemy pyramid (actually tucked under the green leader’s arm). The victim feigns a mortal wound, and the entire team flies away. The red team poses, victorious. The red leader gets down to the floor to greet the widow of the green team, wearing a green dress. She peers at him from behind a silky black wing. As soon as he lands, she whacks him over the head with her own concealed stick. He is surprised. She is unamused.
Audio: The vocalist lets out a ghostly wail that wavers wildly like an eerie wind, higher and higher. A shaker instrument rumbles beneath her voice.
(“Woaaa… woaaa… woaa–”)
Visuals: Next, it’s dark. Three colorful birds in masks and costumes tread the air at an angle on the left side of the screen against a blue and green background. There’s a yellow spiky one, representing lightning. A blue round-feathered one, representing rain. And a spade-feathered green one, representing trees. Long beaded threads tied to their wings and tails wave and tangle across the screen as a group of five hummingbirds in shades of red struggle to survive the “storm” raging around them. The colored ribbons of the central tree are muted and flutter with the power of the wind. Two other birds hug the trunk, nearly out of sight. There’s a prop on the floor to the right made to look like a stone alcove, where more hummingbirds are hiding. The storm bringer birds beat their wings hard, casting the strings of lightning, water, and leaf shaped beads in huge chaotic waves. The five hummingbirds in vests and dresses wince and tumble against the wind, flying together in a tight circle. The threads crisscross behind them, an overwhelming force on the tiny birds’ scale. A red line of song floats up to reach them, guiding them down to the nest.
Audio: When her wail is at its highest, the vocalist pushes it further into the voice of a shrill songbird. The note hangs high in the air, then takes a few steps down and up. The segment ends with the sudden interjection of the low round voice–as if in surprise–and a trailing mumble.
(“Haaa, aa-aa aa-aa aa-aa, hoa? Ah, bw-huh…”)
Visuals: Those in the stone nest finish singing and reunite with the others, pulling them down to safety. A blackbird hiding behind the trunk spreads its wings, sitting on the shoulders of a brown woodpecker. The blackbird’s vest and wingspan are covered in yellow, signaling the coming of daylight. The storm birds retreat and sit still on a nearby branch. The wind is suddenly gone.
Audio: The guitar plays alone.
Visuals: After the stage performances, the audience members move back to the platform. They’re gathered off to the far left side of the central tree trunk, standing in a circle around a single figure. The light of the gathering area is deep plum-purple in far off areas and warm dull pink over the crowd. The empty space around the single dancer is salmon red, and the figure herself is blue.
Audio: The vocalist perfectly mimics the sound of a flutter, of delicate waving in the wind.
(“W-w-w-w-w-w-w”)
Visuals: The camera zooms in on her hand as it flits a pink handkerchief in the air.
Audio: The vocalist belts a pair of bold staunch vocables. The second note is held for several seconds before fading out.
(“Kyen, kyen…”)
Visuals: The camera pulls back to reveal the rest of her. She’s a blue eagle with wings that grade from red at the arms to pink to blue at the wingtips in a wavy pattern. Her smiling beak is bright pink. Her dress is royal blue with reddish-pink trimmed ruffles on the hem of the skirt, waist frill, neck frill, and the flower decoration on the side of her head. She stands with the hem of her dress in one hand and the handkerchief extended in the other in an open invitation to dance. A pale pink spotlight frames her head and shoulders against the darkness, and a dark pink line of song passes behind her. Her partner, an eagle of the same coloration with a blue vest and pants, pink shirt, pale orange sash, a blue hat in one hand, and a pink hanky of his own raised in the other, is calling to her. He puts his hands behind his back and takes high steps toward her. When the two are close, they turn and walk parallel to each other in a slow circle. The male’s back is to his partner. He looks at her over his shoulder with a smile and abruptly splays his feathers to be cute. There’s a layer of pink under his outer coat. She grins, entertained.
Audio: The vocalist repeats the two vocables, twisting the end of the second up into a high wavering trill that eventually soothes and disappears.
(“Kyen, kye–eee, ee, eee, ee…”)
Visuals: The two turn to face each other, circling tighter and tighter in unified song until they’re face to face, looking deep into each other’s eyes. With another turn, they’ve passed by each other and out of sight.
Audio: The vocalist makes a whisper, a ghost of the two vocables. Then, a few quick whistles, barely loud enough to hear.
(“Hyo, hyo”)
Visuals: The woman, who has been captivated by the dance, suddenly notices that the crowd has dispersed around her. Partners are walking off in all directions, leaving her alone. The dance is over.
Audio: The guitar picks up, getting faster and louder for a bit.
Visuals: The woman walks alone in the blue night air along a tangle of tree branches that form a pathway. She walks with her hands behind her back, her face looking preoccupied and a little disappointed. Bushels of soft leaves pass by in the background.
Audio: A high, light pleasant note from the vocalist overtakes the guitar. It grows until it fills the soundscape.
(“Aaa…”)
Visuals: An orange song reaches her from the direction she came, and she stops. When she turns, she sees a blue swift standing on the branch path, far behind her in an opening in the trees. The underside of his feathers is dingy orange, and he’s wearing a black vest, white pants, a rusty red sash around his waist, a bright green kerchief around his neck, and an orange rectangular accessory tied around his neck like a necklace. His face is obscured by a white hat with an orange band. He bows low with a hand on the hat. The hat comes off, revealing inviting eyes and a smiling orange beak. The woman grins and accepts the invitation with determination.
Audio: The vocalist draws long high vocables that resemble a wail. They trail off with a low note.
(“Whoa whoaaa…”)
Visuals: She and the swift untie the fabric around their necks and step toward each other as the line of song forms a ring above them. The woman holds the ends of the shawl in her hands and her hands at her hips with the body of the shawl hanging behind her waist. The bird holds his kerchief out in one hand with the hat in the other, held behind his back. He takes measured winding steps along the branches. The woman mirrors his steps, then pushes off of the main path and lands on an outcropping branch.
Audio: The vocalist’s song wavers back up and demurely bobs up and down, intertwined with tweeting from the flute.
(“Hoa… ohee…”)
Visuals: Her voice, seafoam green and a little stronger than before, trails behind her. She darts back onto the main branch and ducks behind the bird, then circles around to face him, the two only a few feet apart. They exchange steps pushing the other forward and back and flicking their garments in time with their movements. The woman’s voice grows stronger, nearly matching his. The bird quickly catches up as she moves backward, dancing beside her. The two dancers then leap from the main branch and fall down into the rocky forest below, passing by grassy plateaus and vines creeping through stone. Their song follows all the way down. They leap across boulders in the moonlight, side by side. The swift suddenly stops and folds his kerchief around the center of the shawl, hitching the two together.
Audio: The vocalist belts a complex series of syllables that mimic the heavy majestic cawing of a large bird or hawk. The flute makes itself known a little as the voice fades out.
(“Hlau-lau-lau hau-au-wau-wa-wiii…”)
Visuals: The woman, at the receiving end of the momentum, is swung wide and lets out a vibrant complex line of song that could match any bird’s. The two pull closer to each other and end their song on a low steady note. Then, they bow to each other as the camera pulls back. They’re standing on a rock that rises above a basin of water among huge formations of rock. Pairs of birds dance all around them in the shallows.
Audio: The guitar takes over for a bit.
Visuals: The camera cuts to an upward view of a varied group of birds sitting in branches, staring downward with interest. The light from the moon coming down through a break in the trees above is now cool green. The light coming up from where the birds are looking is orange-red.
Audio: The vocalist lets out the aggressive growling of a cat.
(“U-wau, wau-wau-wau-wau”)
Visuals: Below, the woman is dancing in a line with three reddish woodpeckers in a greenish clearing in the trees. They wear intricately detailed dresses in different combinations of bright green, yellow, red, and black with geometric and floral embroidery. The dresses are cinched at the waist with a piece of fabric covered in colored bands. Their heads are covered in scarves with the same colors and patterns. They sing and step aggressively toward the left of the screen. At the other side of the clearing, a line of four red and white faced woodpeckers with green beaks and wings face right. They wear bright green hats, kerchiefs, and sashes, yellow and black striped vests, and dark red pants with yellow tassels at the ankles. Their black shoes tap against the ground as they make quick little dance steps and flutter yellow handkerchiefs. They hold onto the brims of their hats and then lean down with a flourish of their arms, exposing the red crests of their heads sticking up underneath. The dance then changes formation. The girls dance in a line to the left as the boys step in a line to the right.
Audio: The growl hushes down to a wavering whisper, like wings beating in the dark.
(“Tchwahh-cwah-cwah-cwah-cwah-cwah-cwah-cwah…”)
Visuals: Out on a cliff by a waterfall, the scene is bathed in cyan. The line of dancers–alternating male, female, male, female–do a hopping dance from partners on the left to those on the right and back again as they move along the cliff, passing behind the waterfall as it disappears into the greenery in the foreground.
Audio: The guitar asserts itself again.
Visuals: Everything is suddenly red. A guitarist in a blue poncho and a red neck sash frets the neck of a guitar with a brown feathered hand. Rainbow ribbons are tied to the headstock. A deep orange song emanates from the strings.
Audio: The vocalist quickly accompanies the guitar with a harmonized version of the growl that revs up climatically, taking steps up the scale until it’s at its absolute height.
(“U-wa-wa ee-ee eh-oh! Oh-oh-oh-ohh!”)
Visuals: A congress of the partygoing birds stand in lines facing each other, all wearing blue outfits with red kerchiefs with rainbow tassels on them. The group jumps up and down in unison as part of a dance. The party breaks into smaller dances, and the woman dances by herself. She’s wearing a green skirt and flowy purple top with red underskirt, waist cinch, and scarf. Rainbow tassels are attached to the overskirt, and they swish with her movements. Beside her are a hawk woman and a pair of long billed bird men dancing in a circle with their ankles locked. A pair of red birds with white streaks on their wings suddenly hoist the woman into the air, as other birds are hoisted in the distance. As she’s held aloft, she sings and spreads her arms, revealing more tassels on her top, resembling wings. Her song is immense and beautiful. The camera focuses on one of the hoisted birds in the background, who has executed a handstand with the person who threw them. The blackbird’s feathers are all sorts of bright colors. The song passes by behind him. The excitement of the party disguises the presence of a looming pair of yellow slitted eyes peering out from a dark spot between the leaves nearby. A trio of purple pigeons dancing in a line with twigs and colored strings in their hands dip and weave together. The one in front balks, noticing the threat at last.
Audio: The high energy of the music suddenly cuts out. The shrill call of a small bird climbs up out of the silence.
(“Eee…”)
Visuals: A striped short legged pampas cat pounces into the center of the dance field. It misses the birds, but the illusion is shattered. The bird people are just birds again. They fly in a frenzy up through the trees to the safety of the early morning sky. The hilltop erupts with silhouettes of wings.
Audio: When the small bird’s call is at its highest, it tumbles back down and transforms into a low disquieting wail. The guitar re-enters.
(“Ee-ee-ee-ah-ahh ahh oohhh…”)
Visuals: The pampas cat has retreated into the dim tawny forest. It stands on a bent tree branch among bushes and hanging moss and stares into the camera with glowing yellow pupils. A tiny rodent scurries by and into a bush. The cat notices and darts after it. Nearby, dozens of bats hang from the underside of a rock formation that extends over a field of berry bushes. Their sleepy heads are tucked into their folded wings. A straggler flaps up to join the rest as the sun continues to rise. Elsewhere, a hive with wasp-like insects resting on the outside hangs over a rock. Sunlight gleams over the scene from a break in the trees in the background. A large brown mouse climbs up on the rock, backlit by the sun. It grabs a wasp in its teeth and leaves before the rest of the hive can wake up.
Audio: The vocalist makes a low steady murmur. A couple shakes from the shaker instrument follow.
(“Hoo…”)
Visuals: A colony of green and brown frogs with purple eye ridges, yellow faces, and orange bellies are asleep on dewy ridges of rock. A green cicada hangs out on a leaf off to the top left corner. The mouse jumps down through their resting spot, waking them all up. The frogs croak a green song as the cicada hangs on for dear life on the swinging leaf. The wind moans through the crevices of another stone forest. The little flowering shrubs that grow on the rocks bristle in the breeze. A variety of green, yellow, and blue lizards poke their heads out of the rocks, into the morning light.
Audio: The vocalist repeats the murmur. The flute follows this time.
(“Hoo…”)
Visuals: The camera pulls back to view the entire rock formation. The still rising sun shines only on the top half of right-facing stones. Long spindly tree trunks grow from the top left, out of sight. Long grass waves on the ground below. An alpaca-like vicuña raises its head from the long grass, facing the light. In the branches of the trees above, various birds perch facing left.
Audio: The vocalist makes a mysterious sound that begins as a harsh sound between her teeth and ends as a whisper. It echoes in the background.
(“Chwah-ah…”)
Visuals: The camera turns back to the village. Golden light casts diagonally across the brown roofs and tan buildings. The silhouette of a small bird flies toward the center of town.
Audio: The vocalist makes the sound again, then pulls the whisper up into a harsh repeated rasp from the back of her throat.
(“Chwah-ah qwah-qw-qw-qw-qw-qwah-qwah-qwah”)
Visuals: Down in between the one-story houses, the bird flutters down. Long shadows lay across a passage leading toward a door on the side of a building. We see the shadow of the woman land in the soft dirt path where the bird’s would have. She heads toward the door at a walking pace.
Audio: The call returns to a whisper. The vocalist clicks her throat in a short series of hollow sounds, nearly like the creaking of wood.
(“Qwk-qwk-qwk-qwk-qwk, qwk qwk qwk qwk”)
Visuals: As she opens the door to enter the purple interior light of the house, we see that she’s back in her green dress, but now her shawl is red. The sun glints in her hair. Before she goes inside, she looks back and winks at the camera with a smile. Then, she slowly pulls the door behind her until it’s shut.
Audio: The vocalist lets out her breath entirely as the accompanying music trickles into silence.
(“Haaa…”)
Visuals: The screen is black for a few seconds.
Audio: The high whistling call of a green manakin can be heard over the rustling of forest trees. The call’s tone is raised at the end, like it’s asking a question.
(“Twee?… Twee?… Twee?… Twee?”)
Visuals: The end card appears. Yellow and green lettering and a border lay on a black background. The text reads: Yma Sumac. Peruvian soprano and composer. October 13th 1922 until November 1st 2008. Biographical and reference info in description. Chuncho, 1953. Written by Moises Vivanco. Capitol Records, Universal Music Publishing Group. Carlie Hughes. Tumblr @rainbowchewynuggets. www.carliehughes.com. End ID]
INDEX
#chuncho#animatic#song#night festival animatic#the night festival#yma sumac#the birds#the forest creatures#this was supposed to go up on her birthday but i got sick aaa#youtube
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Clipped from my email! Please do it if you have a sec! Reblog with tags if not!
#resolution 504#gaza#palestine#israel#bernie sanders#free palestine#free gaza#palestine updates#gaza updates
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Clipped from my email! Please do it if you have a sec!
#resolution 504#gaza#palestine#israel#bernie sanders#free palestine#free gaza#palestine updates#gaza updates
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[ID: Turn-around photos of an assembled and hand painted High Grade Man Rodi mecha figurine with a home made pedestal base posed against a white background. The model is painted to resemble an eva (from Neon Genesis Evangelion) that has been in a very messy battle and has taken severe damage. Its pose is resigned, legs in wide stance (with jets rather than feet) and arms at its sides with a bright orange cord wrapped around its fists. Its head is bowed. The exterior armor is painted entirely in white with deep royal blue peeking out from the joints, torso, neck, the jets on its shoulder blades, and the circular component cut into its spine where the interior is exposed. Six light blue pinpoint eyes glare out from the dark blue visor of its head. There are holes punched in its chest, shoulders, legs, and the back left edge of its head. The wounds dribble blue liquid. The armor is further covered in deep scratch marks and splatters of yellow-orange muck from some defeated creature. Its hands are muddy with the stuff, and the cord drips with it. A battleaxe attachment is stowed on its lower back. The blade is similarly stained, with a chunk of it missing in the middle, as if having hit something immensely hard. The round pedestal on which the figure is mounted (with a metal nail) simulates a field of lumpy snow. The field is dappled with yellow and blue from the dripping, bleeding figure. The cylinder holding up the pedestal looks as if it was once orange with blue streaks running down from the top platform. It has since frosted over with white. End ID]
It took me literally six months to get around to taking pictures of him, but here's my second son!!!
His name is Specter.
Index
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"I'm calling to ask the Congressman to vote against House Resolution 894, because of part 4 of the Resolution which equates anti-zionism with anti-semitism. That is absolutely untrue, and not a myth I want my Representative supporting."
Capitol Switchboard: 202-224-3121
(You can read the full text here)
It is clearly important to always stand against anti-semitism, but this resolution "clearly and firmly" equating anti-zionism to anti-semitism is not only ridiculous but actively harmful to Jewish people and their allies.
Many of the protests we are seeing in the US are organized or co-organized by Jewish activists. Their strength, empathy, resilience, and faith have been truly inspiring.
Falling into the trap of Israeli propaganda that to be against settler-colonialism is to be against Jews is absurd.
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Hey, you!
There’s a hunger strike happening in front of the White House in protest of the assault on Gaza that’s about to continue.
Email your representatives to draw their attention to this and demand they call for ceasefire and do everything they can to make it happen. (Or feel free to shame them and hold your vote as ransom if you think they won’t.)
If you’ve bugged them about it before, bug ‘em again. Takes 3 minutes. Get your friends to do it, too. Tire these guys the fuck out until they budge.
Thanks :)
#palestine bombings#white house hunger strike#hunger strike for palestine#how to help gaza#gaza genocide#gaza hunger strike#news on gaza
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Story Nugget - Easy Magic
So, magic's really cool right? It gives you the power to change reality to accomplish the impossible. And it makes sense that such a power would have a cost.
I like the horror side of that. There's something cosmically unsettling about being able to manipulate the fabric of the world you live in. It's like introducing a cheat in a videogame that messes up the code of everything else because it doesn't know how to react.
Imagine a magic system that does this. Maybe it's used with good intensions. There's some kind of problem going on that would be a lot of work to make better and/or would cost something the wielder deems too important to lose. But the motive is also a little cowardly. It's a quick fix to get around a consequence or sacrifice.
Then, when the surreal consequences start to come out, it creates other problems. A mind changed by magic begins to lose its free associations. It only keeps what its new logic will allow until there is only that one thought left inside it. An object disguised to serve a different purpose can't do either job properly again, mangling the stability of whatever or whoever it is used with. The area where the action was performed looks... wrong--and becomes more wrong. An alien tangle daring that it be remedied in order to spread its shape.
Ideally, this all would scare a person away from ever using this power again. Less ideally, the guilt and shame might motivate them to "fix" their "fix", thinking they just did it wrong. Or they simply move on, having sworn to never use the power again.
There is no end to problems, of course, so there's plenty of temptation to cheat. It forms a hole in the wielder that they come to reason must be the power itself manipulating them (rather than, say, a loneliness and entitlement that drove them toward the power in the first place). As much as they try to resist, they use this power again and again with greater and greater impact.
Word of this bizarre phenomenon travels far and wide. People fill in their own explanations for what's happening because there must be a logic to it. A way to control it. A line that connects the conflicts they'd rather not face to the chaos eroding their world. Because the anatomy of the threat defies logic entirely and unravels those patient and curious enough to investigate.
What everyone ends up looking for is a perpetrator.
The wielder, themself, hasn't been able to show their face for years. They usually move quietly between small isolated towns, looming in the back of public spaces, careful not to touch too many things. They can't speak. They can barely see. They watch the vague shapes of passersby and pull the fabric of their cloak tighter over their garbled abstract body that grows harder to hide with each act of heroism.
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INDEX
#local horror unenjoyer cant stop writing horror#story nugget#easy magic#story idea#story prompt#writing prompt#horror#cosmic horror#magical horror#fantasy horror#body horror#cw body horror
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Palestinians Sue Biden for Failing to Prevent Genocide in Gaza
Via the intercept:
“The 89-page lawsuit, filed by the Center for Constitutional Rights in a California federal district court, traces 75 years of history and analyzes acts committed and rhetoric espoused by the Israeli government that exhibit a disregard for international law. It is accompanied by a declaration from a genocide expert who describes Israel’s actions as signs of genocide and argues that the Biden administration has breached its duty under international law to prevent it.
“Under international law, the United States has a duty to take all measures available to it to prevent a genocide. Yet, Defendants have repeatedly refused to use their obvious and considerable influence to set conditions or place limits on Israel’s massive bombing and total siege of Gaza,” the lawsuit reads.
“Despite escalating evidence of Israeli policies directed at inflicting mass harm to the Palestinian population in Gaza,” the Biden administration has opposed “a life-saving cease-fire and lifting of the siege, even vetoing United Nations measures calling for a ceasefire,” the lawsuit continues. “Instead, their actions to fund, arm, and endorse Israel’s mass and devastating bombing campaign and total siege of the Palestinians in Gaza constitutes a failure to prevent an unfolding genocide and complicity in its development.”
#Palestine #Warcrimes #GenocideJoe
#free palestine#free gaza#ceasefire#joe biden#genocide#how to help gaza#how to help palestine#war crimes
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instagram
I chickened out of going to this disruption demonstration, but I should have gone. Watching this helped me feel a little more comfortable going to the next one, seeing what it’s actually like.
If you also are trying to work up the nerve to be more active, watch this and videos like it.
Also, this is the Florida Palestine Network on insta, and they’re great. Go give them a follow and sign their petition (if you live in FL) to pressure local representatives to support a command for ceasefire. The link also has a lot of good resources that everybody should check out!
#reblogging from my main#i promise i wont just post about this forever#its just important to me#thanks#free palestine#free gaza#how to help gaza#how to help palestine#free palestine protests#free gaza protests#palestine protests#gaza protests#c4ats florida
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#REPOSTOBER
A lock screen commission I did for @rainbowchewynuggets of her characters from The Greatest Battle! you can check out the video here it RULES!
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700 Palestinians were killed in the last 24 hours and the airstrikes are more violent each night. Gaza's hospitals have fuel left for two more days. Israel only allowed aid into Gaza on the condition they didn't carry fuel. The Indonesian hospital has shut down already, because doctors have no supplies and no choice but to let the wounded die. They're calling it a collapse but the term doesn't do it justice.
Over a 100 incubator babies are at risk. There are 50.000 pregnant women in Gaza right now, and 5.500 due to give birth this month. Menstruating people are taking pills in order to stop their periods, because they do not have pads or water to maintain hygiene. Surgeons are operating without anesthesia. Water is not reaching Gazans because there's no electricity or fuel for water pumps.
There's no excuse for this. Israel justifies the airstrikes by saying they want to destroy Hamas infrastructure and release the hostages, but they have refused to negotiate for their release. Hamas informed Israel they wanted to release two elderly women without anything in return, and Israel refused. Netanyahu said they wouldn't take their own civilians back because it was "mendacious propaganda." When the hostages were finally released, Netanyahu prohibited the hospital from giving press releases. Yocheved Lifshitz went behind their backs and talked to the press anyway, saying she was treated very well by Hamas, but the government abandoned them. They're being used as straw men. Israel is conditioning the entry of fuel to the release of hostages and yet, according to The Wall Street Journal, when Hamas proposed to exchange 50 hostages for fuel they denied. IDF officials have said they fear the release of more hostages because that might withhold the order to their ground invasion. They do not care as long as they can use the hostages as a pretext for their slaughtering.
There's a turning tide for Palestine in public support. Support for Israel was built through decades of propaganda and we are making a dent into it. Zionists are desperate, holding zoom meetings to promote zionism, but we have to do so much more. We have to shame people in power into supporting the Palestinian cause.
Keep yourself updated and share Palestinian voices, looking to inform yourself from the sources. Palestinians have asked of us only that we share, tweet and post, over and over. Muna El-Kurd said every tweet is like a treasure to them, because their voices are repressed on social media and even on this very app. Make it your action item to share something about the Palestinian plight everyday. Here are some resources:
Al Jazeera
Anadolu Agency
Mondoweiss
Boycott Divest Sanction Movement
Palestinian Youth Movement
Mohammed El-Kurd (twitter / instagram)
Al-Shabaka (twitter / instagram)
Mariam Barghouti (twitter / instagram)
Muhammad Shehada (twitter)
Motaz Azaiza (instagram) - reporting directly from Gaza
Take action. You can participate in boycotts wherever you are in the world, through BDS guidelines. Right now, they are focusing on boycotting (don't be overwhelmed by gigantic boycott lists. Only boycott additional brands if you can):
Carrefour
HP
Puma
Sabra
Sodastream
Ahava cosmetics
Israeli fruits and vegetables
Push for a cultural boycott - pressure your favorite artist to speak out on Palestine and cancel any upcoming performances on occupied territory (Lorde cancelled her gig in Israel because of this. It works.)
If you can, participate in direct action or donate. Palestine Action works to shut down Israeli weapons factories in the UK and USA, and have successfully shut down one of their firms in London. Some of the activists are going on trial and are calling for mobilizing on court.
Call your representatives. The Labour Party in the UK had an emergency meeting after several councilors threatened to resign if they didn't condemn Israeli war crimes. Calling to show your complaints works, even more if you live in a country that funds genocide.
FOR PEOPLE IN THE USA: USCPR has developed this toolkit for calls
FOR PEOPLE IN THE UK: Friends of Al-Aqsa UK and Palestine Solidarity UK have made toolkits for calls and emails
FOR PEOPLE IN GERMANY: Here's a toolkit to contact your representatives by Voices in Europe for Peace
FOR PEOPLE IN IRELAND: Here's a toolkit by Voices in Europe for Peace
FOR PEOPLE IN POLAND: Here's a toolkit by Voices in Europe for Peace
FOR PEOPLE IN DENMARK: Here's a toolkit by Voices in Europe for Peace
FOR PEOPLE IN SWEDEN: Here's a toolkit by Voices in Europe for Peace
FOR PEOPLE IN AUSTRALIA: Here's a toolkit by Stand With Palestine
FOR PEOPLE IN CANADA: Here's a toolkit by Indepent Jewish Voices for Canada
Join a protest. Here's a constantly updating list of protests:
Global calendar
USA calendar
Australia calendar
Here are upcoming events:
CANBERRA/NGUNNAWAL, AUSTRALIA – Wed Oct 25, 11 am, National Press Club. Info: https://www.instagram.com/p/Cyh1xy1BMrU/
OXFORD, ENGLAND – Wed Oct 25, 12:15 pm, Cornmarket. Info: https://www.instagram.com/p/CykroKeInz3/?utm_source=ig_web_copy_link
SMITH COLLEGE (US) – Wed Oct 25, 12 pm, Chapin Lawn. Info: https://www.instagram.com/p/CymT8f5vnHN/?img_index=1
ST CATHERINES, ON ( CANADA) – Wed Oct 25, 6 pm, 61 Geneva St Info: https://www.facebook.com/events/889319005528757/
TORONTO, CANADA – Wed Oct 25, 5 pm, Sidney Smith Hall. Info: https://www.instagram.com/p/CyjVbpGvva8/
SANT CUGAT, CATALONIA, SPAIN – Thurs Oct 26, 6 pm, Davant l’Ajuntament. Info: https://www.instagram.com/p/CynL834tgg9/?img_index=4
MELBOURNE, AUSTRALIA – Fri Oct 27, 7 pm, Federation Square. Info: https://www.instagram.com/p/Cyhyd0vhP8t/
LIVORNO, ITALY – Sat Oct 28, 2:30 pm, Piazza Cavour. Info https://www.instagram.com/p/CyiWJ06MXpM/
MINNEAPOLIS, MN (US) – Sat Oct 28, 1 pm, Lake Street and Minnehaha.
ROME, ITALY – Sat Oct 28, Rome. Info: https://www.instagram.com/p/Cyi7ey-MMs1/?img_index=1
ROME, ITALY – Sat Nov 4, Rome. Info TBA: https://www.instagram.com/p/CyndKUitnMU/
WASHINGTON, DC (USA) – Sat Nov 4, 12 pm, White House. Info: https://www.instagram.com/p/CyiecRtr9-B/
Wollongong: Rally at Crown Street Mall Amphitheatre on 21 Oct at 1 PM
Melbourne: Blak and Palestinian Solidarity Rally at Victorian Parliament House Steps on 25 Oct at 6 PM
HOUSTON: Thursday, October 26th, 5:45PM, Rice University, Central Quad
VANCOUVER: OCT 28 at 2PM, Vancouver Art Gallery
KITCHENER: Wednesday October 25th at 5 PM at CBC Kitchener
SANTA ANA: 20 Civic Center Plaza, Santa Ana, CA 92701, October 25th at 5:30 pm
TORONTO: WED. OCT 25 at 7PM at Queen's Park
[CAR RALLY] WASHINGTON D.C: Wednesday 10/25 outside the US State Department on the 23rd Street side
Feel free to add more.
#free gaza#free palestine#gaza strip#how to help gaza#how to help palestine#stand with palestine#save gaza#gaza under attack#palestine
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