阿災III-逃難中

가면쏠랑 벗긴진을 즐겨그렷던 시절이 잇엇음 (진흐웨있음 ㅈㅅ)

這是那種「某些角度有像」的狀況吧😂

我謝過馬趴了嗎？忘記了，再謝一次好了☺️

another week later & i’m done drawing every champion released in 2010 😼😼

I miss u

.......這個動畫不是你想的那樣（

居然是大腸癌...

！？！？！？

內藤看起來不像對仙俠題材感興趣的樣子，難道是對特攝那方面感興趣嗎？

台湾発！特撮人形劇の世界展にお邪魔して参りました。レプリカでなく実際に撮影を戦ってきた御本尊を間近で見られて眼福。絢爛の世界観が凝縮された人形達は、どこまでもとんでもない作り込みで頭がパンクしそう。

@karack1871 人臉武器跟骷髏肩甲的對應是有想法的...要是能有效用在塑造角色上就好了😭

@aidonotknow3 那个武器倒是挺时尚的好喜欢好像抱脸虫🤤🤤🤤

我很好奇他們決定要做模型的時侯知不知道動畫會怎麼搞

一般動畫用OP、ED減少需要作動畫的時間，20C電氣目錄則是拿OP來講故事背景，姑且不論結果好壞這未免也太有誠意了..... 但他們改編加的配料越來越重口了我真的有點怕啊

@karack1871 感覺他的薪水都花在武器上了（

@aidonotknow3 从战术紧身衣到死库水这降级太大了又不给孩子吃饱饭还给孩子穿质量不好的衣服（

貴方に全てを与えましょう。 #Shenzed

3月14日（水）発売『血界戦線 & BEYOND』BD & DVD Vol.４【内藤泰弘先生描き下ろしスリーブケース】と【キャラクターデザイン川元利浩氏描き下ろしデジパック】を公開！鮮やかなグリーンが目を引く、ザップ＆ツェッド中心のデザインとなっております！詳細はkekkaisensen.com/package04.html　#kekkai_anime

途中放棄😇集合絵好き❤チャレンジしょ➡ﾏﾁﾞﾑﾘまで爆速

要說責任感也是對帝國的吧。窩闊台選了勃剌合真作為大可敦、脫列哥那為二皇后，其實就是他「確立統治是第一要務，其次是招降撫綏」思考的體現。要說善意或罪惡感他可能是有的，但大概也跟唆魯禾帖尼「想要異族知識」那種紆尊降貴的理解沒有太大差別。

因為netflix快下架了所以看了一點，但，fate extra的作畫也太糟了吧.....雖然總導演是新房（背景超好認）但真的醜到我一集都看不下去（

Nolan’s ‘The Odyssey’ sparked unexpected controversy when one of the Viking ships used during production, an authentic, hand‑built replica owned by a small maritime heritage non‑profit, was returned with significant structural damage. The vessel, normally maintained through volunteer labor and modest donations, had been loaned out under the assumption that a major studio would treat it with care and cover any repairs. Instead, the organization found cracked planks, warped ribs, and a ruined sail system that would cost more than their annual operating budget to fix. The non‑profit reached out to the production team repeatedly, hoping for a straightforward reimbursement or at least a conversation. What they encountered instead was silence. Emails went unanswered, calls were redirected, and the studio’s representatives insisted the damage was “pre‑existing,” despite photographic documentation taken before filming. For a group dedicated to preserving Viking‑age craftsmanship, the dismissal felt not just financially devastating but deeply disrespectful. As the story spread among local historians and maritime enthusiasts, frustration grew. Volunteers who had spent years restoring the ship felt betrayed, watching a Hollywood epic profit from their work while leaving them with a broken artifact they could no longer sail or display. The incident became a symbol of the imbalance between massive film productions and the small cultural institutions they rely on, raising uncomfortable questions about responsibility, preservation, and the true cost of cinematic authenticity. The damaged Viking ship had actually been restored using traditional clinker‑building techniques, meaning every plank was hand‑shaped and overlapped the next, so repairing even a “small” crack requires a specialist craftsman and days of labor. That’s why the non‑profit wasn’t just upset about the cost; the damage erased work done with skills that only a handful of artisans still practice today. #archaeohistories