evelyn👁️(恵羽凛〜えばりん〜) retweeted
Sakkan is an especially misunderstood position in English speaking circles so we posted a little something on Substack! (link below)
evelyn👁️(恵羽凛〜えばりん〜) retweeted
Hundreds of thousands have signed this petition to get @HouseDemocrats to pick a new speaker @MarkRuffalo just shared: change.org/p/house-democrats…
@Sludge on who funds @RepJeffries (see also: Schumer): readsludge.com/2026/11/04/th…
evelyn👁️(恵羽凛〜えばりん〜) retweeted
This is a great insight to what’s happening in all the Deep South states, I want you all to realize that it was never a fair playing field. So critique as you may, but understand the odds we’re up against.
evelyn👁️(恵羽凛〜えばりん〜) retweeted
OPEN TF UP ITS MOVE OUT DAY
Trump Says He Will Move to Israel to Become Prime Minister If U.S. Turns on Him tmz.me/4Aap1wW
evelyn👁️(恵羽凛〜えばりん〜) retweeted
Republican kids going to bed tonight knowing they’re gonna wake up trans tomorrow
evelyn👁️(恵羽凛〜えばりん〜) retweeted
Watched “Clayface.” I wasn’t familiar with the character from DC, but I enjoyed the film. I’ve always loved the science fiction films of the 1950s and ’60s, particularly those about lonely men who gradually transform into something monstrous through scientific experiments, accidents, clinical trials, and the like. Richard Matheson’s novel “The Shrinking Man” (1956), and films such as “The Fly” (1958) and “4D Man” (1959). The facial disfigurement also reminded me of “Eyes Without a Face” (1959), “The Face of Another” (1966), and “The Skin I Live In” (2011). As a body horror film, “Clayface” will undoubtedly be compared to “The Fly” (1986) and “The Substance” (2024). But this is the story of a method actor who can become anyone through his performances, only to suffer a disfiguring facial injury and eventually gain the extraordinary ability to physically transform into anyone. Whether you see it as the story of a man who takes his revenge and descends into villainy, or as a tragedy, changes the very face of the film. While I was there, I also picked up a reprint of the original theatrical pamphlet for “The Man Who Stole the Sun.”
evelyn👁️(恵羽凛〜えばりん〜) retweeted
I’ve noticed a lot of overseas animators aren’t really studying the Japanese way of animating before jumping onto productions. One thing I hear complaints about pretty often is overseas animators not knowing a lot of anime is on 3s, including walks.
I wrote about it on Substack
evelyn👁️(恵羽凛〜えばりん〜) retweeted
A Japanese guy asked me if people got hay fever in America, too, and I said yes. He then asked why. I was so dumbfounded I couldn’t answer. After a long silence and me staring in disbelief, someone said, “…they have trees and flowers in America, too.”
evelyn👁️(恵羽凛〜えばりん〜) retweeted
Found out today this is what football sounds like to my girlfriend, my sister, and my mom.
evelyn👁️(恵羽凛〜えばりん〜) retweeted
So, you did the thing! You submitted the portfolio and you got approved to start on layout! The PA approaches you and says “would you prefer to do a saku-uchi or shiji conte?”
What is that and which is better?🤔
(My thoughts are in our latest Substack post!)
evelyn👁️(恵羽凛〜えばりん〜) retweeted
Ta-rot to hold oneman live in Ueno December 2026! Special limited edition CD is available with the purchase of a ticket 👀 @tarot_2024
Full post on vkgy (link in comments)
I don’t hate these girls nearly as much as most of the internet seems to but I do always find people pretending to be into things hilarious, and the way they clearly don’t know how to physically react to/enjoy heavy music for like 15 full seconds here is so fucking funny.






































