From "The Vengeance of Loki!" in Journey into Mystery #88, January 1963. Stan Lee plot, Larry Lieber script, Jack Kirby pencils, Dick Ayers inks, Stan Goldberg (?) colors, Artie Simek letters.
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Just finished this special commission for a client who wanted to step into the cabe of Salazar Slytherin. We went for a mood that captures that classic House ambition and ancient magic feel.
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#harry potter #slytherin #salazar slytherin #hogwarts legacy #character art #digital illustration #fantasy portrait
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Snakes use at least five unique modes of terrestrial locomotion. The kind of locomotion a snake uses in any particular instance depends on several factors such as the kind of surface it is crawling on and its speed. In fact, an individual snake can use most or all of the five modes, and can even use two modes in different parts of the body. Below are descriptions of the various modes of snake locomotion and a brief bibliography.
But first, the locomotor mode of most limbless lizards is Simple Undulation. Simple undulation is characterized by waves of lateral bending being propagated along the body from head to tail. The bends push laterally against surface objects, but do not deform locally around them, and usually slip out of contact quickly; in this way, simple undulation differs from the more complex Lateral Undulation of snakes (see below). Most elongate and limbless lizards use simple undulation when crawling on the surface of the ground; however, a few species use the more complex mode of lateral undulation that snakes use.
Lateral Undulation is the common serpentine locomotion of snakes. In lateral undulation, as in simple undulation, waves of lateral bending are propagated along the body from head to tail. But lateral undulation is unique in that whenever a bend contacts a surface object, such as a rock or stick, it exerts force against it and deforms locally around it. Whenever a snake pushes against multiple objects simultaneously, the lateral force vectors cancel each other, leaving a resultant vector that propels the snake forward; postural adjustment around each object gives the snake even finer control over the direction of force exertion. Force exertion against each object is inversely proportional to the number of objects being pushed against simultaneously by the snake, but total force is roughly constant for a given speed and substrate. In lateral undulation, the large dorsal muscles are activated sequentially along the body. The muscles are active unilaterally in each bend, from the convex part of a bend forward to the straight or concave part of the bend. As the snake progresses, each point along its body follows along the path established by the head and neck, like the cars of a train following the engine as it moves along the track (although the propulsive mechanism is very different); thus, sliding friction is a critical component of lateral undulation. The local adjustment of curvature around each point of contact with an external object indicates a high degree of sensory-motor control, unique to snakes and a few species of limbless lizards.
Sidewinding is used by many snakes crawling on smooth or slippery surfaces, but is best known in the sidewinder rattlesnake (Crotalus cerastes) and a few desert vipers of Africa and Asia. Sidewinding is similar to lateral undulation in the pattern of bending, but differs in three critical ways: First, each point along the body is sequentially placed in static (rather than sliding) friction with the substrate. Second, segments of the body are lifted off the ground between the regions in static contact with the ground. Thus, the body sort of rolls along the ground from neck to tail, forming a characteristic track (that is proportional to body length) in sand; after being lifted off the ground and set down again a short distance away, the front part of the body begins a new track while the rear part of the body completes the old track. Third, because of the static contact and lifting of the body, the snake travels roughly diagonally relative to the tracks it forms on the ground. Muscle activity during sidewinding is similar to that in lateral undulation except that some muscles are also active bilaterally in the regions of trunk lifting.
Concertina locomotion involves alternately pulling up the body into bends and then straightening out the body forward from the bends. The front part of the body then comes to rest on the surface and the back part of the body is pulled up into bends again, and so forth. The bends may push laterally against the sides of a tunnel or vertically against the ground to keep the body from slipping. Thus, static friction is critical to concertina locomotion. Concertina locomotion is used in crawling through tunnels or narrow passages and in climbing. In concertina locomotion, blocks of muscles are activated simultaneously, and unilaterally, in regions of bending and of static contact with the sides of a tunnel.
Rectilinear locomotion is movement in a straight line. It is used mainly by large snakes such as large vipers, boas, and pythons. In rectilinear locomotion, the belly scales are alternately lifted slightly from the ground and pulled forward, and then pulled downward and backward. But because the scales "stick" against the ground, the body is actually pulled forward over them. Once the body has moved far enough forward to stretch the scales, the cycle repeats. This cycle occurs simultaneously at several points along the body. Static friction is the dominant type of friction involved in rectilinear locomotion. Unlike lateral undulation and sidewinding, which involve unilateral muscle activity that alternates from one side of the body to the other, rectilinear locomotion involves bilateral activity of the muscles that connect the skin to the skeleton. One set of these muscles lifts the belly scales up and pulls them forward and another set of muscles pulls the them downward and backward.
Blog owner @scoriarose's addition: Snakes have ribs with ball joints which allows them to function similar to legs, and are also relevant to this motion. For more information please see this: https://www.tumblr.com/scoriarose/756537189019648000
Slide-pushing involves vigorous undulations of the body that slide widely over the surface. Slide-pushing is used when a snake on a smooth surface is startled and tries to escape quickly, but slips over the surface. In slide-pushing, irregular bends of the body and tail press vertically on the surface at different points; although the body slips on the surface, it pushes down with enough force to move the center of mass in a quasi-regular, often step-like, pattern. Thus the snake progresses irregularly by slipping along the ground. Sliding friction is most important in slide-pushing, although there may be occasional moments of static contact. The patterns of muscle activity during slide-pushing are unknown.
Original article written by Brad Moon, 2001
References Below Cut
Original source: https://userweb.ucs.louisiana.edu/~brm2286/locomotn.htm
Bennet, S., T. McConnell, and S. L. Trubatch. 1974. Quantitative analysis of the speed of snakes as a function of peg spacing. Journal of Experimental Biology 60, 161-165.
Bogert, Charles. 1947. Rectilinear locomotion in snakes. Copeia 1947:253-254.
Brain, C. K. 1960. Observations on the locomotion of the South West African adder, Bitis peringueyi (Boulenger), with speculations on the origin of sidewinding. Annals of the Travsvaal Museum. 24:19-24.
Cowles, Raymond B. 1956. Sidewinding in snakes. Copeia 1956(4):211-214.
Gans, Carl. 1962. Terrestrial locomotion without limbs. American Zoologist 2:167-182.
Gans, Carl. 1975. Tetrapod limblessness: Evolution and functional corollaries. American Zoologist 15:455-467.
Gans, Carl. 1985. Motor coordination factors in the transition from tetrapody to limblessness in lower vertebrates. In: (B. M. H. Bush and F. Clarac, eds.), Coordination of motor behaviour. Soc. Exp. Biol., Sem. Ser. 24:183-200.
Gans, Carl. 1984. Slide-pushing: a transitional locomotor method of elongate squamates. Symposium of the Zoological Society of London 52:12-26.
Gans, Carl. 1986. Locomotion of limbless vertebrates: pattern and evolution. Herpetologica. 42(1):33-46.
Gans, Carl. 1994. Approaches to the evolution of limbless locomotion. Cuadernos de Herpetolog'a. 8, 12-17.
Gans, Carl. and H. L. Kim. 1992. Kinematic description of the sidewinding locomotion of four vipers. Israel Journal of Zoology 38:9-23.
Gans, Carl. and H. Mendelssohn. 1972. Sidewinding and jumping progression of vipers. In: (A. de Vries and E. Kochva, eds.), Toxins of animal and plant origin, pp. 17-38. Gordon and Breach Science Publ., London.
Gasc, Jean-Pierre, D. Cattaert, C. Chasserat, and F. Clarac. 1989. Propulsive action of a snake pushing against a single site: its combined analysis. Journal of Morphology 201:315-329.
Gray, James. 1946. The mechanism of locomotion in snakes. Journal of Experimental Biology 23(2):101-120.
Gray, James and H. W. Lissmann. 1950. The kinetics of locomotion of the grass-snake. Journal of Experimental Biology 26:354-367.
Jayne, Bruce C. 1985. Swimming in constricting (Elaphe g. guttata) and non-constricting (Nerodia fasciata pictiventris) colubrid snakes. Copeia 1985:195-208.
Jayne, Bruce C. 1986. Kinematics of terrestrial snake locomotion. Copeia 1986(4):915-927.
Jayne, Bruce C. 1988a. Muscular mechanisms of snake locomotion: an electromyographic study of lateral undulation of the Florida banded water snake (Nerodia fasciata) and the yellow rat snake (Elaphe obsoleta). Journal of Morphology 197:159-181.
Jayne, Bruce C. 1988b. Muscular mechanisms of snake locomotion: an electromyographic study of sidewinding and concertina modes of Crotalus cerastes, Nerodia fasciata, and Elaphe Obsoleta. Journal of Experimental Biology 140, 1-33.
Jayne, Bruce C. and Albert F. Bennett. 1989. tail morphology and snake locomotion. Journal of Experimental Zoology 252:126-133.
Lissmann, H. W. 1949. Rectilinear locomotion in a snake (Boa occidentalis). Journal of Experimental Biology 26:368-379.
Moon, Brad R. and Carl Gans. 1998. Kinematics, muscular activity, and propulsion in gopher snakes. Journal of Experimental Biology 201(19):2669-2684.
Mosauer, Walter. 1930. Note on sidewinding locomotion. American Naturalist 64:179.
Mosauer, Walter. 1932. On the locomotion of snakes. Science 76:583-585.
Mosauer, Walter. 1932. Über die Ortsbewegung der Schlangen. Eine Kritik und Ergänzung der Arbeit Wiedemann's. Zoologische Jahrbucher Abteilung fur Allgemeine Zoologie und Physiologie der tiere 52, 191-215.
Mosauer, Walter. 1935. How fast can snakes travel? Copeia 1935:6-9.
Ruben, John A. 1977. Morphological correlates of predatory modes in the coachwhip (Masticophis flagellum) and rosy boa (Lichanura roseofusca). Herpetologica 33:1-6.
Secor, Stephen M., Bruce C. Jayne, and Albert F. Bennett. 1992. Locomotor performance and energetic cost of sidewinding by the snake Crotalus cerastes. Journal of Experimental Biology 163:1-14.
Walton, Michael, Bruce C. Jayne, and Albert F. Bennett. 1990. The energetic cost of limbless locomotion. Science 249:524-527.
Wiedemann, E. 1932. Zur Ortsbewegung der Schlangen und Schleichen. Zoologische Jahrbucher Abteilung fur Allgemeine Zoologie und Physiologie der tiere 50:557-596.
Orochimaru should have learned how to use jutsu with his feet when he couldn’t use his arms. Imagine him slithering on the ground and flashing hand seals with his nasty little grippers , Meme by Weeblmao.com
Could you please write Draco Malfoy fluff? Cuddling in the empty common room in the middle of the night while it’s a storm outside maybe? Y/n is Draco’s girlfriend just for some short time and he would do anything to make her feel safe…
Thank you so much, have a nice weekend
Hi! Thank you for requesting, the idea sounds so nice:) I hope you will enjoy it.
characters: Draco Malloy x fem!reader
rundown: you are scared of the thunders which are filling the common room and your boyfriend is making sure nothing will happen to you
warnings: thunderstorm, mentions of crying, fluff
request status: opened, only the Saturday requests
Your eyes shot opened when you heard noise from outside. The whole common room you had fallen asleep in was suddenly in light and then went dark after few seconds.
You quickly realized what was happening outside of the castle. Your eyes widened and your throat felt sore when you swallowed. Shiver ran down your spine while you sat up and pulled your legs closer to your body.
Someone, who you had been sharing the couch with, moved. Recognizing the white hair from under the blanket on the other side of the couch, you wanted to smile but you just closed your eyes shut when another thunder filled the room.
“Draco,” you gently shook his leg after few seconds of deciding if you should’ve done it or not. When he didn’t wake up, you shook his leg again, knowing that it was rude, but you were too scared. “Draco.”
“Yes princess?” You asked you, half asleep. The nickname he gave you… he hasn’t called you that yet. Somehow, warmth filled your chest and a little smile settled on your lips. Until there wasn’t another thunder.
“I am scared,” you whispered, hoping that he hasn’t heard you as soon as the words left your mouth. But you were so wrong. As these words crushed on his ears, Draco sat up on the couch, lifting the blanket.
“Scared?” He asked you back, falling into reality. He opened his gray eyes, which color you could see when another shot of light filled the common room.
“Of thunderstorms,” you whispered again, but it was too quiet in the common room at the moment, so he could hear you.
“Oh,” was the only sound which left his mouth and he stretched out his arms for you. “Come here then,” Draco offered you, and you weren’t even thinking about refusing. You crawled up to him and sat opposite to the blonde boy, falling onto his chest while he was holding you in a hug. Draco then lifted his hands, holding the blanket and covered your shoulders with it. You smiled against his chest and took a deep breath, realizing that he always smelled like menthol.
“Thank you,” you only murmured into his chest. You knew that you were safe. But even if you knew it, one single tear rolled down your cheek and ended in his shit he used as pajamas.
Feeling his fingers brushing your back was something what made you feel warm from the inside. As if he used some charm, when another thunder could be heard in the common room, you didn’t even flinch. Draco kept holding you and brushing his fingers on your back, calming you down. He knew that you needed it at the moment.
“Would you like to go to my chamber now?” He asked and waited for the answer. You looked around in the common room and the green light which the windows were making was filling the whole room. You got used to it after those years but you really wanted to go with Draco to his dorm and just cuddle with him in his bed.
“Wouldn’t that be a problem?” You asked, hoping he would say no. When Draco shook his head and stood up from the couch holding his hand out for you, another thunder crashed on the walls of the castle. You jumped a little, your heart beating faster and faster. Draco knew you really well, so he bowed a little and placed his hands under your thighs. “Draco what are you doing?” You asked him, bus as an answer, he lifted you up and started walking out of the common room.
“I am taking you with me,” he said without any sign in his voice of that you were a little heavy for him. But after all, he was a Qudditch player.
You closed your arms around his neck and hid your face in his shoulder. Closing your eyes, you waited until you and Draco didn’t stop, what was the sign of that you have arrived to his room. He opened the doors without any difficulties and walked inside, the scent of him crushing on your nose.
He smelled like menthol with camomiles. His whole room smelled like that. You could hear him close the doors and then he sat down onto his bed with you, you sitting on his lap and leaning against his chest. Since you were sat, your ear was pressed against his chest so you could hear his heart. The sound of his heart beating was really calming, letting you know he wasn’t scared at all. His heart was beating really peacefully. The other thing which you were listening to was his breathing. You tried to synchronize your breathing with his. Taking a breath together, your chests lifted and then fell back down as you breathed out. You couldn’t be glad enough for this boy.
“How are you feeling now Y/n?” Draco asked you and brushed his hand through your hair. You looked up at him and gave him a little smile as a response.
“I feel the safest in the whole world,” you said and watched Draco wave his wand. He put on a silencing charm. So you couldn’t hear the thunder anymore. “Thank you.”
