#Raphael's 12 commandments

[red-dead-sakharine]

All the plaques in the House of Hope.

[somerandomdudelmao]

Cass apocalyptic series Masterpost

So...one day I thought "hmmm, what if we had another season about the bad timeline" and then I went to draw it.

Tip jar (my Ko-fi page)

Fanart Edits Fanfics Little interesting details

Do NOT repost/translate without my permission

НЕ распространять/переводить без моего разрешения

_________________ Cover___________________

Ep 1. Master Leonardo becomes Baby Blue once again

Ep 2. Can you carry your uncles?

Ep 3. Raph is dead. The good news is it's fixable

Ep 4. Your brain may be human, but your soul speaks in turtle

Ep 5. Mikey looks sixty, but he's not even forty. Donnie can do something about that

Ep 6. Krangified

Ep 7. How many cool points does your dad have?

Ep 8. You may not be human. You might actually be a turtle

Ep 9. Commander O'Neil

Ep 10. Tiny Tello

Ep 11. The little things

Ep 12. Everything is falling apart

Ep 13. You are in the past, your thoughts are in the future

Ep 14. Donatello

Ep 15. Raphael

Ep 16. And the two they left behind

Ep 17. You've got cuddles and hot water. Both are limitless

Ep 18. So many turtles

Ep 19. Find the Krang, stop the...wait..

Ep 20. The winter is long

————

C.A.S. Animated project - Part 1 Part 2

Quick q&a:

Drawn in Procreate (mostly). Commissions are closed. Tcest dni. This whole comic is about family and platonic relationships. My youtube. Basic round brush. Page size: 1620×2160.

If you use my comic pages in your art (such as voiceovers, edits, etc) please credit me as their author and attach a link to this blog.

Otherwise, I can and will report you for copyright infringement. Thanks:)

[euryalex]

Baldur's Gate 3 Tav Ask List

May contain spoilers!! Please reblog!

• Origin & Class 1. What is their backstory and why did you choose it? 2. What is their class (+ subclass) and why did you choose it? 3. Do they multiclass? Why (not)? 4. Is there a reason why your Tav starts out as Level 1? 5. Does your Tav have family members? Are they close? 6. Does your Tav have any friends from their past? Are they still friends? 7. Does your Tav have connections to other characters (I.e.: NPCs)? 8. Where did your character live before the events of the game? 9. Does your Tav have a different class/race/origin than in the game? (I.e.: Your Tav is Aasimar, fisherman backstory ...) 10. What was your Tav like as a child?

• Prologue 11. What goes through your Tav's head when they wake up on the Nautiloid? Are they scared or do they push those feelings aside to focus on escaping? 12. How does your Tav feel about Us? Did they free them, maim them or leave them behind? 13. What was your Tav's first reaction to Lae'Zel? 14. What was your Tav's first reaction to Shadowheart? 15. Does your Tav use their Arcana knowledge to free Shadowheart or do they use the rune found in the next room? 16. Does your Tav help the mindflayer against Commander Zhalk or do they run straight to the helm? 17. Does your Tav's starting armor reflect them? If not, what would they wear instead? 18. If you could, would your Tav see any of the other companions? If so, how would they react? 19. What's your Tav's personality like at the start of the game? Does it change as the game goes on? 20. Finally, what does your Tav feel as the Nautiloid crashes? Are they scared? Are they thinking of a way to survive?

• Act 1 21. Which companion do you get first? If you get Shadowheart first no matter what, who's the second one? 22. What is your Tav's first impression of the other companions (Astarion, Gale, Karlach, Wyll ...) 23. What's their opinion of Emerald Grove? Do they help the tieflings or side with the druids? 24. How does your Tav feel about Mol and her friends? 25. What does your Tav think of Aradin? 26. What does your Tav think of the Raphael? 27. Does your Tav adopt Scratch and the Owlbear cub? Did you name him? 28. What does your Tav think of Auntie Ethel? What do they tell Mayrina? 29. What does your Tav do about the Goblin camp? Do they free Halsin or side with Minthara? What's their opinion of them? 30. Who does your Tav think of when they go to sleep at the goblin/tiefling party? Or are they lucky and do they get to spend the night with the person they want? 31. What does your Tav think of the Underdark and the Myconids? 32. Does your Tav help Glut or do they fight him? 33. Do you bring the potion ingredients to Omeluum and, if so, did you drink it? Did you barter for his ring? 34. Does your Tav react to the Sussur flower (Sorcerer) or how would they react if it affected them? 35. Do they deliver Nere's head to the Myconids and save the slaves? 36. Did your Tav fight the Forge Protector? How did the fight go for them? 37. Did your Tav go to Creche Y'llek? Did they know something was up with the healer? 38. Did your Tav deface the portrait of Vlaakith? 39. Did your Tav get the Blood of Lathandar? 40. Did your Tav agree to kill the Guardian or did they go talk to them instead?

• Act 2 41. Which way did they take? Did they run into Elminster? What was their opinion of his news for Gale? 42. How does your Tav react to the shadow curse? Are they scared of the dark? 43. What does your Tav think of Jaheira and the Harpers? 44. What does your Tav think of Isobel? 45. Does your Tav help Mol win against Raphael? 46. Does your Tav help Astarion make a deal with Raphael? 47. Does your Tav help Markus or do they warn Isobel? 48. Does your Tav steal the moonlantern from Kar'Niss or do they fight him? 49. How does your Tav react to Ketheric Thorm? What about his family (Gerringothe Thorm, Malus Thorm ...)? 50. Does your Tav save the tieflings & gnomes? 51. What does your Tav think of the Gauntlet of Shar? 52. What does your Tav think of Dame Aylin? 53. Did your Tav help Art Cullagh? 54. What did your Tav tell Arabella about her parents? 55. Did your Tav reunite with Us? 56. What did your Tav think of the Mindflayer colony? 57. Did your Tav free Zevlor? Did they free Mizora? 58. Did your Tav complete the Brain Node puzzle? 59. Did you use the Minds you find on the head near the brain node puzzle? 60. Did you clear Moonrise Towers of the shadow curse?

• Act 3 61. How does your Tav feel about Baldur's Gate? Is it their home? Is it their first time in the city? 62. What's their first impression when they enter Rivington? 63. If Shadowheart got a new haircut, how does your Tav react? 64. What does your Tav do with the trapped kids' toys? 65. Does your Tav go to the circus? Do they like the activities? 66. Does your Tav help with the murder investigation? 67. Does your Tav meet Tara? What's their opinion? 68. What does your Tav do with the Mindflayer in the windmill? 69. Does your Tav run into Orin? If so, what's their first opinion? 70. Does your Tav make a deal with Raphael? 71. Does your Tav 'spend time' at Sharess' Caress? 72. How does your Tav enter the city? 73. Do they free Florrick? 74. What do they do at Gortash' coronation? 75. What does your Tav do with the serial killer running rampant? 76. Does your Tav tell Dame Aylin about Lorroaken? Do they help her fight him? 77. Does your Tav go to the House of Hopes? If so, do they sleep with Haarlep? 78. Does your Tav help the Wavemother? 79. Does your Tav rescue the prisoners in the Iron Throne? 80. Does your Tav free the slaves from Steel Watch Foundry? Do they side with the Gondians or with Wulbren? 81. If you saved Oskar in Act 1, did you meet him again? If so, did you help him? Did you side with the Mystic Carrion or with Thrumbo? 82. What does your Tav do with the Counting House robbery? 83. Does your Tav reunite with Mayrina? Do they fight Auntie Ethel? Do they save Vanra? 84. Does your Tav find all of Dribbles' body parts? 85. Who did Orin abduct from your party? 86. Did your Tav complete the trial of Bhaal? 87. Did your Tav side with Gortash or did they agree to kill him for Orin? 88. Does your Tav successfully resist the Nether Brain? 89. Does your Tav side with the Emperor or do they free Orpheus? Do they become Illithid to use the Nether Stones or does one of their companions do it? Do they give the Nether Stones to the Emperor/Orpheus? 90. Do they betray the Emperor/Orpheus/their companions for the Absolute?

• Epilogue 91. Does your Tav get a happily ever after? 92. Where does your Tav end up after defeating/siding with the Nether Brain? 93. What do you think happens to the party, afterwards? Do they go for drinks? Do they go their separate ways? 94. Years after the game, what do you think your Tav is up to? 95. What do you think of your Tav's development throughout the game? If you compared them to who they were at the start, what would be different?

• Companions 96. Does Lae'Zel remain loyal to Vlaakith, or does she follow Orpheus? Or neither? 97. Does Astarion kill Cazador? Does he remain a vampire spawn or does he complete the ritual? 98. What does Gale want? The crown for himself? For Mystra? Or has he given up on chasing power? 99. Did Wyll get freed from Mizora? Did he save his father? 100. Did Karlach get upgraded? Did she turn Illithid? Did she return to Avernus? If so, did Tav join her, or Wyll, or both? 101. Did your Tav recruit Minsc? What's their opinion of him? 102. Did Shadowheart turn to Selûne or did she remain loyal to Shar? Did she free her parents or let them go? 103. Did Tav help Jaheira with the Harpers? 104. Who did your Tav romance? How did this romance develop throughout the game? What happened at the end?

105. Anything you want to say about your Tav! Give a random headcanon, answer a random question, say whatever you want!

[captain039]

Material list c

Padawans sleeping (Anakin x reader x Obi-wan)

The last Akaviri alpha (Kaidan x reader) (on hold)

PT 1 PT 2 PT 3

Playing with fire (Kylo x reader)

PT 1 PT 2 PT 3 PT 4 PT 5 PT 6 PT 7 PT 8 PT 9 PT 10 PT 11 PT 12(last part)

Taming the fire (Kylo x reader) ON HOLD

PT 1 PT 2

Predator ground (Commander Mills)

PT 1 PT 2 Last Part

Stains of red (Astarion x reader)

PT 1 PT 2 PT 3 PT 4 PT 5 PT 6 PT 7 PT 8 last part

Lord and lady (Astarion x reader)

PT 1 PT 2 PT 3 PT 4 PT 5 last part

Fangs (Astarion x reader)

PT 1 PT 2 PT 3 PT 4 PT 5 last part

Wolf and bear (Halsin x reader)

Temptations of the flesh (Astarion x reader)

PT 1 PT 2 last part

Big bear (Halsin x reader)

PT 1 PT 2 PT 3 PT 4 last part

His conquest (Astarion x reader) (On hold)

PT 1 PT 2

The lords servant (Astarion x reader)

PT 1 PT 2 PT 3 PT 4 PT 5 PT 6 PT 7 PT 8 PT 9 last part

The predator grounds (Halsin)

PT 1 PT 2 PT 3 PT 4 Last part

Devil in me (Raphael Bg3 x reader)

Drunken cuddles and midnight confessions (Astarion x reader)

Intertwined with a mortal (Duke!Ascended Astarion x reader) (Bridgerton inspired)

PT 1 PT 2 PT 3 PT 4 PT 5 PT 6 PT 7 PT 8 PT 9 last part

Souls coming together (intertwined with a mortal continued) (Duke!Ascended!Astarion x human!reader)

PT 1 PT 2 PT 3 (On hold, may not continue)

Devil in training (Raphael x reader) (on hold)

PT 1 PT 2

The tieflings of Elfurel (Zevlor x Tiefling!reader)

PT 1

Wasteland heat (Redone) (Cooper Howard/The Ghoul x reader)

PT 1 PT 2 PT 3 PT 4 PT 5 PT 6 PT 7 PT 8 PT 9

Predator grounds (Cooper Howard x reader) (on hold)

PT 1 PT 2 PT 3 PT 4 PT 5

PART 6 at Material list D!

[fibula-rasa]

(Mostly) Lost, but Not Forgotten: Omar Khayyam (1923) / A Lover’s Oath (1925)

Alternate Titles: The Rubaiyat of Omar Khayyam, The Rubaiyat, Omar Khayyam, Omar

Direction: Ferdinand Pinney Earle; assisted by Walter Mayo

Scenario: Ferdinand P. Earle

Titles: Marion Ainslee, Ferdinand P. Earle (Omar), Louis Weadock (A Lover’s Oath)

Inspired by: The Rubaiyat of Omar Khayyam, as edited & translated by Edward FitzGerald 

Production Manager: Winthrop Kelly

Camera: Georges Benoit

Still Photography: Edward S. Curtis

Special Photographic Effects: Ferdinand P. Earle, Gordon Bishop Pollock

Composer: Charles Wakefield Cadman

Editors: Arthur D. Ripley (The Rubaiyat of Omar Khayyam version), Ethel Davey & Ferdinand P. Earle (Omar / Omar Khayyam, the Director’s cut of 1922), Milton Sills (A Lover’s Oath)

Scenic Artists: Frank E. Berier, Xavier Muchado, Anthony Vecchio, Paul Detlefsen, Flora Smith, Jean Little Cyr, Robert Sterner, Ralph Willis

Character Designer: Louis Hels

Choreography: Ramon Novarro (credited as Ramon Samaniegos)

Technical Advisors: Prince Raphael Emmanuel, Reverend Allan Moore, Captain Dudley S. Corlette, & Captain Montlock or Mortlock

Studio: Ferdinand P. Earle Productions / The Rubaiyat, Inc. (Production) & Eastern Film Corporation (Distribution, Omar), Astor Distribution Corporation [States Rights market] (Distribution, A Lover’s Oath)

Performers: Frederick Warde, Edwin Stevens, Hedwiga Reicher, Mariska Aldrich, Paul Weigel, Robert Anderson, Arthur Carewe, Jesse Weldon, Snitz Edwards, Warren Rogers, Ramon Novarro (originally credited as Ramon Samaniegos), Big Jim Marcus, Kathleen Key, Charles A. Post, Phillippe de Lacy, Ferdinand Pinney Earle

Premiere(s): Omar cut: April 1922 The Ambassador Theatre, New York, NY (Preview Screening), 12 October 1923, Loew’s New York, New York, NY (Preview Screening), 2 February 1923, Hoyt’s Theatre, Sydney, Australia (Initial Release)

Status: Presumed lost, save for one 30 second fragment preserved by the Academy Film Archive, and a 2.5 minute fragment preserved by a private collector (Old Films & Stuff)

Length:  Omar Khayyam: 8 reels , 76 minutes; A Lover’s Oath: 6 reels,  5,845 feet (though once listed with a runtime of 76 minutes, which doesn’t line up with the stated length of this cut)

Synopsis (synthesized from magazine summaries of the plot):

Omar Khayyam:

Set in 12th century Persia, the story begins with a preface in the youth of Omar Khayyam (Warde). Omar and his friends, Nizam (Weigel) and Hassan (Stevens), make a pact that whichever one of them becomes a success in life first will help out the others. In adulthood, Nizam has become a potentate and has given Omar a position so that he may continue his studies in mathematics and astronomy. Hassan, however, has grown into quite the villain. When he is expelled from the kingdom, he plots to kidnap Shireen (Key), the sheik’s daughter. Shireen is in love with Ali (Novarro). In the end it’s Hassan’s wife (Reicher) who slays the villain then kills herself.

A Lover’s Oath:

The daughter of a sheik, Shireen (Key), is in love with Ali (Novarro), the son of the ruler of a neighboring kingdom. Hassan covets Shireen and plots to kidnap her. Hassan is foiled by his wife. [The Sills’ edit places Ali and Shireen as protagonists, but there was little to no re-shooting done (absolutely none with Key or Novarro). So, most critics note how odd it is that all Ali does in the film is pitch woo, and does not save Shireen himself. This obviously wouldn’t have been an issue in the earlier cut, where Ali is a supporting character, often not even named in summaries and news items. Additional note: Post’s credit changes from “Vizier” to “Commander of the Faithful”]

Additional sequence(s) featured in the film (but I’m not sure where they fit in the continuity):

Celestial sequences featuring stars and planets moving through the cosmos

Angels spinning in a cyclone up to the heavens

A Potters’ shop sequence (relevant to a specific section of the poems)

Harem dance sequence choreographed by Novarro

Locations: palace gardens, street and marketplace scenes, ancient ruins

Points of Interest:

“The screen has been described as the last word in realism, but why confine it there? It can also be the last word in imaginative expression.”

Ferdinand P. Earle as quoted in Exhibitors Trade Review, 4 March 1922

The Rubaiyat of Omar Khayyam was a massive best seller. Ferdinand Pinney Earle was a classically trained artist who studied under William-Adolphe Bougueraeu and James McNeill Whistler in his youth. He also had years of experience creating art backgrounds, matte paintings, and art titles for films. Charles Wakefield Cadman was an accomplished composer of songs, operas, and operettas. Georges Benoit and Gordon Pollock were experienced photographic technicians. Edward S. Curtis was a widely renowned still photographer. Ramon Novarro was a name nobody knew yet—but they would soon enough.

When Earle chose The Rubaiyat as the source material for his directorial debut and collected such skilled collaborators, it seemed likely that the resulting film would be a landmark in the art of American cinema. Quite a few people who saw Earle’s Rubaiyat truly thought it would be:

William E. Wing writing for Camera, 9 September 1922, wrote:

“Mr. Earle…came from the world of brush and canvass, to spread his art upon the greater screen. He created a new Rubaiyat with such spiritual colors, that they swayed.”  … “It has been my fortune to see some of the most wonderful sets that this Old Earth possesses, but I may truly say that none seized me more suddenly, or broke with greater, sudden inspiration upon the view and the brain, than some of Ferdinand Earle’s backgrounds, in his Rubaiyat. “His vision and inspired art seem to promise something bigger and better for the future screen.”

As quoted in an ad in Film Year Book, 1923:

“Ferdinand Earle has set a new standard of production to live up to.”

Rex Ingram

“Fifty years ahead of the time.” 

Marshall Neilan

The film was also listed among Fritz Lang’s Siegfried, Chaplin’s Gold Rush, Fairbanks’ Don Q, Lon Chaney’s Phantom of the Opera and The Unholy Three, and Erich Von Stroheim’s Merry Widow by the National Board of Review as an exceptional film of 1925.

So why don’t we all know about this film? (Spoiler: it’s not just because it’s lost!)

The short answer is that multiple dubious legal challenges arose that prevented Omar’s general release in the US. The long answer follows BELOW THE JUMP!

Earle began the project in earnest in 1919. Committing The Rubaiyat to film was an ambitious undertaking for a first-time director and Earle was striking out at a time when the American film industry was developing an inferiority complex about the level of artistry in their creative output. Earle was one of a number of artists in the film colony who were going independent of the emergent studio system for greater protections of their creative freedoms.

In their adaptation of The Rubaiyat of Omar Khayyam, Earle and Co. hoped to develop new and perfect existing techniques for incorporating live-action performers with paintings and expand the idea of what could be accomplished with photographic effects in filmmaking. The Rubaiyat was an inspired choice. It’s not a narrative, but a collection of poetry. This gave Earle the opportunity to intersperse fantastical, poetic sequences throughout a story set in the lifetime of Omar Khayyam, the credited writer of the poems. In addition to the fantastic, Earle’s team would recreate 12th century Persia for the screen. 

Earle was convinced that if his methods were perfected, it wouldn’t matter when or where a scene was set, it would not just be possible but practical to put on film. For The Rubaiyat, the majority of shooting was done against black velvet and various matte photography and multiple exposure techniques were employed to bring a setting 800+ years in the past and 1000s of miles removed to life before a camera in a cottage in Los Angeles.

Note: If you’d like to learn a bit more about how these effects were executed at the time, see the first installment of How’d They Do That.

Unfortunately, the few surviving minutes don’t feature much of this special photography, but what does survive looks exquisite:

see all gifs here

Earle, knowing that traditional stills could not be taken while filming, brought in Edward S. Curtis. Curtis developed techniques in still photography to replicate the look of the photographic effects used for the film. So, even though the film hasn’t survived, we have some pretty great looking representations of some of the 1000s of missing feet of the film.

Nearly a year before Curtis joined the crew, Earle began collaboration with composer Charles Wakefield Cadman. In another bold creative move, Cadman and Earle worked closely before principal photography began so that the score could inform the construction and rhythm of the film and vice versa.

By the end of 1921 the film was complete. After roughly 9 months and the creation of over 500 paintings, The Rubaiyat was almost ready to meet its public. However, the investors in The Rubaiyat, Inc., the corporation formed by Earle to produce the film, objected to the ample reference to wine drinking (a comical objection if you’ve read the poems) and wanted the roles of the young lovers (played by as yet unknown Ramon Novarro and Kathleen Key) to be expanded. The dispute with Earle became so heated that the financiers absconded with the bulk of the film to New York. Earle filed suit against them in December to prevent them from screening their butchered and incomplete cut. Cadman supported Earle by withholding the use of his score for the film.

Later, Eastern Film Corp. brokered a settlement between the two parties, where Earle would get final cut of the film and Eastern would handle its release. Earle and Eastern agreed to change the title from The Rubaiyat of Omar Khayyam to simply Omar. Omar had its first official preview in New York City. It was tentatively announced that the film would have a wide release in the autumn.

However, before that autumn, director Norman Dawn launched a dubious patent-infringement suit against Earle and others. Dawn claimed that he owned the sole right to use multiple exposures, glass painting for single exposure, and other techniques that involved combining live action with paintings. All the cited techniques had been widespread in the film industry for a decade already and eventually and expectedly Dawn lost the suit. Despite Earle’s victory, the suit effectively put the kibosh on Omar’s release in the US.

Earle moved on to other projects that didn’t come to fruition, like a Theda Bara film and a frankly amazing sounding collaboration with Cadman to craft a silent-film opera of Faust. Omar did finally get a release, albeit only in Australia. Australian news outlets praised the film as highly as those few lucky attendees of the American preview screenings did. The narrative was described as not especially original, but that it was good enough in view of the film’s artistry and its imaginative “visual phenomena” and the precision of its technical achievement.

One reviewer for The Register, Adelaide, SA, wrote:

“It seems almost an impossibility to make a connected story out of the short verse of the Persian of old, yet the producer of this classic of the screen… has succeeded in providing an entertainment that would scarcely have been considered possible. From first to last the story grips with its very dramatic intensity.”

While Omar’s American release was still in limbo, “Ramon Samaniegos” made a huge impression in Rex Ingram’s Prisoner of Zenda (1922, extant) and Scaramouche (1923, extant) and took on a new name: Ramon Novarro. Excitement was mounting for Novarro’s next big role as the lead in the epic Ben-Hur (1925, extant) and the Omar project was re-vivified. 

A new company, Astor Distribution Corp., was formed and purchased the distribution rights to Omar. Astor hired actor (note, not an editor) Milton Sills to re-cut the film to make Novarro and Key more prominent. The company also re-wrote the intertitles, reduced the films runtime by more than ten minutes, and renamed the film A Lover’s Oath. Earle had moved on by this point, vowing to never direct again. In fact, Earle was indirectly working with Novarro and Key again at the time, as an art director on Ben-Hur!

Despite Omar’s seemingly auspicious start in 1920, it was only released in the US on the states rights market as a cash-in on the success of one of its actors in a re-cut form five years later.

That said, A Lover’s Oath still received some good reviews from those who did manage to see it. Most of the negative criticism went to the story, intertitles, and Sills’ editing.

What kind of legacy could/should Omar have had? I’m obviously limited in my speculation by the fact that the film is lost, but there are a few key facts about the film’s production, release, and timing to consider. 

The production budget was stated to be $174,735. That is equivalent to $3,246,994.83 in 2024 dollars. That is a lot of money, but since the production was years long and Omar was a period film set in a remote locale and features fantastical special effects sequences, it’s a modest budget. For contemporary perspective, Robin Hood (1922, extant) cost just under a million dollars to produce and Thief of Bagdad (1924, extant) cost over a million. For a film similarly steeped in spectacle to have nearly 1/10th of the budget is really very noteworthy. And, perhaps if the film had ever had a proper release in the US—in Earle’s intended form (that is to say, not the Sills cut)—Omar may have made as big of a splash as other epics.

It’s worth noting here however that there are a number of instances in contemporary trade and fan magazines where journalists off-handedly make this filmmaking experiment about undermining union workers. Essentially implying that that value of Earle’s method would be to continue production when unionized workers were striking. I’m sure that that would absolutely be a primary thought for studio heads, but it certainly wasn’t Earle’s motivation. Often when Earle talks about the method, he focuses on being able to film things that were previously impossible or impracticable to film. Driving down filming costs from Earle’s perspective was more about highlighting the artistry of his own specialty in lieu of other, more demanding and time-consuming approaches, like location shooting.

This divide between artists and studio decision makers is still at issue in the American film and television industry. Studio heads with billion dollar salaries constantly try to subvert unions of skilled professionals by pursuing (as yet) non-unionized labor. The technical developments of the past century have made Earle’s approach easier to implement. However, just because you don’t have to do quite as much math, or time an actor’s movements to a metronome, does not mean that filming a combination of painted/animated and live-action elements does not involve skilled labor.

VFX artists and animators are underappreciated and underpaid. In every new movie or TV show you watch there’s scads of VFX work done even in films/shows that have mundane, realistic settings. So, if you love a film or TV show, take the effort to appreciate the work of the humans who made it, even if their work was so good you didn’t notice it was done. And, if you’ve somehow read this far, and are so out of the loop about modern filmmaking, Disney’s “live-action” remakes are animated films, but they’ve just finagled ways to circumvent unions and low-key delegitimize the skilled labor of VFX artists and animators in the eyes of the viewing public. Don’t fall for it.

VFX workers in North America have a union under IATSE, but it’s still developing as a union and Marvel & Disney workers only voted to unionize in the autumn of 2023. The Animation Guild (TAG), also under the IATSE umbrella,  has a longer history, but it’s been growing rapidly in the past year. A strike might be upcoming this year for TAG, so keep an eye out and remember to support striking workers and don’t cross picket lines, be they physical or digital!

Speaking of artistry over cost-cutting, I began this post with a mention that in the early 1920s, the American film industry was developing an inferiority complex in regard to its own artistry. This was in comparison to the European industries, Germany’s being the largest at the time. It’s frustrating to look back at this period and see acceptance of the opinion that American filmmakers weren’t bringing art to film. While yes, the emergent studio system was highly capitalistic and commercial, that does not mean the American industry was devoid of home-grown artists. 

United Artists was formed in 1919 by Douglas Fairbanks, Charlie Chaplin, Mary Pickford, and D.W. Griffith precisely because studios were holding them back from investing in their art—within the same year that Earle began his Omar project. While salaries and unforgiving production schedules were also paramount concerns in the filmmakers going independent, a primary impetus was that production/distribution heads exhibited too much control over what the artists were trying to create.

Fairbanks was quickly expanding his repertoire in a more classical and fantastic direction. Cecil B. DeMille made his first in a long and very successful string of ancient epics. And the foreign-born children of the American film industry, Charlie Chaplin, Rex Ingram, and Nazimova, were poppin’ off! Chaplin was redefining comedic filmmaking. Ingram was redefining epics. Nazimova independently produced what is often regarded as America’s first art film, Salome (1923, extant), a film designed by Natacha Rambova, who was *gasp* American. Earle and his brother, William, had ambitious artistic visions of what could be done in the American industry and they also had to self-produce to get their work done. 

Meanwhile, studio heads, instead of investing in the artists they already had contracts with, tried to poach talent from Europe with mixed success (in this period, see: Ernst Lubitsch, F.W. Murnau, Benjamin Christensen, Mauritz Stiller, Victor Sjöström, and so on). I’m in no way saying it was the wrong call to sign these artists, but all of these filmmakers, even if they found success in America, had stories of being hired to inject the style and artistry that they developed in Europe into American cinema, and then had their plans shot down or cut down to a shadow of their creative vision. Even Stiller, who tragically died before he had the opportunity to establish himself in the US, faced this on his first American film, The Temptress (1926, extant), on which he was replaced. Essentially, the studio heads’ actions were all hot air and spite for the filmmakers who’d gone independent.

Finally I would like to highlight Ferdinand Earle’s statement to the industry, which he penned for from Camera in 14 January 1922, when his financial backers kidnapped his film to re-edit it on their terms:

MAGNA CHARTA

Until screen authors and producers obtain a charter specifying and guaranteeing their privileges and rights, the great slaughter of unprotected motion picture dramas will go merrily on.

Some of us who are half artists and half fighters and who are ready to expend ninety per cent of our energy in order to win the freedom to devote the remaining ten per cent to creative work on the screen, manage to bring to birth a piteous, half-starved art progeny.

The creative artist today labors without the stimulus of a public eager for his product, labors without the artistic momentum that fires the artist’s imagination and spurs his efforts as in any great art era.

Nowadays the taint of commercialism infects the seven arts, and the art pioneer meets with constant petty worries and handicaps.

Only once in a blue moon, in this matter-of-fact, dollar-wise age can the believer in better pictures hope to participate in a truely [sic] artistic treat.

In the seven years I have devoted to the screen, I have witnessed many splendid photodramas ruined by intruding upstarts and stubborn imbeciles. And I determined not to launch the production of my Opus No. 1 until I had adequately protected myself against all the usual evils of the way, especially as I was to make an entirely new type of picture.

In order that my film verison [sic] of the Rubaiyat of Omar Khayyam might be produced under ideal conditions and safeguarded from intolerable interferences and outside worries, I entered into a contract with the Rubaiyat, Inc., that made me not only president of the corporation and on the board of directors, but which set forth that I was to be author, production manager, director, cutter and film editor as well as art director, and that no charge could be made against the production without my written consent, and that my word was to be final on all matters of production. The late George Loane Tucker helped my attorney word the contract, which read like a splendid document.

Alas, I am now told that only by keeping title to a production until it is declared by yourself to be completed is it safe for a scenario writer, an actor or a director, who is supposedly making his own productions, to contract with a corporation; otherwise he is merely the servant of that corporation, subject at any moment to discharge, with the dubious redress of a suit for damages that can with difficulty be estimated and proven.

Can there be any hope of better pictures as long as contracts and copyrights are no protection against financial brigands and bullies?

We have scarcely emerged from barbarism, for contracts, solemnly drawn up between human beings, in which the purposes are set forth in the King’s plainest English, serve only as hurdles over which justice-mocking financiers and their nimble attorneys travel with impunity, riding rough shod over the author or artist who cannot support a legal army to defend his rights. The phrase is passed about that no contract is invioliable [sic]—and yet we think we have reached a state of civilization!

The suit begun by my attorneys in the federal courts to prevent the present hashed and incomplete version of my story from being released and exhibited, may be of interest to screen writers. For the whole struggle revolves not in the slightest degree around the sanctity of the contract, but centers around the federal copyright of my story which I never transferred in writing otherwise, and which is being brazenly ignored.

Imagine my production without pictorial titles: and imagine “The Rubaiyat” with a spoken title as follows, “That bird is getting to talk too much!”—beside some of the immortal quatrains of Fitzgerald!

One weapon, fortunately, remains for the militant art creator, when all is gone save his dignity and his sense of humor; and that is the rapier blade of ridicule, that can send lumbering to his retreat the most brutal and elephant-hided lord of finance.

How edifying—the tableau of the man of millions playing legal pranks upon men such as Charles Wakefield Cadman, Edward S. Curtis and myself and others who were associated in the bloody venture of picturizing the Rubaiyat! It has been gratifying to find the press of the whole country ready to champion the artist’s cause.

When the artist forges his plowshare into a sword, so to speak, he does not always put up a mean fight. 

What publisher would dare to rewrite a sonnet of John Keats or alter one chord of a Chopin ballade?

Creative art of a high order will become possible on the screen only when the rights of established, independent screen producers, such as Rex Ingram and Maurice Tourneur, are no longer interferred with and their work no longer mutilated or changed or added to by vandal hands. And art dramas, conceived and executed by masters of screen craft, cannot be turned out like sausages made by factory hands. A flavor of individuality and distinction of style cannot be preserved in machine-made melodramas—a drama that is passed from hand to hand and concocted by patchworkers and tinkerers.

A thousand times no! For it will always be cousin to the sausage, and be like all other—sausages.

The scenes of a master’s drama may have a subtle pictorial continuity and a power of suggestion quite like a melody that is lost when just one note is changed. And the public is the only test of what is eternally true or false. What right have two or three people to deprive millions of art lovers of enjoying an artist’s creation as it emerged from his workshop?

“The Rubaiyat” was my first picture and produced in spite of continual and infernal interferences. It has taught me several sad lessons, which I have endeavored in the above paragraphs to pass on to some of my fellow sufferers. It is the hope that I am fighting, to a certain extent, their battle that has given me the courage to continue, and that has prompted me to write this article. May such hubbubs eventually teach or inforce a decent regard for the rights of authors and directors and tend to make the existence of screen artisans more secure and soothing to the nerves.

FERDINAND EARLE.

---

☕Appreciate my work? Buy me a coffee! ☕

Transcribed Sources & Annotations over on the WMM Blog!

See the Timeline for Ferdinand P. Earle's Rubaiyat Adaptation

[wetcatspellcaster]

If it’s not [REDACTED] material you plan on covering further on in Pieces, would you mind talking about why Hemlock is so jealous of Rosalie? It seems like every time she’s “on screen” she’s making some sort of jab at Rosie concerning either Astarion/Rosalie’s past relationship, or Astarion and Hemlocks (insinuated?) carnal activities, but hardly anyone ever comments on it. Like poor Hemmie practically spat the fact Astarion comes to her bed in Rosalie’s face during Chapter 12 in front of Shadowheart but no one acknowledges that she’s constantly trying to make Rose upset with this info. Is it just the power of the Ascendant that Hemlock is drawn to and makes her wish she was on Rosalie’s level (in Astarion’s eyes), or is it the bond between vampire and spawn that makes her act like this?

Hey anon! Thank you for the question! I'll try to answer you as best I can without spoilers :)

Firstly, the reason no one ever comments on Hemlock's behaviour or the buckwild things she says is because.... they all find it kind of cringe :') In my mind, by this point in the timeline, this party and Tav have encountered Gortash, Orin, Cazador, Raphael, Mizora, the Emperor's bullshit... not to mention any villains Rose encountered in her post game life, and in Avernus. They've had their fair share of villain speeches! They're used to it! They feel like water off a duck's back at this point! It's easier to simply not acknowledge it, than engage.

(Rose talks about the social energy it takes to interact with evil people in another fic I've written, she's just like "more than anything, it's exhausting to act like I value their opinions and pretend I care".)

Hemlock also thinks her and Rosalie are fighting over an Ascended Astarion... they're not. Rose doesn't want Ascended Astarion. So when Hemlock's like, "yeah, did I mention we fucked", Rose is just like "...and? you and every other person in that house. happy for you, i guess?" Like yes, it does sting a little in the sense that it shows how much Astarion has changed... but it's kind of missing the real mark? And most of Rose's friends know her well enough to know that, but especially Shadowheart, who walked round that awful dungeon with her.

That being said, Rose is more petty with Hemlock when they're alone and no one's there to judge her, but that's more because of the Feeblemind than anything.

As for Hemlock's motivations, it's unfortunately a mixture of all of the things you list above. Astarion's spawn are all people he recruited post-Ascendency, so all of them buy into his spiel to some extent. Hemlock, in particular, is a person who was already evil-aligned before she became a vampire. She was promised a lot of power and a position of supposed equals (where have we heard that before?) I do think, if she doesn't have feelings for Astarion, or may now have started to reach a point where some of the sheen of this hot, all-powerful vampire man has been tarnished, she does at least want the peak ascendency romance: the glamour, the debauchery, and the power that comes with it (she is, essentially, a Tav that picks all the pro-evil plan lines in the dialogue tree and means it).

Instead, she's forced to live a circumscribed and domesticated life, because of some girl she's never met, who Astarion waxes lyrical about whenever he has a free moment to pause for breath. In Chapter 13, I reveal that all the spawn have to live according to Rose's dictate of 'no harm' - notice that Astarion enforces that perfectly on all the people he can literally command, meanwhile he is the only person with freedom in that situation, and he can act however he likes and keeps 'messing it up uwu'. He thinks he's being 'good' and doing vampirism 'well', but what it actually is is just hypocrisy, and a way to continue to exercise power over those he controls, to some extent. Hemlock is someone who actually wants to be an evil vampire, or even a Cazador, and can't, because she's not given the free will with which to do so.

So Hemlock has this mixture of 'I am actually in love with this man and want what he promised me'; or 'I was in love with this fantasy and now I'm facing the reality, after having sold my soul, and even if I hate it here now I'm trapped, I want to find any way to salvage this so I've got to continue pretending he's right'; 'I fucking hate this woman who I'm constantly compared to and can never live up to, even though, to my mind, she sounds fucking stupid'; ....AND then there's the bond between vampire and servant. Hemlock tells Rose that she's already under orders not to displease Astarion - I fully believe that order has been in place for a long time. This Astarion words commands and orders in a way that means the spawn have the illusion of cooperation and free choice, which basically means he makes the spawn complicit in their own oppression. He'll say something like "because you've upset me, you should go to the dungeon cells and starve yourself and not move, while you think about what you've done" - that's still, to all intents and purposes, an order (especially when you're already under orders not to displease him).

Hemlock says a lot of what she says to Rosalie because it's easier to hate the woman who 'ruined her life' and 'prevents Astarion from reaching his full potential', rather than examine anything too closely and realise she's ruined her life herself. If she stops buying into the vampirism she chose, she's fucked bc it's not like she can leave it, so better to hate anything else but being a spawn.

It's just also unfortunate, that she thinks the way to hurt Rose is to brag about sleeping with Astarion. But then, the only version of Astarion Hemlock has ever known is obsessed with sex, so why wouldn't she think the woman who loves him wouldn't be as well?

I hope that makes sense! Sorry, this ended up being very long!

[melverie]

⸺ LESSON 2 ⸺

Solomon

Barbatos

Solomon & Barbatos

demons & angels (& humans)

strange feelings & soup

misc

- lesson 1 || lesson 3 || all posts so far -

Please share your thoughts (if you want to lol)!! General spoiler warning for all of Obey Me Nightbringer, as well as for the original Obey Me

⸺ SOLOMON ⸺

Solomon essentially is the reason Leviathan got tot keep Henry 1.0 since Solomon is the one who shrunk him [2-1]

he's also the one who--completely unprompted--brought up Cerberus' existence and that taming him would grant you the title of 'Ruler of the Underworld' [2-1; pic below], which we know the brothers to hold by the time of the OG -> interesting how Solomon basically sets up the events in a way that allows them to eventually play out like they did in the future tho. Iirc we see it happen a few more times throughout the story

happened in 1-12 as well, but Solomon once again talks about the people around you not remembering who you are and how that hurts [2-3]. Not sure if this is him empathizing with MC or if this is alluding to something else... -> he also hopes that MC and the brothers will grow closer again soon [2-3]

Solomon switches to his human world look [2-9 + lesson 2 hard mode]

⸺ BARBATOS ⸺

Barbatos doesn't seem to know who MC is upon their first meeting [2-13]

he also seems surprised when he learns that MC is Solomon's apprentice [2-13], though I'm probably reading too much into this

he gives MC and Mammon the job at the castle regardless if they get any of the questions right or not [2-15]. Tbh it's probably just to keep the plot moving, but I'm slightly suspicious of him regardless...

⸺ DEMONS & ANGELS (& HUMANS) ⸺

more instances mentioned of the brothers being cast out because they are fallen angels [2-6]

Cerberus is also known in the Celestial Realm [2-8; pic below]

Mammon gives us a few insights into how being a guardian angels as well as forging pacts works [2-9; pic below]

Few things I want to point out here:

1. "To a demon, makin' a pact is like handing over control of your life to someone else, right?" Not entirely true. While the demon does give up a certain amount of control over themself to the human they've forged a pact with, there are certain limitations, such as:

you use a substantial amount of magical power while controlling several demons at once, so by that logic you probably also need some when commanding just one demon. Additionally, you might mot be able to command one in the first place if you have little to no magical power in the first place

you need to keep a clear head when giving a command, otherwise the demon can just break free from its hold. We see this at the end of season 2 when Lucifer is not affected by the 'stay' command because MC isn't thinking clearly

demons aren't forced to act out commands that go against their pact(s). Beel explains this back in the OG's season 1 when Luke accidentally gets ahold of the brothers' grimoire

2. "It's pretty much the same as when an angel decides to be a guardian to a human." Does that imply angels hand over control over themselves when becoming a guardian angel? Interesting 3. "An angel's only gonna pick one person to protect, and that's it. Just one, for all time." MC's just keeping all the guardian angels for themself then since Luke and Simeon have both expressed the desire to be MC's guardian angels, and I'm pretty sure Raphael is eventually going to follow suit lol

⸺ SOLOMON & BARBATOS ⸺

the second Solomon is mentioned Barbatos makes it very clear that he is absolutely not fond of him. Mammon points out that he finds Barbatos reaction a little strange since they have a pact and whatnot, but Barbatos dismisses it [2-13] -> side note but I just remembered how surprised Diavolo was when he heard MC was Solomon's apprentice. Then there's also that one throwaway line in the OG of Solomon's apprentice betraying him. I really hope those things don't have anything to do with each other tho...

⸺ STRANGE FEELINGS & SOUP ⸺

Solomon points out that the bonds MC shares with the others extend across time [2-3]. All hail the Time Soup!

Mammon already has feelings for MC [2-9] but we also know how fast he fell for MC in the OG, so it's not really all that unusal

this has happened in 1-12 as well [first pic below], but the word 'present' is once again written in quotation marks [lesson 2 hard mode; second pic below]. Might be because of the entire time soup thing, but it's weird nonetheless

⸺ MISC ⸺

Levi would love you if you were a worm 💖 [2-1]

the brothers' qualities as Avatars are starting to manifest more and more [2-A]. Not sure if this is meant to say that it took this long to happen/it took MC to show up, or if they just took this long to realize it happening

Mammon explains that demons can't forge pacts with other demons [2-9], so Solomon offically beat the demon allegations!! -> ......or did he. Because Mammon then goes on to say this [2-9; pic below]. Though to be fair this was probably just meant as a plot device to built tension since MC would have to reveal they are human before they could forge any pacts with the bros. Could also have been a small nod at Mephisto's powers later on

Mammon never was a guardian angel to anyone [2-11]

while shopping MC spots a book that they think might be precious, but Solomon claims that it isn't a grimoire since you wouldn't find a demon's lifeline in a place like this [lesson 2 hard mode]. Weird that it was brought up at all, but I'm guessing it was meant as a setup for later in the season

[lakemojave]

Tonight at 6pm Pacific: The Direct Actors, a BG3 "Adventure" pt. 12!

Well, last week sure was a blast, huh. Don't worry, coming into this week's session we're gonna have a grand old time and be best friends for sure! Come see @radiofreederry play Dhudlei Durite, elf paladin, my friends Nana and April play Leviathan, Dragonborn Dark Urge Monk, @caputvulpinum play Micah Harper, Tiefling Cleric, and me play Delilah "Mama D" Harper, Halfling Bard!

Art by @terrafey, recap under the cut. See y'all then!

THE STORY SO FAR: On the way to a union rally, Delilah "Mama D" Harper and her grandson Micah were abducted and taken aboard an ilithid nautiloid, which they escaped with mysterious dancer Leviathan and self-proclaimed "Champion of Ilmater and Paladin of Good" Dhudlei Durite. Each infected by a mind flayer tadpole, but so far immune from transforming into mind flayers themselves, The Direct Actors, as the party have come to be known, now turn their attention to the Shadow-Cursed Lands, where Moonrise Towers, the lair of the Cult of the Absolute, awaits them...

LAST TIME: Recuperating from their trek through the Shadow-Cursed Lands, the Direct Actors encountered the devil Raphael at Last Light Inn, who had designs on both Dhudlei's soul and that of the tiefling girl Mol. After a battle of words, the party found the bedridden Flaming Fist Art Cullagh, whom Dhudlei recognized from a century before. After a discussion with the druid Halsin, Dhudlei realized that Cullagh may hold the key to breaking the shadow curse, and immediately guided the party on a quest to do just that.

En route to the House of Healing in the ruins of Reithwin, Dhudlei's temper exploded after Leviathan and Micah pressed him to engage with a group of shadow-cursed Harpers, and he revealed his past with Ketheric Thorm; Dhudlei also revealed that he blamed himself for the state of the land, explaining his single-minded drive to break the curse.

At the House of Healing, the Direct Actors encountered the undead surgeon Malus Thorm and put him down after he attacked the group, and Micah found a lute belonging to Art Cullagh, which he withheld from Dhudlei. Back at camp, Micah and Mama D got into a vicious argument which peaked when Micah, finally done with Mama D, lashed out and attacked her, leaving her to tend to her wounds. Dhudlei made an effort to mend the rift between himself and Micah, answering his questions honestly after Micah expressed the rupture of his trust he felt, although this did not fully restore the trust between them. Finally one of Leviathan's personalities, amused, decided that Micah was fun and declared himself the cleric's friend. As the party settled in for the night, Leviathan was visited by his disgusting corpse-like butler, who commanded him to kill the cleric Isobel Thorm - Dhudlei's goddaughter.

After a lengthy diversion involving a battle in an acid pit and a clash with a horde of shadow-cursed kuo-toa, the Direct Actors returned to camp once again. Mama D and Micah had another argument which seemed to result in a brief truce before Mama D broke down over her own perceived uselessness. Meanwhile, Micah decided to trust Dhudlei again, and Dhudlei extended the same to Leviathan, returning the Bhaalite scroll Leviathan had entrusted to him - but was he right to do so?

Will the party be able to come together as a unit once more? Will the rifts forming between them be able to heal? Will Leviathan follow through on his orders to kill Isobel? Will Mama D be able to rebuild her self-esteem? And will the Direct Actors break the shadow curse? Find out in another exciting installment of Baldur's Gate 3, starring the Direct Actors!

[rottmnt-hc]

Unnamed Mini-Series

Junior Cadet has made a chat

Junior Cadet has added Bootyyyshaker9000, Red King, Magic_Mike, NeonLeon, Commander O'Neil, Queen GOONGALA and several others....

Junior Cadet: Um...oops?

Several people are typing...

Red King: Casey Jones Jr. What did you do?!

Bootyyyshaker9000: HOW!? HOW DID YOU MAKE AN INTERDIMENTIONAL GROUP CHAT!?

03 Donatello: First time?

12 Raphael: I had hoped we were done after the "Turtle Power" Dweebs

87 Leonardo: We are right here!

14 April: Um, why do we have numbers in our names and you don't?

03 April: Oh! You guys really must be new to the multiverse, that's your universe number, I don't know why the others don't have it tho.

Queen GOONGALA: Because Junior made the chat and he's in our universe? IDK, ask the purple one...he's usually the one behind the slaughter.

Bootyyyshaker9000: Damn it Jones, I didn't kill kids!

Queen GOONGALA: But you made sentient entertainment robots!

14 Leonardo: As fun as a this is, I would like to know why you created this group chat?

Junior Cadet: I really don't know how I did this, I just wanted to show everyone the giant pumpkin I carved with my chainsaw...

87 Donatello: You know what, that's fair, it honestly doesn't surprise me that this happened...how old are you?

Junior Cadet: Oh I'm pretty sure I'm fourteen!

12 Donatello: How are you "pretty sure" are you or are you not?

Red King: @Bootyyyshaker9000 make a portal to that dimension for...science purposes.

Bootyyyshaker9000: Okay, but Junior is from an apocalyptic future sent back in time, there's no real sense of time there...

12 Donatello: I am so sorry...wait time travel!?

03 Michaelangelo: Never time traveled before?

12 Leonardo: Not past six months...

14 Donatello: Are you guys serious!? We don't have time travel!

NeonLeon: Wow do you not have magic?

Several People are typing...

Junior Cadet: Oh Boy...

A/N: This is a little chat fic I'll be typing up in between writing fics. Again, I have never watched 2012 TMNT, so tell me if it's accurate. I only typed some people mostly because It's 4am and I'm getting tired...bye!

[troublesjunkyard]

6.) Do you own any TMNT merchandise?

11.) Which version of Raphael is your favorite?

20.) Which theme song is your favorite?

26.) What is one of your favorite pieces of TMNT fan art?

31.) What is one piece of TMNT canon that you dislike/ignore?

Hello Gornack! (*^▽^)/★*☆♪

6. I've got a few items but not much. I live somewhere where merchandise is rather.....sparse. Either you have to order and pay (mostly) a lot of export fee or you need to search at conventions for some.

I had a few shirts as a child from TMNT, now I have one and (my most priced possession so far) a metal poster with the IDW cover "City at war". If it's count, I got almost every issue of the IDW comics, the TLR2:Re-Evolution comics plus the TMNT Ghostbuster crossover comic and all seasons of TMNT '12 as DVDs. Got also some self made pins and four Kandi bracelets that are color coded to the turtles.

11. Uh, tough question because I'm a total Raph fan, no matter which iteration. (Maybe because I see myself in them...) I would say '03 Raph would be my top fav, because I just adore his kind side when he helps others in need and his sassy comments. And yes, most don't like his accent, but in my defense, I heard the english version years later for the first time. I heard him mostly in my native language as kid.

'12 Raph is close behind. He redeems himself and grows over the seasons without losing his character. Also communicating with pigeons and training them commands. Nice! Addition: I just love Raphs german voice and everytime his voice actor is in other movies or series I always see Raph. :>

I like IDW Raph because of his story arc. Especially in the beginning with finding his way into his family. He cares for them, but it's hard to fit in for him in the beginning after being on his own for quite a while.

I will hear people scream now, but I also like TLR Raph even though we only see him really short. Yes, he acts reckless and yes his plan was stupid but he cares! The fear that someone else gets severely hurt of his family blinded him so much that he takes measurements in his own hands. He gave everything he had left to protect. Hothead through and through.

20. A close fight between the '87 and '12 version. I would go with the '12 opening because this was my teenager era, this song was on my mp3 player.

26. Another hard one to choose ah-

In the moment it's the TLR2:Re-Evolution fanarts from redkehlchen and shellsweet. I love the four so much! (especially Yi hehehe)

31. The ending of Splinter in TMNT '12. DAMN. That ripped out my soul. I don't dislike it, but it's really hard to accept it...

And everytime I see this damn scene I'm like "Okay get it together... don't cry..." and then Mikey says this one word, THIS. ONE. WORD. And it's over....

[pumpkinpie59]

Ask game, Ramona

what if my opinions are controversial lmao

what made me ship it

for 87 i just rlly like their friendship. and mona being a bit flirtatious and raphael not processing it is so funny that yeah it’s not that weird to ship them

for 12 i mean. they are the only onscreen verbally confirmed couple in tmnt. it’d be kinda weird not to ship them.

what are my favorite things about the ship

for 87 i like that u could like them as just friends or as a couple and it’d work either way

for 12 i like how affectionate they are with each other. and i like how mona sorta is part of raphael’s character development arc

do i have unpopular opinions on this ship

aha. yes.

for 87. i get annoyed when ppl act like they’re canon romantic interests. they’re really not. if u want canon, we have leolotus and kalangelo (or buffyangelo to a lesser extent), since those ships both verbally mention romantic feelings. ramona, at best, just has mona being affectionate and raphael calling her cute, which can be taken platonically. like obviously it’s cool to ship them (i do!!) but get ur facts straight.

for 12. the pacing sucks. and since mona only ever has notable interactions with raphael (and like occasionally with sal commander), she does not feel like a well written character. this is a problem with 2012 in general but i really dislike how she’s only memorable because she’s a love interest. like that was the entire reason she’s there. let her have friends!! let her interact with anyone but her boyfriend and her dad!!!!!

like 87 mona lisa’s entire episode is about her own personal struggle that raphael just happens to get involved in. same can be said about lotus blossom in her second episode. like ugh how did a show in 1987 write better one off girl characters than a show in 2012-

okay sorry im done

i like ramona i promise djdkdks

[askheaven]

ABANDONED, CHECK PINNED POST. ASK (or dare) HEAVEN! (Hazbin Hotel)

rules for asks and dares

absolutely no nsfw. slightly spicy is fine, but nsfw is a no from me! sorry!

no incest. all characters i made are related to eachother, and are Lucifer’s siblings. (except Kirael, Alexandre, and Cas.)

no romantic or spicy requests for Cas. (Cas is a minor!)

CHARACTERS

THE ARCHANGEL SIBLINGS

Name : MICHAEL (He/Him)

Angel Of : Heaven’s Great Captain

Personality : Responsible, Loyal, Wise, Stern, Dutiful, Quiet.

Sexuality : Panromantic Asexual

Birth Order : The First Born (The Second Born is Lucifer)

Name : GABRIEL (Any Pronoun)

Angel Of : Strength and Communication

Personality : Well-mannered, Perfectionistic, Obedient, Workaholic, Careful, Levelheaded.

Sexuality : Bisexual

Birth Order : Third born

Name : RAPHAEL/RAFAEL (He/They)

Angel Of : Healing

Personality : Well-meaning, reserved, caring, self-neglecting, sensitive, overwhelemed.

Sexuality : Pansexual

Birth Order : Fourth Born

Name : ZADKIEL (They/Them)

Angel Of : Mercy

Personality : Loving, Forgiving, Giving, Impersonal, Soft-Spoken, Emotional.

Sexuality : Queer

Birth Order : Ninth Born

Name : JOPHIEL (He/She)

Angel Of : Beauty

Personality : Confident, Detail-Oriented, Free, Easily bored, Impulsive, Slightly Reckless.

Sexuality : Pansexual

Birth Order : Twelfth Born

Name : URIEL (He/They)

Angel Of : Wisdom and Light

Personality : Wise, Quick-witted, Intellectual, Slightly easily frustrated, hates being under pressure and being rushed.

Sexuality : Biromantic Asexual

Birth Order : Fifth Born

Name : AZRAEL (He/Him)

Angel Of : Death

Personality : Cocky, Teasing, Supportive, Irritable, Playful, Funny

Sexuality : Omnisexual (With Preference For Guys)

Birth Order : Seventh Born

Name : SELAPHIEL (They/Them)

Angel Of : Worship

Personality : Calm, Collected, Careful, Organized (hates any clutter), Devoted, Easily worried

Sexuality : Aroace

Birth Order : Eleventh Born

Name : HANIEL (She/They)

Angel Of : Joy and Happiness

Personality : Optimistic, Funny, Quick-witted, emotionally surpressing, careless, impulsive.

Sexuality : Lesbian

Birth Order : Last Born

Name : CHAMUEL (He/She)

Angel Of : Love

Personality : Bubbly, Loving, Supportive, Easily disappointed, Easily scared, and panics the most.

Sexuality : Pansexual

Birth Order : Eighth Born

Name : ARIEL (She/Her)

Angel Of : Nature

Personality : Reserved, Fierce, Strong, Hot-Tempered, Protective, Defensive

Sexuality : Aroace

Birth Order : Sixth Born

Name : RAGUEL (He/They)

Angel Of : Justice

Personality : Practical, Logical, Pragmatic, Judgemental, Perfectionistic, Careful

Sexuality : Bi-curious

Birth Order : Tenth Born

NON-SIBLINGS

Name : KIRAEL (He/Him)

Titles : Throne Angel of Justice and Protection

Personality : Confident, Practical, Clever, Fierce, Easily Angered, Merciless.

Sexuality : Gay

Birth Order : (in his family) First Born Twin

(Will Get A Redraw Soon)

Name : SESIPHIEL (Angel Name), PHIL (Current Name) (He/Him)

Titles : Throne Angel of Justice and Protection (Formerly), Sin Of Blasphemy.

Sexuality : Demisexual

Birth Order : (In His Family) Second Born Twin

(Not The Final Design Yet)

Name : ALEXANDRE (EXA for short) (She/Her)

Titles : Kirael’s Protégé/Second-in-command

Sexuality : Bisexual

Birth Order : Only Child

Died in : 1981

(No Official Design Yet)

Name : CAS (He/Him)

Titles : Uriel’s Protégé

Sexuality : Nope, He’s like 12-13 years old.

Birth Order : (in his own family) Fourth Born

Died in : 2010 (2 months after his own birth, so he basically grew up in heaven)

[malsfefanfics]

OC Profile: Davi

Art by @cringeyvanillamilk, edited to icon size by me.

"We're not exactly sure where he came from, but he's become a fine member of the monastery. Davi has the heart of a knight, but he has a laid back side as well. I get the feeling he keeps us all at arms length, though. I wish to know him better. He seems particularly awkward around Felix, Dedue, and is actively avoiding Seteth and Flayn." -- Dimitri about Davi.

Full name: Davi Valerio Nicknames: Dava (by children), Vi, Brat (by Graham, affectionate) Birthday: 19th of the Pegasus Moon, 1164 Age: 21 (Pre-Timeskip), 26 (Post-Timeskip) Crest: [REDACTED] Family: Unnamed mother (deceased), unnamed father (deceased), Rui (twin brother, deceased), unnamed grandfather (deceased), Graham Govain (Adoptive Guardian), Chliodna Govain (Adoptive Guardian) Nationality: Duscur Titles: Crepuscular Commander, Warrior of the Mind Voice Claim: Jonah Scott (Legoshi from Beastars)

Interests: Weapons training, the Opera, Religious Studies Likes: Horses, Choir Practice, Training, Dancing Dislikes: Most of Faerghus, Crests, Heroes Relics

Favorite Meals: Onion Gratin Soup, Grilled Herring, Fruit and Herring Tart Liked Meals: Saghert and Cream, Beast Meat Teppanyaki, Pickled Rabbit Skewers, Derdriu-Style Fried Pheasant, Disliked Meals: Garreg Mach Meat Pie, Country-Style Red Turnip Plate, Gautier Cheese Gratin

Tea Preferences: Chamomile, Cinnamon Blend, Almyran Pine Needles

Liked Gifts: Fishing Float, Exotic Spices, Floral Adornment, Book of Sheet Music Disliked Gifts: The History of Fodlan, Legends of Chivalry, Book of Crest Designs,

Lost Items:

Strange Book of Music: A notebook filled with unfinished sheet music. The lyrics are in a language you don't recognize.

Traditional Kilt: A garment fit for a warrior. An elaborately weaved design colors it like the twilight.

Suppression Charm: A charm meant to suppress magic power. You remember seeing something similar in a Crestology book.

Starting Class: Commoner Preferred Class Path: Soldier/Monk --> Cavalier/Mage/Dark Mage/Priest --> Paladin/Wyvern Rider/Bishop/Dark Bishop/Warlock --> Wyvern Lord/Dark Knight/Holy Knight Strength: Lance Weakness: Heavy Armor Budding Talent: Faith Personal Skill: Merciful Pantheon - Increases nearby allies critical hit rates by 5% when their health is less than half.

Weapons Starting Levels:

Sword: C Lance: B Axe: E Bow: D Brawling: E Reason: D Faith: D+ Authority: C Heavy Armor: E Riding: D Flying: D

Base Stats:

HP: 30 Str: 12 Mag: 6 Dex: 7 Spd: 7 Lck: 6 Def: 8 Res: 8 Cha: 10

Learned Faith Spells: Heal (D) Nosferatu (D+) Recover (C), Seraphim (B), Aura (A) Learned Reason Spells: Thunder (D), Thoron (C), Bolganone (B), Excalibur (A), Agnea’s Arrow (A)

Recruit Requirements for Canon-Compliance AUs: 

Blue Lions: must complete the Paralogues "War for the Weak" and "An Ocean View", and have B or higher in Lances, Reason, and Riding

Golden Deer: must complete the Paralogues "Dividing the World" and "An Ocean View", and have C or higher in Faith and Flying

Black Eagles: must complete "True Chivalry" and "An Ocean View", have a B in Axes and Heavy Armor.

Black Eagles (Silver Snow): Must also have completed Ashen Wolves Paralogues and have a B in Swords and Authority

Potential Supports:

Byleth

Dimitri

Dedue

Felix

Sylvain

Ingrid (up to B)

Annette

Mercedes

Edelgard

Caspar

Dorothea

Bernadetta

Petra

Claude

Lorenz (Up to B)

Hilda (Up to B)

Leonie

Raphael (Up to B)

Ignatz (Up to B)

Seteth

Flayn

Manuela

Hanneman (Up to B)

Yuri

Constance

Hapi

Balthus

Crit Quotes:

By the grace of the gods!

Ashes to ashes, as they say.

This is my vengeance!

You are not much of a challenge.

My mentor calls.

You're in my way!

You shall regret crossing blades with me!

God of War, guide me!

You are a disgrace!

Defeat Quotes:

Apologies, friends. I must fall back.

This is too much. We must retreat.

I....I won't die here....not now....

Ah...so this is what Rui felt that day...

I'm sorry, Graham. I failed....

Don't weep....I....made my choice....

Skill Level Increase Quotes:

This will aide my people well.

This blessing will serve me well.

Blessings by the God of Wisdom.

Now this is curious.

Insightful. Thank you.

Level Up Quotes:

To grow is part of life.

Blessed by the God of War.

I know I can do better.

The Gods are testing me.

Gift Quotes:

Liked Gifts: You found something truly magnificent. I am grateful.

Neutral Gifts: This is delightful.

Disliked Gifts: Perhaps you should take your curses elsewhere.

[little-tyrant-gortash]

Oathbreaker

Pairing: fem!Tav x Enver Gortash, fem!Tav/Astarion

Tags: Emotional Manipulation, Manipulation, Manipulative Relationship, Paladin Tav (Baldur's Gate), Vaginal Sex, Penis In Vagina Sex, Drunk Sex, Unrequited Love, Implied/Referenced Abuse, Scars, Blood and Injury, Injury, Implied/Referenced Rape/Non-con, Pregnancy, Unplanned Pregnancy, Miscarriage, Torture, Psychological Torture, Implied/Referenced Torture

Word count: 2,303

Ao3 here.

Chapter 1.

Chapter 2.

Chapter 3.

Chapter 4.

Chapter 5.

Chapter 6.

Chapter 7.

Chapter 8.

Chapter 9.

Chapter 10.

Chapter 11.

Chapter 12.

Chapter 13.

Chapter 14.

Chapter 15.

Chapter 16.

Chapter 17.

Chapter 18.

Chapter 19.

Chapter 20.

Chapter 21.

Chapter 22.

Chapter 23.

Chapter 24.

Chapter 25.

Chapter 26.

Chapter 27.

Chapter 28.

Chapter 29.

Chapter 30.

Chapter 31.

Chapter 32.

Chapter 33.

Chapter 34.

Chapter 35. ⬇

Chapter 35: The House of Hope

If he wanted to be honest, it was all too good to be true. To find someone he could feel vulnerable with – to allow her to lift his black mask and see the real him under it. She'd seen him at his best, at his worst, making her the one and only he could trust in the long run.

And what a glorious long run that'd be!

He'd checked their room in a few hours, but she wasn't back yet. At first, he didn't think much of it; he'd let this go for now, he'd… allow her to have time with her friends. Maybe they were just having a little catch up.

But as soon as the evening rolled around and she still wasn't in the bed where she should've been, he started to worry. And it wasn't like a worry he was familiar with; this cut deeper than any other emotion up until then. Not even his heavily enchanted gear could keep it at bay, and that was quite alarming.

He walked down in his basement where he checked a small, round, black gem first. It fit in his palm, and hummed with a certain energy that made him feel calmer. Her energy. The warmth of her hand, in his palm, against his skin. She was alive and well. He could feel her heartbeat through the stone – as the ring around her middle finger picked up all signs from her body, it was all transferred to the orb in his hand.

She was fine. His worry was childish. Perhaps he should uncork a wine, get a book, get himself distracted until she returned.

At least that was what he was thinking until he glanced down at the orb, which was not black anymore. It was illuminated on the inside with colours he hoped he'd never, ever see on this gem. Red, orange and yellow; fire.

She left Toril.

She was somewhere in the Hells.

His instinct was to rush over to his desk to pick up the slate as he kept the orb in his other hand. Despite the disguise on Tav, the armour was still on her; just hidden from plain sight. He could keep his eyes on her, and what was happening to her. And seeing the Archive in the House of Hope had his stomach twist with anxiety. What was she doing there? Unless… of course, the Orphic Hammer. Lae'zel and her request. Tav was fool enough to keep her word, and her companions allowed her, even though all of them knew… his anger rose and rose to yet unknown heights, the anxiety building along with the fear, surpassing the enchantment on his gear. Nothing could shield him from this. Nothing.

He could only half listen to her conversation with Hope – by Bane, Hope was still there. His own promises came back to haunt him. He'd promised he'd get back for her, that he'd free her, but he never really felt himself strong enough to face Raphael and the horrors of those years. People went mad in the House of Hope and he was barely hanging on by a thread when he made it out. It was so much easier to give up control and the self entirely; death was impossible, obedience was a temporary refuge, madness was the only choice to be free. He couldn't even bear the thought of going back. Not yet. Not until he had an army of illithids under his command. He would've ran the House of Hope over, would've tadpoled Raphael in order to rule over a segment of the Hells. He would've been a powerful puppet.

But it truly seemed Tav had different ideas.

And in that moment, the Archivist stopped giving her instructions about waiting in the Budoir.

"That sounds inviting", she mused, "too inviting."

"I've always wanted to know what he had in here; so many secrets to learn", replied Astarion with a way too cheerful voice.

"I'd rather not visit that place", Gale chimed in as they walked down the corridors.

They've reached the door, but as soon as Tav wanted to enter, Astarion's arm stopped her.

"Wait. I… know this scent."

"What are you talking about?"

Astarion glanced down at Tav with a frown. He couldn't let her meet a creature like that… not in her state, anyway.

"Incubus." He stated simply. "There's an incubus in here."

"How do you know?"

"I can smell him. You shouldn't go in." He huffed as he straightened himself, lowering his arm. "I'll go and talk to him."

"Why?"

"Because none of you would be strong enough to resist him." Astarion raised a brow as he glanced down at her. "And I don't think your fiancée would like the thought that we've let an incubus had his way with you."

"No", Tav smiled. Fiancée. Her poor fiancée had no idea what she'd do here today. If she survived, she'd have a lot of things to explain. Or perhaps… it'd be better to keep it a secret. "He sure wouldn't." A short pause. "Astarion–"

"Hmm?"

Tav hesitated again. Looking in those crimson eyes, she recalled all the pain and humiliation the vampire had to go through. All that resentment, desire for revenge, to break free once and for all – everything that fueled his desire to become the Ascendant, so he wouldn't need to fear anything ever again, not even the sun… only to change into something that wasn't him anymore.

But now… now she only saw the rogue in him. The spawn. The man who sacrificed his well–being to keep her safe. Over and over again. They've fought countless battles together, and he always had her back. He could always shoot down enemies that came too close to her, and if she took way too many blows, he always appeared beside her to shield her from further damage. If she swept that one single night under the rug when he caused their relationship irreperable harm… if she could forget it for a moment…

But what was done was done. He was not the man she loved anymore. Perhaps there was an ulterior motive behind this all; she couldn't know. She knew that he was mostly just going with the flow, but she could never be certain if he changed in this regard as well.

"You don't have to do this", she finally said, making him smile.

"I'm not going to break, Tav. I've survived everything so far, didn't I?"

She reached up with her right hand to touch his cheek. Astarion closed his eyes at the contact, and placed his left hand over the back of hers. He missed this, and he wished it'd never end.

"I know. But you don't have to."

"Allow me." His voice was so gentle, so quiet, almost pleading. "For you."

Their eyes met again, and Astarion lowered his hand. And just as he did, so did she.

"Very well", she agreed. "We'll discover the rest of the place.

"Good. Busy yourself with sizing up the threats", Astarion half smiled and booped her nose. "I'll catch up."

The rest of the team turned and walked outside. In the sudden silence, Karlach joined Tav's side.

"Are you alright?"

"Yeah. I think. I don't like this, but he knows what he does."

"Do you ever miss him?"

Tav frowned slightly.

"I miss the old him. But he's changed. And so did I." Tav shook her head. "I'm happy with Enver, and Astarion is an old, dead flame. He can't burn me again."

Even though he felt a small amount of relief, Gortash kept watching as she was heading down the corridor. They've entered a room he was familiar with; the portals leading to different places visibly intrigued her. As she was checking them out, a familiar voice called out to her. A familiar voice that made Gortash flinch on the inside. He'd thought that after he escaped, Nubaldin would be dead or chased to madness as the rest of those who had to live in that thrice cursed place. But he was still alive. And Tav had no idea who he was.

He had to get moving. And fast. Keeping the slate in his hand, he placed the orb on his desk, then got up and headed for the stairs as he kept listening.

"Stay out of my way, don't touch anything, and keep quiet. I've had enough pests bothering me today, I don't need another."

Tav observed the gnome.

"What are you doing here?"

"I used to work in the prison, ensuring no desirable people left the House of Hope." Nubaldin paused with a grimace. "Now, I guard the portals to ensure that no undesirable people enter."

Tav frowned slightly.

"Why don't you work in the prison anymore?"

"I made a mistake. Raphael doesn't tolerate mistakes. We had one houseguest by the name of Gortash, a mischievous little blot of a boy, and he slipped through my fingers."

Tav felt like her heart stopped when she heard the name. Enver was here? As a boy? In the House of Hope, and what's worse, in the prison? She had to raise her hand and touch her stomach as a sudden urge of nausea washed over her.

"Gortash was here?" She could hear herself ask, although, her voice was barely above a whisper. "Lord Enver Gortash?"

"Lord? Is that what he calls himself these days? The snivelling little shit." Tav flinched at the malice in Nubaldin's words. Every inch of her was screaming for explanation, her limbs went cold. "He was the son of a cobbler or somesuch meagre tradesman, sold to Raphael by his loving parents to pay off a petty debt." The room started to spin. She felt so many things at once that she was sure she'd faint in the next second. "Lord indeed", Nubaldin mocked with a little laugh, "I used to bruise my knuckles on his whimpering little face. I'd like to have snapped his neck!"

Her heart was beating in her throat as she pieced everything together. Nubaldin didn't care about her anymore, he resumed scrubbing the floor, for him, the conversation was over. Tav could almost see the scene Nubaldin growled her way. Tears filled her eyes. He was just a child. Her hands lowered to her sides, her fingers were twitching, every cell in her body filled with one and only thought. Revenge. Hot, red, rightful revenge. He was a child. He was a child and he was sold to a devil to pay off a debt. He was here where adults went mad, where hope died and death was the one and only salvation.

She saw nothing but red.

"Soldier?" Karlach muttered behind her.

Tav didn't hear her.

"No", Gortash groaned as he finished running up the last set of stairs, and he glanced down at the slate in his hands. His sides ached from the effort as he set down the road, straight to Devil's Fee, but he didn't slow down. "Walk… walk away… Tav, please… just this once…"

Tav reached behind her back to grab the Blood of Lathander.

A pair of arms wrapped around her from behind. The coldness of them knocked some sense into Tav, but all she could feel was rage.

"No!" She suddenly screamed and fought against the unwanted embrace. But Astarion held her tightly against himself, careful not to press her lower stomach. "Let me go! Let me go!!"

"Think", Astarion whispered in her ear as Nubaldin gave them an unfriendly look and turned away. "Tav, stop and think. If you do anything, our cover is blown, we'll die."

In that moment, halfway to Devil's Fee, Gortash was incredibly thankful that Astarion was there. Tav struggled for a few minutes, straining and screaming until she calmed down.

"Good. Let's go. I have what we need", Astarion slowly let her go, and gave her a piece of paper. "There's a password we need to use. Let's get the hammer and let's get out of here."

Tav inhaled deeply, glancing at the parchment. Her vision slowly cleared, the rage gently ebbed. She nodded. The others, seeing her agreeing with Astarion's plan, turned away and started to walk outside.

Tav took two steps.

And then she remembered that his nose was a bit crooked, and she always wondered if it had been broken. Now, she knew that it had been. She remembered those times when Enver flinched at her sudden touches. When she cupped his face and he – only slightly – pulled away, then leaned against her palms. She remembered the nights when she'd wake up to him clutching the blanket hard in his hands, reliving nightmares she knew nothing about, always calming down when she drew closer to him and ran her fingers in his hair to soothe him, keeping his bad dreams at bay. He didn't even know.

But she did.

And she was standing in the presence of one of those who caused his nightmares.

He was a child, he deserved to feel loved, he deserved to feel safe, and all of that was taken from him.

Tav stopped walking.

Astarion glanced back at her over his shoulder, as he noticed that he couldn't hear her footsteps.

She was looking directly in his eyes, but she didn't see him.

Her hand reached back for the Blood of Lathander again, and as soon as she touched it, she immediately charged it with a smite spell.

Astarion pushed past Gale and leapt towards her, but the distance was too much, even for him.

Tav spun, much faster than anyone expected, and she fixed Nubaldin with eyes of wrath. The Blood of Lathander roared through the air, empowered with her smite spell, to crush Nubaldin's head in.

And it did.

In the next moment, their disguise vanished.

[thatmultifandomdumbass]

The coruscant guard has numerous riot trained squads (who are commonly referred to as commander stones turtles), one of them being Ninja Squad.

Ninja squad is comprised of 4 members

‘Leo’ Leonardo, ‘Donnie’ Donatello, ‘Mikey’ Michelangelo and ‘Raph’ Raphael.

(Yes this is just the tmnt as clones)

(The idea came to me at like 12:30ish am while I was trying to sleep, try being the keyword asy brain went riot squad troopers called titles cause of their shields looking like a turtle shell.. WAIT YOU KNOW WHO ACTUALLY HAS TURTLE SHEELS?!? And voila, corrie tmnt)

I couldn’t sleep til I got this out of my head. Brain too small to hold many thought. It at max capacity

[falling-from-dawn-au]

INTRODUCTION + AU INFORMATION MASTERPOST

Hi! Welcome to my AU Sideblog. Call me Splatsy, or just Splat if you'd prefer! My main is @turtles-that-are-mutant-ninjas!

They/He and plural pronouns

Minor

If you recognize my art style, hi, no you don't /lh

Falling From Dawn AU Base Info

The Falling From Dawn (or FFD) AU is an AU comic I'm making. It takes place after the ROTTMNT Movie, so heads up for spoilers about that!

At some points, this blog will function as an ask FFD![character] blog! It'll be a good way for me to keep up motivation.

My main goal is to post at least 3 pages a month; one arc per month, basically, but my motivation fluctuates a LOT. I'm also still in school, so this schedule will probably not be stuck to very well, but I'll do my best!

PLEASE feel free to send asks and/or writing requests for the AU! I'd be glad to write things when I'm low on motivation to draw for the comic.

MAIN TAGS:

#Splatsy Splashes - Unrelated to the AU/Just Talking type posts!

#Splatsy Responds - Asks and submissions tag!

#🔃 - Reblog Tag, filter this if you want only AU stuff, but I try not to reblog things often!! (This tag doesn't apply to important reblogs or competition reblogs!!!)

#falling from dawn au / #fallling from dawn rottmnt au / #ffd au - Posts talking about the au!!

#ffd canon - Canon AU things, couples with other tags

#ffd noncanon - Noncanon AU things, couples with other tags

#ffd art - Art for the AU!

#ffd writing - If I do any standalone writing for the AU, it'll be here!

#ffd panels / #ffd pages - Official panels/pages for the comic!

Below the cut are the chronological arcs and character info. Anything underlined links to its respective page.

ARCS (In chronological order)

I've added the titles and numbers for every main series page! Links will be added as pages are posted. A spider mutant is present in Arc 3. I have arachnophobia myself, so I'll try to make them look Not Terrifying, but here's a warning just in case.

Arc 0 - Prequel Pages -2 - War is Over (HEAVY GORE WARNING) | -1 - Recovery Takes Time | 0 - Rising Powers Arc 1 - Grasping at Stars 1 - Waves of Flight | 2 - Dusk at Dawn | 3 - Telekinetic Shadows (BODY HORROR, EYE CONTACT) Arc 2 - Swooping Eagle 4 - Fall to Fly | 5 - Skycrash | 6 - Mystery Webs Arc 3 - Arachnofoe 7 - Heliophobic | 8 - Bound by the Strings | 9 - Hisses of Rain Arc 4 - Storming Scales 10 - Carnivorous Risks | 11 - Hurricane's Cry | 12 - Venomous Dreaming Arc 5 - Dawnfall Dreams 13 - Dreaded Dreamweaver | 14 - Nearsighted Nightmares | 15 - Sunset Showdown Arc 6 - Tears of the Sky 16 - Cryocrier | 17 - Nexica Hex | 18 - Cryptic Calling Arc 7 - Midnight Madness 19 - Total Eclipse | 20 - Shattered Stars | 21 - Polluted Shadows Arc 8 - Hope is a Weapon 22 - Howling Ghosts | 23 - Lionheart | 24 - Fall Away Arc 9 - Skies Painted Black 25 - Hellicite Hopes | 26 - Wavewinged Wishes | 27 - Lunar Eclipse Arc 10 - Falling From Dawn 28 - Duskrise | 29 - Noon of Night | 30 - Dawnfall Arc 11 - Lightsky Saviors 31 - Rises the Moon | 32 - Take Back the Light | 33 - Hope for Dawn Arc 12 - Saved by Sunrise 34 - Grasping at Stars | 35 - Tears of the Sky | 36 - Rising from Dusk

AU Drabbles/Short Stories

I'm starting to write short stories corresponding to each page of Falling From Dawn! They will be linked here as they are written, and will have the same name as the page they correspond to.

-2 - War is Over

Character "Files!"

Raphael/Raph - 17 - He/It. His ref sheet is here! Second in command. The big brother. His powers here are: The same as the show (I'll be honest i forgot what it's called) - Plant and Ground Manipulation - Lunar Phase Embodiment.

Leonardo/Leo/Leon/Nardo - 16 and a half, according to him. Physically just 16. - He/Him. His ref sheet is here! The main AU plotline follows him. Leader of the group. His powers here are: Advanced portalmaking - Water Manipulation - Speed.

Donatello/Donnie/Don - 16 and a half, according to him. Physically only 16. - He/They/Code|Code's|Codeself. Code's ref sheet is here! Secondary plotlines follow him. Tech nerd. His powers here are: Telekinesis - Object + Weapon Synthesis - Shadow Manipulation.

Michelangelo/Mikey/Angelo/Angela - 15 - He/She. Her ref sheet is here! The real funny one. Little brother/sister. His powers here are: Fire and Metal Manipulation - Chain Synthesis - Solar Embodiment.