#i'm just obsessed with this concept

[inkedwaters]

*    ⟢   lysandra ennar - ashryver → @starlightfreed : ❝ god ,  it  feels  like  i’ve  been  here  before. ❞

it is not the first time someone has recalled their time here. the land between lands is a wonderous paradise. unless the memories are taken, as they were from the unworthy, the land remains suspended in the minds of travellers as a dreamscape. something of a smile dances over her lips, russet gaze moving over the travellers features. " perhaps you have been here in a dream, ma'am ? " head tilts, sending chestnut curls sprawling over her shoulder before turning to the preparations for dinner in front of her. small this time, the inn had not seen many visitors for some time. " are you travelling for long ? " changing the topic with practiced ease, deft fingers slicing into the vibrant green vegetables that only grew in this land alone; part of the test she was soon to conduct upon this traveller and all the others.

[swordsofsaturn]

early seasons spn homophobia is actually so crazy because they literally do not look gay. hamfisted gay jokes when the characters look straight as hell. "you look the type" they literally don't. is the thing

[icewindandboringhorror]

I made a few new wax seal stamps out of clay (like the ones I did for my worldbuilding stuff forever ago), this time just of random symbols that I thought might look good done in the style of painting over the raised part of the wax or etc. :0c Some of them aren't carved deep enough to really show up that well, but overall they worked okay for being clay lol

[sleepinglionhearts]

Oh, it’s gonna be the way you always thought it would be

but it’s gonna be no illusion

Oh, it’s gonna be the way you always dreamt about it

but it’s gonna be really happenin’ to ya

[hiemaldesirae]

casual day in

[canisalbus]

your art is so soft and gorgeous. like stained glass. thank you for putting it out into the world.

.

[tiktowafel]

do you ever think about how all you used to draw when you were 10 was ponies and that you should still know how to do that, then get an idea and proceed to draw something like these in nearly one sitting and it turns out better than any drawing you've done in the entire past month

sooo anyway does anyone have cutie mark or pony name ideas for them?? lol

[captainofthetidesbreath]

okay but all the concept exploration thumbnails for MNO Fjord are VIBES and I am obsessed with them all, especially the Mask of Many Faces one. That one is an INCREDIBLE concept.

The page says that they chose the cover they did because it is most visually accessible to fans and new readers, but describes the others as "strikingly ethereal, evoking an almost nautical horror aspect while getting right to the heart of Fjord's character."

Also, notice, the initial concept for the cover was against a blue sky, and the Critical Role team asked for clouds and rain. There are thumbnails for a dark sky and one more similar to the final but bluer.

[flonion]

Kneel before the Ice Princess

[desertduality]

star wars au with Pearl as Luke, Scar as Leia, Gem as Han Solo, Cub(?) as Chewbacca, Mumbo as C-3PO, and Grian as R2-D2.

[hephaestuscrew]

“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate). 

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other. 

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate 

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187). 

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon. 

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself... 

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172) 

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”. 

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down."  "You're not settled?" asked Fleet. "I am." (High Vaultage, p259) 

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5: 

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable 

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says: 

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.) 

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

[unopenablebox]

i admit that i find it a little bit frustrating how Wildly Astonished other antizionist jews act when i tell them my israeli jewish family have lived in the region since [some unknown length of time before 1800 when there start being records about it]

[sirenemale]

Okay I'm desperately trying to find examples of horror film artbooks, or ANY concept art for older low budget horror films. I'm not finding much at all, which does track bc of the nature of these productions but they still would have had production art, that art has to be somewhere. SO if anyone has book recs or blog posts or anything pleaseeee drop them. Rn the best I have is the mars attacks artbook, the return of the living dead art book and some really shoddy production art for house of 1000 corpses I got off a prop site. Long shot too but any kind of concept work for John Water's films would go crazy as well, so far I've only got tangential stuff like the scrapped designs for the Pork stageplay with Divine and the paper doll book that Van smith illustrated (costume designer and stylist for his films and for Divine).

[necrotic-nephilim]

for the ask game (1)

au where bruce is attracted to his robins and batgirls. he tries not to think about it or act on it, but it's getting more difficult with every new member of his team he acquires. does anyone know? do the robins and batgirls notice his weird behavior? what do they do about it? do they ever find out the truth? who would think it's terrible and who would find it strangely hot/comforting/nice? does bruce ever act on his feelings?

for the ask game!

oh my GOD do i have thoughts for AUs like this, i love this shit so dearly, dirtybadwrong Bruce who's trying to keep a lid on it my beloved.

i think the fun of this AU is if characters would notice Bruce lusting for themselves vs would they notice Bruce lusting for a different Robin/Batgirl. like does Dick pick up on it when it's just him and Bruce? no, because it's just. him and Bruce. he and Bruce are weird and complicated and hold endless bounds of nuance. that's just How Bruce Is, and Dick is the "test run", in a sense. he knows Bruce is new to this whole sidekick/family thing and is giving Bruce grace for being rough around the edges. but when Bruce starts looking at Jason or Tim or Cass that way, that's when Dick starts to notice. it's never enough of a suspicion he feels justified to bring it up, but the thought lingers. he's hyperaware and grows less and less comfortable with leaving them alone with Bruce. it's a weird game of chicken, Dick and Bruce staring each other down when Bruce's touch lingers too long. each waiting for the other to say something first. if Bruce ever broke and actually acted on his feelings, Dick would be eaten alive by the guilt of knowing something was up, but never saying something until it was too late.

obviously, Cass would know. there's no world where Cass *doesn't* know, the nature of who and what she is would immediately clock it. but the issue is, Cass doesn't have a good framework of what family looks like. she doesn't really understand familial vs romantic love bc she has no firsthand experience of what a parent's love should even look like. so she never calls it out. she just watches. i'm a fan of Cass believing this is normal and believing she too can express and act on attraction that's vaguely incestuous. maybe it's with Babs, maybe it's with Dick or Tim or Bruce himself. but she recognizes this as Normal and Accepted within the Batfamily, so it severely fucks up her understanding of familial love and i just. man it's my favorite thing about Cass in Batcest honestly, is how you can play with her lack of experience with love, boundaries, and sexuality.

Tim is the fun one for me. because my favorite flavor of BruTim is when Tim knows, as he agrees to be Robin, that there's a non-zero chance that Bruce is going to be Weird and agrees anyway because he's decided it's an acceptable risk. so Tim knows from the get-go because he's expecting it. if Bruce acts on his attraction, i think it's either with Tim or Cass first, because they're the most likely to confront him about it in a way that isn't entirely negative. Tim has accepted it's a possibility and Cass just seeks being loved and touched so. it leads to the first time someone's ever confronted Bruce about it. and the thing is, Bruce really doesn't like confrontation about his flaws. the first time Tim tries to imply he's okay with it, Bruce would lash out at the idea, tell Tim how inappropriate that is and benches Tim for a week. it'd probably take a united front from Cass and Tim to get Bruce to even *admit* to the attraction. still Bruce wouldn't allow it to happen and he brushes them off until finally, the dam breaks. it's fun if there's a cause like sex pollen, but i think it's *more* fun if it's just. a random fucking Tuesday and finally Bruce is at his limit. he has no real reason, there's nothing particularly different about that day's routine. he just sees Tim or Cass striping armor and sighs and gives in.

i don't think Steph, Jason, or Babs would notice until anything substantial happened. not because they're not wicked smart, but just because none of them were looking for it. Jason put Bruce on a pedestal when he was alive, and when he came back from the dead he wasn't close enough to be noticing Bruce's interpersonal dynamics outside of his narrow scope. Steph has no real framework for what healthy fatherhood looks like, so if Bruce's touches linger, if he stares too long, she just shrugs and assumes it's how it is. and Babs was just never quite close enough to Bruce to notice. if and when she notices, is when actual sexual things start to happen between Cass and Bruce. because Cass would see no reason to hide it. Babs would be pissed, but it'd be tricky to navigate. Cass would be an adult, even if she's only 18/19, so technically, she's old enough to be consenting. if nothing else, Bruce is a careful man. even when he breaks and gives in to his desires, he covers his tracks well. he makes sure he has enthusiastic consent and there's no legal recourse that could be taken. age of consent and all that. there's not much Babs can *do* other than try to tell Cass (and/or Tim) that this isn't normal or okay. not that it gets her anywhere, but god would she try.

by the time Duke comes along (if we venture out of the pre-Flashpoint era) i think it's a sort of. open secret, in the Batfamily. talked about in nothing but hushed whispers and knowing glances. at some point, they've all had sex with Bruce, caving all for different reasons. some more than others. Tim sees it as a duty, Cass sees it as a way of seeking comfort, Steph sees it as getting Bruce's approval for once, etc. it's never forced on them, but eventually, they all come to Bruce sooner or later. and that's the fun irony of it, i think. they try to convince the others not to, but would go to Bruce on their own well. because complicated reasons they can't put into words. sometimes, Bruce is just a messy man who doesn't realize how prized his Attention to for the rest of the Batfamily. that weird duality of not liking him, but also wanting desperately for him to like you. all of them have dealt with it, at some point. so for Duke, it takes a while for him to understand this... whole dynamic. it's Cass who tries to explain it to him, and he's a little horrified, a lot confused. especially when Bruce starts staring at him a little too long as well. i think he'd only want to watch first but well. they all cave eventually.

also fun bonus if we venture into the Dark Knight Returns universe for my bestest girl Carrie Kelley: there's such a like, "i'm fucking around and i'm finding out" vibe to Carrie. like Tim, she's very proactive in just. deciding she's going to be Robin and she's ready for whatever that entails. (IMO canon Carrie is closer to fanon Tim than canon Tim is but *that* deserves its own post-) like she takes one look at the old man that is Batman and goes yup. he's never fucking getting rid of me now. if Bruce started having weird feelings about her, i think she'd have *fun* with it. she's decided she's in it for the long haul and for whatever being Robin means so. she's almost teasing about it, seeing how hard she can push before Bruce snaps. since it's an older, gruffer Bruce, i think he'd express open annoyance at it first, almost a sort of banter about how Carrie behave. but of course he caves and Carrie leans into it, because there's a fun in having all of Bruce's attention to herself. in the main timeline, Bruce is pretty split with so many Robins and Batgirls, but during their era, it's *just* her and him and she's very proud she's got him all to herself.

[hijackmac]

WOAAAHH SOME SLAY THE PRINCESS INSPIRED IN-GAME SHOTS!!! Last one is drawn over the original 'It's You' scene I wasn't gonna draw allat 💔💔 BUT OTHERWISE THIS IS SOSOSOSOO FUN TO EXPERIMENT WITH OH MY LORD!! MAYBE EXPECT MORE???

More (mostly) Slay The Prince AU doodles and concepts below cut!! :]

[gtcopter]

concept: a non-winged tiny jealous of fairies or perhaps a fairy that was for some reason born without wings makes themself a pair of mechanical wings. a la icarus or maybe more like a jetpack.