#very muddy

[bluk-berry-jam]

How much water does your clodsire consume on the daily?

too fuckin much man. this goober can go through buckets of water during a single picnic.

[hinamie]

I'll give them shelter like you've done for me

[avalencias]

yes I was inspired by the latest chapter of this fic, no I don’t want to talk about it.

(fic by @picturesofthegoneworlds)

[galactaknightyaoi]

🏳️‍⚧️ DOUBLE HEADCANON ATTACK!!! 🏳️‍⚧️

Family HCs are already fun on their own but with transness added on they're even better. It's actual comedy gold. Also I've always wanted to draw some kind of Meta Knight VS Galacta Knight type thing, but I can't take anything seriously like that. So you get This.

What This is, is a way too high effort shitpost. It took a combined 2 and a half? Days, though most of it was just sketching. I'm proud of it! Anything for the bit.

Textless version + unfinished doodle under the cut

[sylvaur]

handographers🕊️🌺🧬

repainted a drawing i'd made earlier! i am much happier with it now

[ambeauty]

Ok let’s discuss partnership agreements for a quick second. I own a business and I have a partner. It’s common and it’s necessary to have a partnership agreements. It’s going to list the official profit share, how much time each partner is going to commit, what skill each partner brings to the business, and what factors are in place in case one partner wants to leave or dissolve the business. This is a very basic overview of a partnership agreement. Sydney needs this. It will legitimize her position as partner in the Bear. So Carmen extending this agreement to her is significant. He can’t necessarily force her not to leave but they have to have a protocol in place in case she wants to. It could get sticky but not if they follow the agreement. Unless she doesn’t sign it…

What’s strange to me is him saying “So I can push you and you can push me.” This makes me think he knows that he’s going to get toxic and he doesn’t want her to just walk out like she did in review. It’s like saying “for better or worse.” And also tell me when I’m fucking up because I don’t want you to leave. I have it in writing how much you mean to me and this business. So neither one of us can just fuck off when the going gets tough. Signing this agreement would make her (both of them) contractually committed to working things out with him even when it (he) gets difficult. That’s still a spiritual marriage. A business is a marriage and a (legal) marriage is a business.

[screechingfromthevoid]

nothing (besides everyone ignoring Orym's deal) has made me angrier than watching Dorian keep up this facade. Dorian Storm has always been a type of mask he's worn. At first he called himself a liar because of it. The happy go lucky bard was a way of escaping for him. He was escaping Brontë so he created Dorian. He didn't believe he was Dorian. Until the Crown Keepers made Dorian real. And for a while, he really believed he was Dorian. That he has this new family and new life and he could be who he truly wanted to be.

And then his brother came back and made his problems Dorian's problems. Until he had to put Brontë back on. Because even if the Crown Keepers + Cyrus called him Dorian, he was Brontë. He had to be who his brother thought he was.

When Cyrus dies, the thread to Brontë had snapped. He was going to see Orym, back to the Bells Hells, back to Dorian Storm. But the foundation of Dorian had shattered. Dorian was created in order to run from his place in life, family, Cyrus. Now he was gone. The Crown Keepers had fallen apart. His friends fell through his fingers and he couldn't do anything to stop it. He was once ready to side with a betrayer god for these people and now they're in the wind.

So Dorian shows back up to Bells Hella and he's completely broken. The foundation of both of his lives has been thoroughly rocked. No brother. No Crown Keepers. The two things that forged Dorian Storm. He wears that mask so fucking well. Because he still wants to believe in it. He said it live on stage that he should "believe his own backstory". The one he made up. The one where he was a bard.

He wants to be Dorian so bad. He spends all his money on Orym, he spins the bottle so he can kiss his friends, he flirts, he blushes and giggles at compliments. Exactly how Dorian would, should.

But he wears the gold of the heir. He has a festering animosity inside his chest. He doesn't sleep. He's thinner than he was. He doesn't sleep. He sicks abominations after their creators. He talks to God's without an ounce of self preservation, daring them to strike him down. He does not acknowledge them as they taunt him.

The god of beauty and magic calls him beautiful and he does not smile.

[wizard-eater]

did 3" by 3" frescos in art history... made da wizrd. wouldge you like to see?

[adelrambles]

Tips on Writing Bishop

I've been asked a couple times for advice on how to write a good (03-style) Bishop, and I'm well-aware he can be a bit tough to get a grasp on. As someone who's studied him specifically to learn how to write him as accurately as possible, I figured I'd compile some thoughts in case it'd be helpful to anyone else. I know a lot of Rise takes on him are basing off the 03 version, so maybe this could help generate ideas, too. SO!

Big Overall Points!

At the core of EVERYTHING Bishop does are two primary motivations. The first: the protection of the earth. What this means to him can get tricky, because it doesn't necessarily mean protecting the people, at least not all of them. But it will be better understood alongside the other:

The second: The protection of his sense of safety. Bishop has been deeply traumatized, and everything he does is born of a want to avoid that pain ever again. In his mind, earth is a safe area, a controllable factor, and anything outside it is a danger that must be eliminated. This is why he will still be willing to put himself and other people on the line in service of this; any sacrifice is worth the greater goal. (It's worth noting, Bishop will claim the first as his motivation freely, but is likely not consciously aware of the second.)

Bishop deals in Big Picture ONLY. Another reason Bishop will willingly throw away anything, including the lives of the people he claims to protect, is that he seems incapable of understanding things on a small, individual basis.

Bishop is a cold personality. He does not have strong displays of emotion. He does emote, but for the most part it's muted, so I recommend using emotional bursts very sparingly. (In my own writing, as an example, I try to limit my use of exclamation marks in his dialogue as much as possible.)

At his core, Bishop is afraid, and his response to fear is aggression. This also makes it particularly difficult to talk him down, if he's put in an emotional state. His response to not being in control is often violent retaliation.

With those basic tenants understood, let's move next to some major personality traits:

Bishop is a controlling personality. This is a direct result of his trauma response. Things that can be controlled are safe, therefore he must control everything. If something cannot be controlled, it's a threat that must be eliminated. If he doesn't know why something happened, he becomes angry (including even when it benefits him.)

Bishop is very low-empathy. When writing him, I try to keep in mind that he cannot put himself in the perspective of others. (Or if he can, he doesn't care to.)

Bishop is a sadist. He gets personal enjoyment from hurting others.

Bishop likes fighting, but only when he's winning. He will quickly leave if he can't see a guaranteed victory.

Bishop is paranoid. This is probably self-evident, but it's the reason he's often so well-prepared even when things don't go to plan.

Bishop genuinely seems to enjoy science. He's shown to be far more lenient with scientist characters than anyone else, and he seems to involve himself in his scientists' projects to a degree. Enough to, at the very least, understand their work. (Given he was the one set to dissect the turtles, it might also be argued he has some medical or biology background, himself.)

Bishop is an opportunist and scavenger. He can roll with failures as long as he can find something to get out of it. If he's presented with an opportunity to stab someone in the back, and he has something to gain? He'll take it without a second thought.

Bishop is deeply self-blind. For all his perceptiveness and strategic prowess, Bishop is not very self-aware in the slightest. He is completely blind to his own hypocrisies, and thoroughly confident in his own righteousness.

Bishop adapts fast. He accepts situations for what they are and acts (Though he may still be angry about them, or what have you.) This is likely a skill developed via longevity; the world around him has changed rapidly, but he doesn't feel out of place at all.

Bishop will take extreme risks and thinks wildly outside the box. Also self-evident, if you're familiar with the plans he enacts throughout the show. He'll put a lot on the line if he thinks the reward is worth enough, and he's willing to go to extreme lengths to get what he wants, even if his plans would be considered crazy by normal standards.

Bishop is persistent. If he wants something, he won't stop until he gets it. If he fails, he'll retreat, make a new plan, and try again. It is very difficult to convince him to back down (and certainly not on moral grounds.)

Habits and triggers I've noted:

Being restrained of any sort puts Bishop in a panic. He is more likely to have an emotional response in these scenarios, and seems to have (an albeit muted) desperation to escape. (See: Leatherhead restraining him in the first encounter; His reaction to being trapped on the surgical table in Head of State.)

When being duplicitous or suppressing a reaction, Bishop will go to adjust his tie. This could possibly be considered his tell.

Bishop seems to have a particular fear of aliens blending in as humans. His slayer project was built around the assumption that this is a common threat. (Worth noting: This makes The Shredder the model of the exact threat Bishop is afraid of. Technically, Bishop himself may also fit the description of a threat shaped like a human.)

Writing considerations:

In 03's narrative, Bishop is EPF and EPF is Bishop. Narratively speaking, any organization Bishop is head of acts as if it is an extension of his will and character.

Bishop is shown to strike fear and/or discomfort into most characters he interacts with. Anything beyond this is an outlier, and will draw a reader's attention.

Dialogue-wise, Bishop is generally succinct and blunt. He does dabble in gloating, though, and especially likes to upset others. If he's given a chance to be mean, he'll usually take it. It can help to consider he has a Mission Mode and a Normal Mode. When it comes to Mission Mode, he gets straight to the point and hates unnecessary talking. Otherwise, he's still not very talkative, but will take the time to make pointed jabs or talk through a plan. A lot of his sense of humor seems to be rooted in how He's Better Than You (And You're Going To Die Painfully.)

It's a common pitfall that Bishop is depicted as seeking out the turtles. In 03, once he gets their DNA, he's done with them. Any encounters after that are incidental. Bishop does not care about anything that won't effect his greater goal. If he's targeting another character, it should have to do with a greater plan.

Bishop is an extremely competent combatant, shown to be able to handle up to 7 opponents at once. For a breakdown on his fighting style check out my other post on that!

Bishop is hard to kill, and oftentimes he accidentally contributes to his own defeat. (The hook from Bishop's Gambit is an example I get a LOT of mileage out of, as a perfect symbol of his self-defeating prophecies.)

We almost only ever see Bishop in the context of his work. While it could be construed that he depersonalizes himself, it's much more clear that the narrative depersonalizes him. As far as we, the audience know, Bishop's work is all that he is.

It's unclear if Bishop was released from his abduction or escaped. Depending on which you ascribe to, this can have ramifications for his mindset on how to deal with the alien threat. (Personally, because so much of his inability to cope hinges on a feeling of helplessness, I believe he was released. If he escaped on his own power, that undercuts it, somewhat.)

Thematically-speaking, Bishop parallels both his own torturers and his own victims at the same time. He has perpetuated the cycle that traumatized him in the first place by trying to fight fire with fire. (In that vein, I don't think he's capable of understanding that, not seeing aliens as people in the first place, just dangers. Considering how deeply ingrained his trauma is in his worldview and actions, it would probably ruin him, if he were ever able to actually grasp it.)

Bishop and EPF are likely a commentary on the military of the time 03 was coming out. This can be something worth keeping in mind, when figuring out his greater themes in your story, though it can just as well be discarded if it doesn't fit.

Adding to that, Bishop has an extensive american military background. His skills and knowledge will reflect that.

Bishop also plays on and references a number of real-life alien conspiracies. It can be worth digging through conspiracy history to drum up ideas and themes, too.

The ethical and philosophical quandaries of Bishop's body-hopping and humanity tend to not hold too much weight, because Bishop, himself, doesn't seem to care.

If I think of more I'll certainly be adding on to the reblogs of this post! Or, if you have more thoughts, please feel free to add! If you're in the mood for more Bishop ramblings, that's practically most of this blog atm, but this post is a particular favorite. If you're interested in Fast Forward!Bishop, specifically, consider this post! (also read Taking Pawns. slipped in that self-promo, nice.)

[oddthesungod]

painted piece of my lil desert Kobold Druid, Cricket (they/them), using the Erupting Earth spell! I only played with them in a one-shot game but I still love them! ❤️✨

[abirddogmoment]

A storm brewing over the city

[tabbi-mysteries]

Episodes 1-601 Mouri Ran's Wardrobe!

+Films 1-14 & OVAs 1-10 & Lupin TV Special & Magic Files 2-4

(Better quality images under the cut)

The next update is here! We're at the beginning of what I'm dubbing pastel era Ran it's really cool to see the colours and style change as time goes on to be honest I hope you find it as fascinating as I do!

Let me know your favourites / least favourites in the tags / comments!

The new addition this time is her Joke Cards, the Magic Files and the TV special, I hope from now on (unless I've made mistakes!) that I won't need to go back and insert an outfit into the older eras any more as I go forward. (Fingers crossed!)

P.S saying that I'm still willing to include merch/promotional art looks if people know of a resource that documents those!

Okay to be perfectly honest I'm still worried Tumblr will fudge with the quality of these images, I have plans later to do collections (I.e uniforms, swimwear, nightwear etc. to show those off in groups and see how they've changed but if you want to see any outfit in better quality shoot me a message and I can post it on it's own! There's just no way to get around having to group them up currently :(

[saints-who-never-existed]

Lovely weather for it and by "it" hehe well let's just say dabbing innocent young Victorian sailors. 💦🔪🩸

[trashblossomart]

„Ain‘t he just a little angel?“

[redactedresearch]

I think Handsome Jack cried so hard he threw up once he really stood and acknowledged Angel's passing

[notbecauseofvictories]

I realize this is a weird question for a Sunday morning, but does anybody have particularly incisive articles about the tension between architectural preservation and the need (because I do think it's a need!) for new buildings, new spaces, and revising the landscape of a city?

I'm watching a piece on Richard Nickel, who is almost single-handedly responsible for photographing the work of Louis Sullivan and other architects of the Chicago Prairie School, prior to their demolition in the 60s. It's a great piece, and I love Nickel's photographs, but as someone who knows only the Chicago that sprang up in the wake of Nickel's, I can't help but wonder if there's more than simple aesthetics at play here.