#why is Arthur so hard to draw

[toastydumpster]

1/?

reorganizing some folders and forgot about this... don't think I'm ever cleaning these,, i was saving them for when I settled on a human John design,,, I'll probably finish it eventually

[izel-scribbles]

malevolent sketches (but what else is new lol)

warning: part 40+ spoilers

ORTHOR

can i interest you in some long haired human!john

detective noel (he shall live on in out memories forever)

[ego-meliorem-esse]

Some HCs - Arthur Kirkland

It seems I am unable to draw anything these days. It's either a bad case of artist block or any slight skill I had in the drawing department has vanished into thin air. Someone send either an ambulance or Francis ( so I can hit him with my car to calm myself down)

Until then here are some hcs for our favourite pater familias:

Arthur has a hard time falling asleep and has constant insomnia episodes. He's used to them by now and doesn't try to force himself to sleep when he realizes he can't. The one thing he can't do during his no-sleep nights is read. He browses the internet, checks out his kids social media updates, and even sends a text to Francis or Gil in the hopes of waking them up and being a general petty menace. He does everything but read books as they strain his eyes.

He might be the grumpy rat we all know, but he is incredible with children. He doesn't talk to them as many people do with children: childish and condescendingly, but like an adult speaking to an equally intelligent human being. Also, Arthur can make up stories on the spot that will intrigue even the most well-read intellectual and equally bring the most unruly child to sleep. His imagination is something he keeps almost completely to himself though. Least someone might find out he is not completely the stoic, stiff upper-lip kind of person he wants to be portrayed as. Though children are the only people that get to experience his creative, imaginative, and story-telling side. His children had quite the bedtime stories. Especially Alfred.

Trash telly is one of his weaknesses. When the work is done, the dishes are washed, and the paperwork is finished, Arthur will most definitely turn on the news and pretend that's what he is interested in on the tv. When in reality he waits a couple of minutes to switch to some Love Island, Geordie Shore, 22 Kids, and Counting, or even Funniest royal Cock-ups.

Arthur doesn't like being in pictures taken by others. Be it not liking how he looks in them or simply not liking when he's not the one in control of taking pictures but he simply hates being in photographs taken by other people. One can imagine this is just a part of Arthur's controlling side coming out.

When it comes to his kids, Arthur is constantly worried. He of course doesn't show it (the beforementioned stiff upper lip kind of attitude) yet when there is real trouble or he can sense something is amiss, he will do his best to drop his indifferent demeanor to help his child as best as he can without being too emotional. He doesn't admit it to anyone and especially not to himself but seeing his kids hurt or unwell is the one biggest fear he has. This feeling in him conflicts with him being a country and having to put his own people and government before anyone else. He is a past empire and empathy doesn't come easy to him. Yet here he is wondering if Matthew ate his lunch after the meeting or if Alfred got into trouble again with his officials over some tweets. As much of an emotionless bastard as he is and as much of a country as he is, he is family oriented and his kids mean the world to him.

While on the topic of his kids, Alfred is the absolute favourite child, the crown prince, and the firstborn son of the family. Al gets some privileges that his siblings do not. Arthur is especially worried and distressed when Al is in trouble or is hurt. More so than any of his other children. There is some jealousy/envy from the rest due to this of course. More on that in Alfred's hcs.

On a lighter note, Arthur lost his car in a shopping mall parking lot almost a dozen times now.

Also, he refuses to get rid of his 2006 silver Renault Clio. He has a newer car but uses it only for business and when driving longer distances. Matthew is worried the old vehicle will die any day now on the road and keeps urging his father to buy a new car.

Arthur is secretly a big fan of Neil Gaiman and his works but keeps that to himself.

He has an instagram account where he posts pictures of his garden, his book choice of the week, and his kids. The beforementioned kids are not happy with the pictures their father chooses to post on his account. Zee has blocked him.

Arthur buys candles all the time. Any smell, any aroma. And just keeps them in a drawer. He saw an ad for candles online once and now it's something he impulse buys at the grocery store.

These days he has the energy of a divorced housewife with an elderly dog

[hecatesbroom]

Some quick sketches of Bea Arthur because I came across her rendition of Down in the Depths on youtube today and was a little star-struck

[secretly-an-automaton]

*throws half finished Jarther mermaid concept art at you and runs*

[omegabenaeart]

Nothing to see here. The baby just got tall🧍

Uhhh I also made the old men....older

[emmithar-blog]

Can We Keep Him?

[hillbillyhipster84]

Adding another illustration to a spicy scene from chapter 9 of my Arthur X Trelawny fanfic. I was inspired by one of Murray Bartlett’s expressions from “White Lotus”.

I will also be posting ch. 28 soon.

From Ch. 9 “Go Your Own Way”

[skyeee]

Someone fucking explain to me why the only time I ever have the urge to draw is when I’m trying to fall asleep after I’ve sat in bed watching jetsons for 5 hours straight

[threadbaresweater]

one warm day is all i really need | arthur morgan x reader

Arthur doesn't think you're interested in him any more than you're interested in fishing, which ain't much. You hope he shares even an inkling of the feelings you have for him. It's no surprise to anyone else in camp that there's something between the two of you, and they make sure you get a chance to show each other how you really feel.

The details: 3.9k words. Female reader with a backstory that isn't really elaborated upon in this fic but might be at a later date if I have the spoons; several gang members act as side-characters/wingmen (and women); alcohol and cigarette use; sex (pretty vanilla, but a little rough and intense). NSFW. This is also my first fic for a new fandom, so please be gentle with me. It's been a while.

Arthur first notices your eyes on him one evening around the campfire at Shady Belle. He won’t accuse you of staring– Lord knows he’s been known to look at you with the same foolish grin you’re wearing now– but he tips his hat to acknowledge you. The heat in your cheeks is suddenly warmer than what the fire has already provided; your grin only grows until your teeth are showing, and you duck your head into your shoulder to hide. Arthur takes a long swig from his whiskey bottle and grimaces as it goes down. He hasn't had a drop of anything in days, and the burn takes a little while to grow numb to now. 

“Think she's sweet on you, Morgan,” Sean says in his Irish lilt, giving Arthur an elbow in the ribs. 

“Naw, she's lookin’ at you,” Arthur deflects, though he hopes he's wrong. He thinks he knows.

“She told me last week to keep my eyes on my own work,” Sean continues. “I really don't think it's me she wants, Arthur.”

You turn to whisper something to Sadie, who laughs out loud with her face tilted toward the stars. You dare a glance back at Arthur, who is, in fact, looking at you.

Maybe there's some truth to what Mary Beth told you yesterday.

“Arthur's been awful quiet lately.”

The sun shines through the trees and dapples the table where you're seated with bright spots of pale yellow. It's your third round of dominoes with Mary-Beth, and she's whooping your ass, as usual. You don't know how she does it, but each game you play, you're a little more privy to her prowess. 

“You think so? I don't know him as well as you.” You hope it isn't obvious that your heart started beating a little faster at the mention of his name. It leaves you breathless.

“Oh yeah,” Mary-Beth continues. “He's been scratchin’ away in that journal of his a lot more, too.” She leans closer, conspiratorial, her eyes twinkling with the gossip she's about to share. “Karen said he went to town twice last week to have a hot bath. If you knew Arthur like I know Arthur, why…you'd know that's highly out of character for him.”

“But you said he'd been quiet. Is that unusual for him, too?”

She hums and purses her lips. “Well you see, Arthur isn't usually a man of many words on a good day. But it's been real bad lately. He don't even give John a hard time like usual.”

You ponder the dominoes for a moment and then make your move. It doesn't earn you any points, but at least you didn't have to draw. “What do you think the problem is?” you ask, nonchalant as possible.

Mary-Beth smiles. Big and bright and sparkling. “Oh, it's not a problem at all.” She lowers her voice and cups her hand to her mouth. “Arthur's in love.”

You gasp, then giggle behind your hand, and Mary-Beth follows suit. Hosea looks on and shakes his head, so you quiet down, reaching across to grab Mary-Beth's hands. “Who do you think it is?” 

Her cheeks are tinted pink, and she looks around to make sure there aren't any ears to hear. Word travels fast around camp if one isn't prudent. “I think it's you.”

A thunderstorm rips through Shady Belle a little over a week later. Your little tent that you share with Sadie is ripped straight off its supports in a terrible gust of wind, and you and the others hightail it inside the house to take cover just as it begins to hail. There's quite a ruckus as everyone huddles inside, windblown and rain-soaked. A few of the men hold up lanterns to illuminate the darkness while you watch the lightning and feel the thunder shake the old bones of the house. 

“Everyone just calm down,” Dutch calls, descending the stairs, wearing some ridiculous robe with his arms spread wide. “Are we really gonna let a little old thunderstorm keep us from getting a good night's sleep?”

“Says the man with a bed inside the house,” Arthur bites, rounding the corner from what used to be the kitchen, holding a lantern up high in front of him. “Dutch, you better allow these ladies to take cover in here for tonight, or I'll–”

“Or you'll what, Mister Morgan? Pray tell, what kind of man do you take me for?” Dutch's eyes are fiery as he stares Arthur down; a display of dominance. A veritable cockfight. 

Arthur's jaw twitches, but he doesn't back down. “The kind of man I should hope would have some goddamn respect for his family.”

There's a tense moment or two where everyone is quiet, then Dutch relents. “Fine, fine! But I expect everyone out there pitching in to clean up in the morning.” He points at Arthur and raises his voice again. “That includes the other man with a bed inside the house,” he sneers. 

Arthur shakes his head, then looks away only to catch sight of you, shivering in your wet undergarments, huddled close to Mary-Beth for what little warmth the two of you can share. For a minute, he forgets to breathe, then composes himself enough to cross the room.

“Come on in here. Get yourself warm and dry by the fire.” His hand on your elbow is rough but warm as he leads you toward the fireplace. You nod and look back at Mary-Beth, who shoos you away with a flick of her wrist and a wink; you notice that her teeth are chattering. Despite the humidity that hangs heavy in the air, the temperature has turned chilly with the storm.

Arms crossed over your bosom to preserve any shred of modesty you might have left, you allow yourself to be led away by Arthur. Dutch and some of the others head upstairs while Charles and Javier keep watch from the front porch. 

“You alright?” Arthur asks. He covers your shoulders with one of his heavy winter coats, and you pull it around you, grateful for the weight and warmth of it. Another clap of thunder shakes the house and you jump. Arthur chuckles.

“You laughin’ at me?” you quip, placing your palms flat in the direction of the fireplace. You don't even bother to hide the grin you feel curling on your lips. 

“No madam, I am not,” Arthur says earnestly, taking a seat beside you on the old wooden crate he's set up as a makeshift bench. 

“Then just what do you find so funny, Mister Morgan?”

He scratches the back of his neck, looking into the flames. “Aw, I dunno. I'm sorry. It's just that you're…” 

You bump him with your hip, unable to stop the giggles that bubble up from your chest. “I'm what?” you pry.

There's a clatter of something falling on the front porch, and Arthur uses it as a good excuse to get out of this hole he's dug for himself. “I better go see what's going on out there. Charles might need my help.” 

“I'm what, Arthur?!” you call, to no avail. He's gone before he can see the proverbial hearts in your eyes.

The saloon in Rhodes is a little nicer than the ones you visited in Valentine, though it's a far cry from the ones you used to frequent in Saint Denis. Still, when Sadie and the other girls decide that it's high time you have a little fun in town, you throw on your best dress and let Karen curl your hair and even apply a little of the makeup you snagged from a homestead up north. For the first time in months, you feel like a proper woman. There isn't time to be melancholy about the past, though, when the boys start whistling and cat-calling upon the sight of you and the other girls.

“Aw, knock it off!” Sadie hollers. She's decided to dress up a little tonight, too, much to everyone's surprise. But she hikes up her skirts to hop into the wagon, calling for the rest of you all to hurry it up. “I've got a bottle of rum with my name on it that's waiting for me to come drink her all down!”

You catch the sunset on the way to town. It's dazzling over the meadows, all golden light and warm, blazing oranges and reds that settle into a brilliant pink by the time your reach the main road into Rhodes. You wish you could see Arthur's eyes, but he's got a handle on the reins next to Charles in the front of the wagon. You've seen him watching the sunset before; he always looks so peaceful those evenings at camp, and you often wonder what he thinks about in those few minutes before the horizon is painted in pastel hues.

Karen starts singing a song that everyone eventually joins, and before you know it, you're pulling up in front of the Rhodes Parlour House. You can already hear the piano and a few voices from outside; the sound of it stirs something in your soul that makes you long for the familiarity of home, but you quickly shove it aside in favor of the company of your new family.

“Madam.” Arthur's voice brings you out of your thoughts and back into the present, where he waits at the back of the wagon with his hand extended to you. You beam at him, and he feels dizzy. And when your soft hand fits into his, he straightens his knees so they don't buckle and betray him.

“Why, thank you, kind sir,” you say, lifting the hem of your skirts to step out onto the dirt road. 

Arthur leans in, dangerously close to your ear. You can smell the whisky and cigarettes on his breath, along with the faint tang of gunpowder and hair pomade. “You sure do look nice in that dress.”

You demure and fan yourself with your hand. “Just how much have you had to drink already tonight?” you giggle.

“Ahh, just a little nip to take the edge off.” 

“Mm-hm. Sure, Arthur. Whatever you say.”

The night starts off relatively calm, as most nights do. You and the other girls find an empty table to sit and pick up on the town gossip, and the men start a hand of poker. It grows loud and crowded sometime around midnight, and it's hard to have a conversation without shouting over the din of voices, the clink of glass bottles, and the slow drag ragtime music from the piano. The ambiance is charming and lighthearted, and there are even a few couples drunkenly dancing on the porch.

You push back in your chair and find that when you stand, you're a little more wobbly than you thought you would be. The alcohol has loosened you more than you realize, and you grip the table for support until you feel a firm arm around your waist. “Whoa there.” 

It's Arthur, who has won the last round of poker and has come to check in on you and the other ladies. You're pulled tight against his chest for one fleeting moment, and you look up into his eyes. He, too, seems drunk, with his eyes gleaming and drooping at the corners, his smile easy and his cheeks flushed. 

“My knight in shining armor,” you slur, pretending to faint in his embrace. He only pulls you tighter against him, both of his broad hands splayed across your back. You laugh, and he smiles.

“You weren't getting another drink, were ya?” he questions with a raise of his brow.

“‘m thirsty,” you whine, lifting your empty glass entirely too close to his face. It knocks against his nose, which sends you into another fit of laughter.

Arthur takes your wrist– gentle but firm– and lowers the glass away. “Think you need to drink something that's not whiskey,” he drawls. You can't help but watch the way his lips form around the words; the slip of his tongue between his teeth, the way his mouth turns up into the hint of a smile when you pout. Before you can think too long and hard about it, you lunge forward and kiss him. Hard and clumsy and impulsive. You don't give him time to react. You're far too involved in the kiss to notice, but the girls at the table behind you have all gone silent. Arthur slides his hand along the side of your face and presses his fingers upon the nape of your neck, kissing you back like he really means it. (He really does.)

You pull back suddenly, breathless and reeling, swiping the back of your hand over your mouth. You're still held firm in his embrace, but the playfulness in his gaze has been replaced with an intensity that makes your knees weak all over again.

“What'd ya do that for?” he asks.

“Could ask you the same thing.”

“Well, you started it.”

“And you finished it.”

“Oh, I ain't finished with you, yet.”

“That a promise or a threat?” Your pulse is thumping wildly in your ears.

“Ya know, they got rooms upstairs for that!” Sadie shouts. There's a ripple of laughter across the table. Arthur's hand on your cheek feels like a brand, his arm about your waist an anchor. The rest of the room comes back to you in a woozy blur, and you look around, a little lovestruck and a whole lot drunk. Arthur's lips at your temple make your eyes flutter shut, and the room fades to black as tIt'weight of you slumps against him. He staggers only slightly, but holds you firm, chuckling softly.

“It's a promise,” he whispers.

You come to some hours later. Your mouth is dry as the desert, your head feels like lead, your skin broken out in a cold, uncomfortable sweat. At some point, it seems you were covered with a downy soft blanket, and the pillow at your head is much more fluffy than the makeshift one you made out of a bedroll at camp. At first, you think you're dreaming. Then, you wonder very briefly if you're back at your childhood home in Saint Denis. You almost call out to your mother when you hear a soft snore from the other side of your bed. 

The room spins when you turn your head, and you rub your eyes until Arthur comes into focus. He's sprawled in an armchair a few feet away. His arms are crossed over his chest while his chin is tucked into his chest. Off to the side, you spy his boots; his big toe pokes through a hole in his sock and you smile at how vulnerable he looks.

“Arthur,” you whisper, shifting slightly as you pull the blanket up around your chin.

He grunts and lifts his head slowly. He frowns a little at first, but when he focuses on you lying there, so close he could reach out and kiss you again like he did last night, there's a slow, easy smile that spreads across his face.

“Hey there, party girl. You feeling alright?”

You could kick yourself for all the giggling you've done around him lately, but you can't help it. He brings out something giddy and downright foolish inside you, so you toss a pillow at him and bury your face in the sheets.

“Aw, come on now. I'm just messin’ with ya.” He leans forward and rubs your head affectionately. “I'd say you were feeling pretty good last night.”

It's in that moment a white-hot jolt of sheer panic shoots down your spine. Quickly, you check to make sure you're still wearing clothes. Aside from your breasts being a little lopsided in the confines of your bodice, you're relieved to find that your dress is still intact and– more importantly– on your body. You dare another peek at Arthur and notice that his shirt is unbuttoned down to the middle of his chest and he's discarded his vest somewhere, but he, too, is fully clothed. Thank the good Lord above. 

You must've said that last part aloud, because Arthur laughs. “Don't worry, nothing happened. Though it weren't for lack of tryin’ on your part,” he says, scratching the back of his neck. “Thought I was gonna have to lock you in here like some feral cat till you settled down.”

Oh. Oh Lord. You try to recall what happened that led you to this room, but all that comes to mind is a lot of loud conversation, some dancing, a spilled drink across Sadie's lap, and Arthur's hand on the side of your cheek. “Oh…”

Now you remember it in vivid detail.

“Didn't know you cared for me like that,” he says. It's earnest and tender, a few shades less intense than the kiss you now recall, the one where it felt like he wanted to eat you alive right there in the middle of the saloon. Now, he thumbs your cheek and looks at you so fondly you swear your heart jumps right up in your throat. “I mean, I'd been hoping. Wasn't sure you was looking for a romance.” He huffs a short sigh, frustrated with himself. “Aw, hell, what am I saying? ‘Course you weren't. You're just looking to survive, just like the rest of us, and here I–”

“Shut up,” you say, taking hold of his hand and tugging him closer. He resists until you pull even harder, watching the fire in your eyes blaze to life. “You talk too much, Yankee.”

“I ain't no damn–”

“Kiss me.”

He's over you in an instant; you're pressed flat against the bed, completely and totally at his mercy. This kiss feels different than the drunken one last night. It's sober and honest, if not a little hesitant, as if he's holding himself back from devouring you wholly. The warmth of his body against yours takes your breath away. Or maybe it's the way his tongue laves heavy into your mouth, unashamed of how badly he craves the taste of you. You grip his hair at the roots and tug him down to kiss him harder, lifting your upper body to meet him until he presses down, his chest flush with yours. 

Things get heated quickly.

His mouth moves across your cheek, down your neck, and he groans against your skin, rutting his cock against your thigh. You fleetingly wish that he had managed to get you out of that dress before he presumably tucked you into bed and passed out in that chair, because there’s a whole lot of fabric between you and him that really pisses you off right now. Arthur must feel much the same, because he’s bunching your skirts up past your knees while you’re fumbling with his belt buckle, desperate to feel him against you, inside you. It’s clumsy and crazed, rushed and rough, but you manage somehow to shuck off every last bit of your clothes and his until you’re breathless and so, so eager beneath him.

“Need you now,” you whine. You feel insane. Dizzy and dehydrated, impossibly turned on, every nerve ending on fire when his callused hands grip the fat of your thighs and open you to him. 

“Greedy little thing, ain’t ya?” One of his hands slips between your legs to find you wet and swollen. He presses the pad of his thumb against your clit and pushes a finger inside you; the sound you make nearly has him finishing there on the sheets, so he wastes no time in getting himself as close to you as humanly possible. 

“Never wanted something so bad,” he murmurs into the dip of your shoulder. He wants all of you– all at once– wants to fuse his hands against your skin and sink himself into you so deep that it would be impossible to tell where he ends and you begin. The heat from his body takes away what little breath you have left, his mouth on each part of your body building the buzz in your chest until you feel like you might just burst open. You grab at each other like it's the first and last time you might have this opportunity, as if you want more than what the other of you is able to give.

Considering the kind of life you’ve both led so far, it’s a good possibility that you might never get to do this again.

“Give it to me,” you plead, opening yourself further to him, fingers wrapped firm around the base of his cock. “Please.”

Arthur Morgan is a man of incredible strength and self restraint, except when it comes to a woman like you.

There’s nothing gentle about the way he takes you. It’s primal, sweaty, filthy, rough. Arthur pushes as far inside you as he can go, then pushes further when you beg for more. He cups your knees with slick palms and presses you open as far as you can bend; you tug roughly at his hair and bite down on his shoulder when the pleasure builds to a blinding ferocity. The wooden bedframe knocks angrily against the wall with each thrust, but you can’t bring yourself to care if anyone hears. You can’t focus on anything beyond the feeling of him filling you with every stroke of his cock, of the taut, corded muscle in his back and shoulders as you grapple to hang on as tight as you can. Your orgasm hits your hard and fast, and he encourages you through it, taking his time to give you long, controlled strokes. It’s as pleasurable for him as it is for you. “‘Atta girl,” he rasps, lips moving against your ear. Your hand flies to your mouth to muffle your cries, but he pulls it away and threads his fingers with yours, pressing it onto the pillow. “I wanna hear it.”

Your moans are what drive him over the edge.

He buries his face against the side of your neck, panting heavily as he comes, driving into you so hard that you can almost feel the mattress beneath you begin to sag under the weight. You cradle his head in your hands and link your legs around his waist, boneless and languid in the aftermath of your own pleasure. When he moves, you move with him, riding out the waves together until you’re both too tired to move another muscle.

Neither of you speak for a while. He lies on his back with an arm around your shoulders while you curl against him, tuned into his heartbeat and swirling little patterns into the hair on his chest. It’s comforting to feel him next to you, to watch his chest rise and fall as he steadies his breathing, to soak up the warmth of his skin against yours. 

You’re the first to break the silence. “Did everyone else go back to camp last night?”

Arthur nods slowly. “Something tells me they planned all this.”

“Planned it? You mean…” You lift your arm slowly and flick your wrist to acknowledge the room you’re laying in. “This?” You lift your chin and grin at him. “Or getting us together?”

“Room was paid for before I even had a chance to ask if they had one,” he explains. “Think it was Mrs. Adler.”

You vaguely recall her shouting something about a room after you kissed Arthur last night, and you shake your head. “You complaining?”

He turns to his side, draping an arm across your hip. “Me? Never.” You’re suddenly pressed beneath him once again; from the looks of it, you won’t be getting out of this bed anytime soon. “Specially when I’ve got you here to help me keep warm.”

[hihomeghere]

Dreams | Arthur Morgan/Reader

Word Count : 1.1k Summary : Arthur starts having dreams of starting a family with you Warnings/tags : Cursing, fluff, mention of infidelity, just Arthur being a sweet guy <3

He knows he shouldn’t feel like this. Shouldn’t be having these thoughts, because all they are just dreams. They’re never going to become a reality. Not when they’re constantly on the move, running from place to place. He sees the way it affects Jack, poor kid, not knowing what the hell is going on. And his daddy doesn’t exactly help him understand. 

He can’t even say he would be a better father, he wasn’t before. 

Hell you two ain’t even married yet, and he’s not that much of a fool. Not anymore. His regret for not marrying Eliza weighs heavily on him most days, even if he didn’t love her in that way. Now you on the other hand, he loves you more than anything. More than this stupid gang, more than life itself. He would happily lay down his life if he knew you would be happy, safe. 

When these thoughts enter his head, he can’t say. His days sort of blend together, making it hard to pinpoint. Although seeing you interact with Jack doesn’t help. 

You are so sweet, so motherly, hell you even mother the younger folks in the gang. Soft touches, kind words, but internally strong. You have all the qualities he finds attractive in a woman. Somehow you fell for him just as hard as he fell for you. 

But he ain’t a fool, he knows this ain’t the right time or place. So instead he writes down all these dreams in his journal, his safe place. The place where he can say anything without being judged. He dreams of little girls, he didn’t know how to interact with Isaac. Too afraid of being his own father. Girls seem less daunting, and a little you would be perfect. He already has one angel, what’s one more?

He comes up with the name while north of Brandywine Drop. The bright purple flowers caught his eye just off the trail.

Violet.

Violet Beatrice Morgan.

His heart sings, scribbling the name down in the margins of his journal. He finds himself writing VM in his journal, smiling foolishly to himself. It’s beautiful, his precious flower. 

It’s not like you meant to snoop. You were looking for Arthur, since he was nowhere to be found. You entered his tent, which in reality wasn’t much of a tent at all, finding his journal open. You walked over to it, looking over the worn page. There were the normal doodles he drew, along with his flowing hand writing. But one thing stood out to you, a pair of initials circled by hearts. VM.

You furrowed your brows, you couldn’t think of anyone you knew with the initials VM. Those definitely weren’t your initials either. 

With your curiosity peaked you flipped through a couple more pages. VM was written everywhere, along with those damn little hearts. 

You felt that little green monster grow inside you the further you looked into his journal. Biting your cheek so hard you could taste blood. It did nothing to quench the fire inside of you. 

“Darlin?” Arthur called walking into the so-called tent. You dropped the journal back onto the table, turning to face him. “There you are.” He grinned walking towards you.

“Here I am.” You said forcing a smile.

“Hosea said you were looking for me.” He said softly, reaching up to tuck a strand of hair behind your ear, "Anything you need?”

“Must have forgot.” You said with a noncommittal shrug, “I ought to get back to work.” You nod walking past him. Arthur furrowed his brow at your attitude. Did he say something to offend you?

Then his eyes fall onto his open journal. His stomach drops at the sight. Jesus, you saw. You saw all of it. You were probably thinking the worst, seeing the initial surrounded by hearts. How was he gonna fix this?

You stomped off to the edge of camp, trying to wrack your brain as to who this VM could be. And why was Arthur drawing hearts beside the initials? Maybe you had this all wrong, Arthur would never do anything to hurt you. He was a good man, a man you could trust. Wasn't he?

“Y/n!” He called trailing behind you, a crestfallen expression on his face. You stopped at the tree lining, biting your lip as you turned to face him. “I can explain.”

“I’m sure you can.” You scoffed, crossing your arms over your chest.

“I-“ He sighed looking down, pinching the bridge of his nose as he let out a low curse. 

“Who is she?” You asked clenching your jaw. He furrowed his brows looking up at you.

“What?” He asked, his hands settling on his hips.

“VM, the girl you keep drawing hearts around. Who is she?” You were blunt, something he loved so much. Always telling it like it is, never leaving him to guess your feelings. A small smile spread on his face, which only made you more mad. “Seriously, you think this is funny?” You hissed, taking a step towards him. Arthur only had one choice, to tell you the truth. 

“Violet.” He said softly, reaching for you. “Violet Morgan.” You let him wrap his hand around your forearm, pulling you close to his chest.

“Who is Violet Morgan?” You asked, swallowing thickly. He sighed, looking off to the side, wetting his lips.

“She’s uh-“ He shook his head, a nervous smile on his lips. “She’s not exactly real, not yet at least.” He said. 

You shook your head, brows knitted together, “Not real? The hell you mean, not real?”

“I-“ He rubbed the back of his neck looking down, “It’s uh- shit.”

“Spit it out Morgan.” You huff throwing your arms up. 

“I thought of a name,” He explained, “A name for a girl if we- if we have one some day.” He said with a shrug, his cheeks flushed, almost as though he had been in a scuffle. 

Oh.

If we have one some day. 

“Oh Arthur.” You said softly, a smile spreading across your face. Feeling suddenly very foolish for doubting your man. “That's so sweet.” You took a step forward, tilting his face up to look at you. 

“Yeah?” He asked, looping his fingers in his gun belt. 

“Yeah.” You repeated, nodding. “Jesus you had me scared you were gonna tell me you found someone else.” You chuckled, shaking your head.

“Never. There ain’t no one else in this goddamn world that could replace you.” He said his hand reached up to cup your face. “You’re uh- you’re it for me darlin.” His bright blue eyes peered into yours, love and affection pouring out in his expression. 

“When we have our girl.” You said brushing away a stray strand of honey brown hair, “Violet will be a perfect name.” He grinned, wrapping a hand around your waist.

“Guess it’s settled then.” He said as he leaned down to press his lips against yours.

[confused-wanderer]

An arc that should’ve been added in Merlin was just how downright terrified Merlin was of him.

Especially with the whole magic thing. He was scared of Arthur. Scared of him as a warrior. Scared that everytime he wielded a sword Merlin thought it was meant for him. Scared that every glare just a little too harsh, every comeback just a little too snippy and suddenly he’d be staring at Arthur from the guillotine.

Arthur was his executioner. Arthur was his grim reaper, waiting for an opening so he could swoop in. But most of all, Merlin was scared of him as a friend. As someone he trusted. Because if he let magic slip around him, even just one flicker that’s the last time he would see Arthur smile at him.

And Arthur notices. He doesn’t know why Merlin flinches a bit too hard when Arthur mock draws his sword in a show of anger, he can’t place his finger on how if he added even a little heat behind those words his friend would stiffen.

Until one day Merlin has to accompany him to face a magic kight who he’s clearly nervous about. And it’s only when Merlin flinches do the pieces slide together for him. That it clicks why Merlin’s face looked so familiar whenever Arthur accidentally overstepped a boundary he never knew existed.

I want to see the look on his face as he stared at his best friend, and realised that he was afraid of him.

And obviously the Angsty arc following Arthur trying to redeem himself and be better towards Merlin without changing their dynamic too much and Merlin is getting more and more tense because with how soft Arthur’s acting it’s like he’s winning Merlin’s trust, and maybe Merlin wants to tell him if the man keeps this up.

[colleendoran]

Neil Gaiman's CHIVALRY: From Illuminated Manuscripts to Comics

One of the many reasons I wanted to adapt Neil Gaiman's Chivalry into graphic novel form was to create a comic as a bridge and commentary re: comics and illuminated manuscripts.

We're often told that the first comic book was Action Comics #1 featuring Superman, a collection of Superman comic strips that morphed into comic books as an art form.

Sequential art predates Action Comics #1.

Action Comics popularized sequential art book storytelling that had already appeared in other forms in fits and starts throughout history. Comic books didn't take off as a popular medium for several reasons, not least of which was the necessary printing process hadn't been invented yet and it's hard to popularize - and commercialize - something most people can never see. 

You find sequential art in cave paintings and in Egyptian hieroglyphics. I've read that comics (manga) were invented by the Japanese in 12th century scrolls.

And sequential art appears over and over again in Western art going back well over 1000 years, and in book form at least 1100 years ago.

The most obvious example of early sequential art in Western art - as a complete narrative in sequence - is the Bayeux Tapestry. 

At 230 feet long, this embroidered length of cloth was likely commissioned around the year 1070 by Bishop Odo, brother of William the Conqueror. It depicts the Battle of Hastings in 1066 and the invasion of England by the Normans. (The tapestry was made in England, not in France, but it is called the Bayeux tapestry because that's where it is now.)

Imagine what a task it was to embroider this thing. Whew. And you thought it was hard learning Photoshop.

This work of art is important in the history of sequential narrative, but the Norman invasion is also important to the legend of King Arthur - and another important English legend - for reasons we'll get into later. 

It's complicated.

All this is why you see this art in the background of this page of Chivalry.

Using the Romanesque art style of the tapestry in panel 1, I've added the Latin phrase "Rex Quondom, Rexque Futurus" - "The Once and Future King", the final words of Sir Thomas Malory's Le Morte d'Arthur as inscribed on King Arthur's tomb, and the title of T.H. White's famous Arthurian novel.  (EDIT) and it has been kindly pointed out to me that QUONDOM should be QUONDAM, which is hilarious and annoying and this is how history gets rewritten by accident.

My original intention was to draw this Bayeux Tapestry scene out and juxtapose it with shots of Galaad interacting with the children, but the two page sequence I imagined didn't really work as well in reality as it did in my head. 

Foremost among my concerns was that the tapestry reference might be too obscure for most readers. I wanted to weave the visual meta-text of Chivalry into the story (For further reading on this project and my use of visual meta-text, symbolism, and history in Neil Gaiman's Chivalry, go HERE. And HERE. And HERE. And Yet again HERE.) in such a way as it would enhance the experience for people who "got" the visual meaning, while not dragging things down for people who didn't. So I cut this scene down to one panel.

The tapestry is a complete, long form comic strip created over 1100 years before some people claim comics were invented. So, I loved being able to reference it here.

But even more interesting to me are the sequential art sequences that appear in illuminated manuscripts - comics in book form.

I once got into a rather vicious argument with an academic who insisted illuminated manuscripts were comics. I said no. She said yes. Then she insulted the lowly comic artist and blocked me on Facebook.

Whatever.

My point was not that you can't find sequential art in illuminated manuscripts. My point is that an illustrated book isn't de facto a comic. Most illuminated manuscripts are illustrated books. Some illuminated manuscripts contain sequential art.

Just because opera is music, that doesn't mean all music is opera.

Just because comics books are books that doesn't mean all books are comic books.

And just because some illuminated manuscripts contain sequential art, that doesn't mean all illuminated manuscripts are sequential art.

But one is.

Let me show you it.

One of the earliest examples of an illuminated manuscript with comic art is The Bible d'Etienne Harding which you can see in this really bad jpg here, sorry, best I could find.

Created around the year 1109, property of a French Cistercian monk, it combines sequences like this with pages of text and illustration.

Not a comic book IMHO, but an illuminated manuscript with sequences of text, illustration and sequential narrative.

It's no more a "comic book" than a newspaper is for having text, illustration, and comic strips in it.

IMHO, academic lady.

And here's a look at the Old English Hexateuch (hexateuch refers to the first 6 books of the Bible) which I think is far more visually complex and interesting work, and comes much closer to the illuminated manuscript as comic, but still intersperses large sequences of text and illustration with sequential storytelling sequences. So I don't consider it a comic, but a book with sequential work in it.

Now this work below is a different matter. This is from the Holkham Bible Picture Book, circa about 1330.

This thing is genius. It measures a little larger than a modern comic, around 8"x11", and almost every page of it is like this spread here. 231 pages of beautifully rendered art, with repeated use of banderoles - "speech scrolls"  (basically word balloons) -  and captions, and (mostly) real sequential art. I've never seen anything else that comes even close to it, and by all accounts, neither has anyone else. 

It may not be a modern comic book - but it's a comic book as far as I can tell. I don't think there's any other illuminated manuscript that is as complete, sophisticated, and innovative a sequential storytelling work.

If this were printed and seen by more people, the comic book medium would have taken off centuries earlier, IMHO. But it wasn't. It was tucked away in a monastery somewhere and few people ever saw it. It ended up being forgotten for centuries until it popped up again around 1816 when a banker sold it to an avid book collector, Thomas Coke, Earl of Leicester, who inherited Holkham Hall and its library and set about restoring and expanding it. 

The banker wrote, “a very curious MS. just brought here from the Continent. . . which I think one of the greatest curiosities I ever saw”.

Sequential art got invented over and over and over by one artist after another until one day centuries later, some teenaged boys found their newspaper strips gathered together in a cheap format, and suddenly comic books were popular and like new.

And then a lot of people who didn't seem to realize that books had had pictures in them for centuries got all up in arms about the harms of books with pictures in them.

I think it's funny that it is called the Holkham Bible Picture Book. There really was no "comic" art language when this work was created or when academics began to catalogue this sort of thing. Will they change the name now?

Who can say.

Anyway, another Holkham Bible Picture Book reference for you.

Look familiar?

I referenced it in this scene in Chivalry.

One of the fun things about the Holkham is that it opens with a discussion between a friar who has commissioned the work and the artist. The friar admonishes the artist to do a good job on the project because it will be shown to important people. And the artist responds, "Indeed, I certainly will and, if God lets me live, never will you see another such book."

He wasn't kidding.

You can see the entire manuscript HERE. 

Sponsored by my Patreon. Thank you.

[omgwhatchloe]

some lil headcanons because im bored🐺

-if arthur or someone else brings back bad meat, sean gets toothache while eating the stew. he doesnt make it obvious on purpose, but the way his eyes brim with frustrated tears as he holds his cheek and throws his stew to the side makes it quite hard to hide.

-lenny has absolutely no awareness for other people when it comes to stretching. more than once he has stretched and accidentally half-punched someone in the face. he stretched his arms out near sean and the silly irishman thought he was putting his arm around him and fully leant in. lenny did not correct him.

-dutch is the only one in camp who likes those records. for everyone else theyre an absolute mood ruiner and they cannot be happy until theyre turned off. he, similarly, absolutely cannot stand sean’s jawharp.

-sean lost his front tooth as a kid, completely his fault. he got told multiple times to calm down by his da and stop running around, but sean being sean he didnt, ran straight headfirst into their table and knocked his tooth out. scream-cried, would not calm down, was yelled at but also held.

-if mary-beth doesnt like the ending of a book, she will just write her own ending. maybe add her own characters. she is yet to realise this is, in fact, fanfiction.

-molly comes up with the most stupid insults during a fight. once called dutch a soggy milk bottle. why? she doesnt know. no one knows.

-1907 jack could talk mega shit about anyone if someone let him.

-1899 jack loves insects. he loves to bring worms for bait for pearson, or snails to stick on john. sometimes he brings arthur butterflies to draw. he brought dutch, who was in a tent, a slug once and was confused on why he freaked out and demanded he “get it off the rug right now”

-hosea snores like crazy. makes bill and lenny (who have their bedrolls next to him) want to tear their own eardrums out. while the other members hate it, it doesnt stop them sitting upright immediately and panicking slightly when they hear him pause for too long

-lenny would love board games, but, inspired by another post i saw, would get extremely bossy and frustrated when people wouldn’t play right. takes it extremely seriously and is a sore loser to add onto it. cannot stand people who dont play right. playing half-heartedly? fuck off. your out. go away. go. quit halfway through due to the fact hes made it boring? get the hell out of his sight. he will NEVER forget this. cheating? fetch the guillotine. your beheaded.

-tilly is so blunt in showing shes not interested when someone flirts with her, and she knows it. she will literally stare them dead in the eyes and go “ew”, maybe with a facial expression to match.

-kieran used to have a lisp.

[sky-chau]

Eyepatch Representation

Hi, as of the time of this post I am 30 degrees crosseyed and I've been wearing an eyepatch for six months or so. In that time I realized just how much representation matters, as unlike being gay or neurodivergent no amount of headcanons can really do eyepatch representation. It never dawned on me how often characters are crosseyed as a shorthand for being stupid. When my animal crossing character wears the "post op eyepatch" sometimes one of the villagers will say "Woah, you scared me there, I know it's just pretend but the thought of you getting hurt like that worries me!" Or something along the lines of. I don't know how to take screenshots on 3DS. And like, that's really demoralizing. The only representation I got reliably was in pirate media. And with Pirate media it's frequently the butt of a joke. Which the longer I think about it the more sad it gets. Like I feel the need to emphasize the fact that despite being an adult I'm getting this surgery in the pediatric ward. This is so common in children that when someone is crosseyed and the general surgeons don't feel comfortable the defacto experts are the pediatric eye surgeons. It's REALLY common for kids to be crosseyed and wear an eyepatch. And I'd also like to point out that eyepatches are typically accompanied by or attached to a pair of glasses. Which is where there's the largest void in representation. I can't make myself in the sims without using the pirate costume which cannot be worn with glasses. And it's just sad because unlike other forms of disability representation this would be a simple matter of adding a new accessory. (Which is not to say that wheelchair users and amputees don't deserve rep in video games like the sims, only that I understand from a developer standpoint why those features are hard to include retroactively.) I've never seen anything where the person with the eyepatch had an eye under it. Kids media could do with this. Heck, I can totally see a show like Arthur making a special episode out of it where Arthur has to wear an eyepatch for a week under his glasses. I forgot what point I was making with the drawing but here it is.

So I guess TLDR, if you're writing, especially for younger audiences, consider giving a main character an eyepatch + glasses.

[heavencanbeaprisontoo]

The Other Shelby Girl

Platonic!Shelby Siblings x reader

Headcanon/Imagine for a second Shelby Sister. Explores dynamics with each sibling based on of the reader were their older or younger sibling.

Warnings: Fluff, angst, mentions of war, violence, period-typical sexism, over-protective sibling drama.

Arthur

Older Sister:

You are the third most respected woman in Arthur’s life, which is greater than it sounds. First was Mum, then Polly. To be succeeded only by Polly in Arthur Shelby’s eyes is precious. He’s always looked up to you, but didn’t always show it. After the war, Arthur would come to rely on you heavily for emotional support. There were nights he would come to your home and no be able to speak. Where he would seem to turn back into a little boy, crying into your shoulder as he begs you not to speak of this to the others. When Arthur met Linda, you were one of the few to be supportive. You are Arthur’s greatest advocate, but his pride and Tommy’s influence make it hard to help him. When you have a family of your own, it’ll only make things harder. You often feel like you have to take sides. Still, you do what you think is best.

Younger Sister:

Depending on just how young you are, Arthur might try to put on like he’s your Dad. Arthur doesn’t always know how to talk to you. You’re just a young woman, he doesn’t feel like he can talk to you the way he does with John or Tommy. He wants to tease you and pick on you as he would with Finn, but he can’t. The moment you hit out your bottom lip and look like your feelings got hurt, Arthur is a flustered mess of a guilty brother. You might resist his attempts at being fatherly, or welcome them. Regardless, you can see that Arthur just wants you to know he’s a safe space for you. Maybe if you ask him nice enough, he’ll teach you how to draw horses like he used to. No matter how old you get, Arthur is the brother that still sees you as a little girl.

Thomas

Older Sister:

Before the war, Tommy only saw you as someone who nagged at him. The meddling older sister warning him away from throwing curses at people and fighting with the cops. After the war, you became something far more delicate than that. You became something like his conscience. That pleading voice that begged for peace and forgiveness that grows fainter every year. As adults, you swear sometimes he hates you. The way he disregards you and keeps you at arm’s length. In actuality, he’s only trying to avoid the shame your hopeful gaze gives him. It was you who tried to get the brothers to hide from the draft. It was you who told him getting involved in London affairs would be dangerous. You who told him not to accept anything from the Russians. You were always right. Always good. He also feels he must protect you because you know him when he was soft and weak. Aside from Polly, you’re the last person who ever heard him laugh.

Younger Sister:

He lumps you in with Ada without really meaning to. You and Ada are both younger, and are both girls. As such, you both have similar problems that have his head aching and his trigger finger itching. Two pretty girls tend to attract a lot of scummy men. You’re both so stubborn about not needing anything from him, which is bloody absurd. Of course you need his help. Whatever money you’re making doing legitimate work isn’t going to be enough to keep you safe. You have never gone on a single date without someone Peaky Blinder watching you. Arthur tries to give advice like he’s your dad, and Tommy drops rules on you like he’s your dad. He has absolutely said the phrase, “And where are you going dressed like that?” Tommy will kill your ex-boyfriends if asked, he already knows why you want them dead and he agrees. The only thing he likes more than you accepting his help is hearing you admit he was right.

John

Older Sister:

He is the little brother who reads your diary and eats your food after being told not to. As a kid, John was Hell on legs. As an adult, John is still Hell on legs but with children. Growing up, you spent a lot of time picking John up from police stations and headmaster offices. John stresses you out like he’s being bloody paid for it. But, he loves you dearly and you forgive him more often than you should. John has called you “Mum,” as a joke many times but it’s not quite a lie. As an adult, he is far more respectful towards you. He is one to bow his head when you lecture him about fatherhood and how his drinking is going to harm his children. John respects you enough to take his cap off when he enters your home. However, he’ll still gobble down any treats you’ve left out in the kitchen and have the audacity to say, “What?!” When you shout at him for it.

Younger Sister:

John will not only read your diary and eat your snacks, but he will loudly announce your crush the moment he finds out. Any reluctance Arthur has about picking on you is nonexistent in John. He is a fully grown man who is unafraid to tease you with schoolyard chants in public spaces. Has walked into your room while you were reading just to slap something off of your desk and run. John has spent so long as the younger brother, he has to get his kicks where he can. That said, nobody better say anything rude to you. Ever. One time, a mate of his simply repeated a mean name he had called you and John slugged him for it. Nobody is allowed to annoy you but him. John is obnoxious in an almost biblical sense, but he is the one to see you cry and ask: “Who did that to you.”

Ada

Older Sister:

Yet another sibling to boss her around. Excellent! Ada is one who would resist you trying to take care of her. She doesn’t want to hear your advice! She doesn’t need it! Until her first heartbreak and then she’s sobbing on your bed waiting for you to come home. Ada hates to feel dependent on others, but she does trust you. There’s something special about having a sister. You understand each other in a way your brothers never will. The fear that builds as a man walks a few yards behind you out in the streets at night. How every romance has that bitter taste as you think about all that you’ll lose if you were to get married. Ada gets her best advice from you, but you’re also her security. You were probably the one to start taking her to the movie theater. It’s likely that Ada imitates you subconsciously. When you got your hair bobbed, so did Ada. When you started wearing heels, so did Ada. She denies it, but it’s obvious that she follows your lead.

Younger Sister:

Might be a sad thing to say, but Ada didn’t think much of you until she had Karl. You were just this clinging little sister that everyone thought she was supposed to take care of. All you did was follow her about town and put your nose where it didn’t belong. Tommy probably found out about her and Freddie through you. You don’t mean to be annoying, you’re just lonely. Ada couldn’t see that until she had a child and a home away from Small Heath. The dynamic flips hard when Ada comes back to Small Heath. Ada is all about leading you in “the right direction,” and is very serious about your education. She essentially begs Tommy to set aside money for you to go to university when you express interest. You want to be in with the Peaky Blinders, though. Oh, God. You’re in your rebellious phase and Ada wants to shake you till you forget all about jazz and pretty boys with guns. You both adore each other, but you butt heads over where your life is going and who should have a say in what direction it goes.

Finn

Older Sister:

Between you, Polly and Ada, he’s almost got a mother. As a young boy, Finn has actually called for you as his mother by accident. It makes sense. You were often left in charge of him. To Finn, you are all that he knows. It’s often left to you to make sure he goes to school and stays out of trouble. You’ve spent many afternoons arguing with his teachers to give him a second chance. Finn needs that, someone to stick up for him. That doesn’t mean he always likes it though. Finn wants to be a gangster, like his older brothers. You want him to do literally anything but that. When Tommy, Arthur, and John, pick on him too much you are the one to back Finn up. He used to like it… until he was roughly twelve. What used to be you coming to his rescue has become you inadvertently humiliating him. You try to back off, but Finn makes poor choices for himself which require you to come save him. Therefore, the cycle continues.

Younger Sister:

You are the only one beneath him in the Shelby Family Pecking Order, and he lives for it. When Finn has a bad day, he takes it out on you. Why not? It isn’t like he had anyone else he can push around and be the boss of. So, he’ll cut your dolls’ hair, call you names, and make fun of the things you like. But only if there’s other boys who can see him do it. When he goes too far and you cry, he has to answer to all of your siblings and Polly. Finn picks on you to soothe his own ego. When it’s just you and Finn, he’s very quiet. You two can spend hours not talking but be perfectly happy. Finn likes to turn on the radio and just sit, listening to music or the results of a boxing match. Sometimes, he vents to you about how Tommy wouldn’t let him do this or do that. You always listen to him. Finn usually takes these quiet times to apologize for past pranks or insults. You always forgive him. It’s odd to you how your accepting of his apology seldom puts him in a better mood. Truth is, he’s very jealous of you.