#;Dossier

[angels444yuri]

i'm kind of like if a girl was an empty train at night

[sharkthinker]

this is sending me bc imagine being the bishop in charge of monitoring social media and you have to go report to the chronically offline Lawrence that ppl on twitter are saying they want to get the new Holy Father pregnant

[tylidae]

A I L U R A N T H R O P Y 1 0 1

[callester]

An alternative view on the interactions between the Desmonds in Mission 106.

Right after Damian's first attempt of starting a conversation with Donovan at the beginning of the chapter, Demetrius can be seen consuming his dinner in a rather continuous flow to the point where his speed eventually led to finishing most of his dishes first as compared to his family members.

While Demetrius can be seen as nonchalant towards the rare family dinner to the point of aiming to conclude it as soon as possible, his course of action had eventually gave way to a sliver of alone time between Donovan and Damian, right after Melinda similarly taking the cue to leave the table, in which had enabled Donovan to directly address Damian, despite only through short comments that thus strucked a sense of deep satisfaction in the latter.

Another instance taken from the past (Mission 37) would be the brief phone conversation between Demetrius and Damian, where upon the latter's request of meeting up with their father after the Imperial Scholars mixer, Demetrius had spoken up the possibility of Donovan not making it due to his busy nature in avoiding Damian from getting his hopes too high up. And despite the rather formal-like exchange between the two, Demetrius still left a space for Damian in case he needed to ask anything more before hanging up.

Note: Viewing things from the outer perspective of a situation would always grant the viewer with the ability of making effortless judgements, where most would be able to tell if one is better or worse than the other in an almost mirroring scenario, unconsciously leading them to assume which of the two is the "more correct" version and thus, adapting and expecting the said ideal to be a part of the majority's norm or standards.

Despite such ideal assumption, the reality has never strayed from its subjectivity, for not all matters could be addressed and solved simply through spoken words, with an instance being Demetrius' subtle actions showcased in this chapter. Hence, to attempt to fit everyone into the frame of a perceived perfect norm is a lost cause to begin with.

[weirdlookindog]

Enric Torres-Prat (b. 1940) - Original cover art for 'Eerie' #37, 1972 and 'Dossier Negro' #33, 1972

source

[1ntercosmos]

POUTY GOJO...

a/n: pouty gojo world domination

content: gn!reader

wc: 315

he gets so pouty it's insane. it's almost as if it's his default facial expression. he doesn't get his way? his lips immediately poke out. he wants to be near you but you're busy? he's whining and pouting.

this was something he did all the way into his adolescence. he eventually grew out of it, but i guess old habits never fully go away.

you and gojo were playing a video game together. the mood in the room was competitive. there was an equal chance that either he or you could win or lose. at least two hours had passed since this round started, both of you eager to come out on top. the man next to you was almost too concentrated. he was so fixated on the scores on the top of the screen and finding a new weapon, that he didn't even see you ambush and finish him off. 'you won!' text displayed on your side of the screen. gojo's jaw dropped.

"yes!! finally!" you celebrated

"wha-!? where did you even come from!?" he questioned, beyond confused.

you chuckled, hugging your knees, "i was literally behind you for, like 5 minutes. i thought you were pretending not to see me."

a small whine snapped you out of your celebrations. you looked over at gojo and his arms were crossed over his body. he had slid down the side of the bed with his eyebrows furrowed and a pretty pout adorning his face.

that just made you laugh even more. "aww, is someone bummed out that he lost?"

"whatever." such a baby.

you threw your arms around his shoulders, "don't worry, 'toru. i'm sure you'll win this time."

you pick up his controller and push it back into his hands. you squished his cheeks together and glared at him, "give me everything you got." you smirked.

gojo's mood lifted immediately, "oh, you're so on."

[vintagerpg]

Dracula Dossier is a campaign for the Gumshoe-powered RPG Night’s Black Agents, and I can confidently say it’s one of the biggest, most ambitious RPG campaigns ever conceived.

This is the Director’s Handbook (2015), which sits at the center of a shelf of books that make up the campaign. In addition to the rulebook, there’s a modified version of Bram Stoker’s novel, an agent field guide and a book of supplemental scenarios. The conceit here is that the events of the novel are real, sort of. It’s a cover story written to obscure the true events, which were part of a larger intelligence operation against Dracula and his network. Dracula didn’t stay dead and has popped up a couple times since. The modified novel was in the possession of agents who opposed the Count each of these times, and contains annotations in many hands collecting new information and theories.

Here’s the brilliant part. The campaign starts by giving the players the annotated book. The structure of the game builds off their default knowledge of Dracula in all his pop cultural forms. As they chase down the leads in the annotations, they determine the truth of the campaign’s core conspiracy and all of Dracula’s secrets. The GM reacts to their sleuthing, improvising the results based on the dizzying resources in the Director’s Handbook. From there, the campaign is as big or as small as everyone at the table wants it to be.

It’s one of the most interesting RPG books I’ve ever read. It exists as a sort of codex of parallel universes, codifying just about every possible option players might choose, and takes them to their logical conclusions. Some of the early chapter titles give a sense of the overall construction: “Do Vampires Work the Way Van Helsing Thought They Did?” and “Is Jack the Ripper Involved Somehow?” Those two alone open up mind-boggling possible paths, and there are still 200+ pages to go. It’s a beauty, but I’d want to play it rather than run it, for sure.

[caduceus-tealeaf]

They noted this on her chart: 8:38 A.M. After which, according to their records, Annie lapsed back into her impenetrable isolation and did not utter another word. The doctor on call noted this on her chart:

“May have been responding to auditory hallucination.”

[foxholebuttfinder]

[barkingbonzo]

SEBASTIA BOADA

Dossier Negro no. 103, cover art

Sebastià Boada was a painter, draftsman, and sculptor born in Barcelona, in the Gracia neighborhood, in 1935. From a very young age, he showed great ability for drawing and painting. At the age of 14, he began his studies at the prestigious Escola de les Arts i Oficis Artístics de Barcelona, La Llotja. He also studied for a degree at the Escuela Superior de Bellas Artes de San Jorge de Barcelona and at the École des Beaux-Arts in Geneva (Switzerland) for a year.

His work as a comic book artist began at Editorial Bruguera in 1954, with illustrations for Pulgarcito, Can Can, and other magazines of the group, approximately until 1961. He then began to work for foreign markets through the same Bruguera and A.L.I. agency, and from there, he moved to Bardon Art with Jorge Macabich and Josep Dalmau, where he made about 50 romantic notebooks of 64 pages for Scotland and England for DC Thomson and Fleetway publishers.

Between 1971 and 1972, he made his first color covers for romances for the Netherlands, published by Editorial Kerk. He also worked in Selecciones Ilustradas by Josep Toutain, making all kinds of themes: terror, gothic, western, and detectives, among others. He also received commissions for the German publisher Bastei and for Bardon Art, with comic books and illustrations of El Santo and covers of Buffalo Bill.

He also worked for Editorial Molino. In 1979, he joined Norma Editorial with the same themes as Bastei, i.e., western, western-sexy, kung-fu, dinosaurs, detectives, and adventures. In addition, he made numerous covers for the Norwegian publisher Bladkompaniet through Norma. Other works include the notebook Fatal Beauty, which was edited by Sal Quartuccio & Bob Keenan Publishers of SQP Inc. with sketches and previously published covers. In the late nineties, his art could be seen in Coven, a title designed to collect a collection of women's illustrations focused on the theme of the witch as a sexual icon.

During the seventies, he also worked for the US market as a cover artist in different editorials. He made painted-style covers in series such as Unknown Worlds of Science Fiction for Marvel, as well as Psycho and Nightmare from Skywald Publications, under the pseudonym of Puigdomenech.

In the 1980s, he made a series of pencil drawings for the Barbie character, although there is no information about their publication, and perhaps they were inked by another author. Until 2010, he was known to be active as a painter, sculptor, and cover artist for Bastei of Germany, after more than 30 years and at the age of 75.

[oltammefru]

Since Babel is nearly upon us, I will mention an interesting (non-spoiler) little tidbit that gets mentioned in the lorebook (which was released before Babel) that global players probably don't know about:

It is mentioned that PRTS (which was active at that time) surprisingly did not issue any warning about Theresa's assassination.

[angels444yuri]

my dream is to eat an entire cake by myself. with a spoon 🥄

[cirqueclownz]

happy 18th birthday to Live in Denver by Panic! at The Disco 22/07/2006

[orangepeelshortbreadcookies]

I'll accept the small win that John Glaser having learned his lesson (for now) and gave Sophie real, proper gloves. Penelope's soggy dust paper wrist laceration bandages remain my sleep paralysis demons.

[callester]

An addition to @ascalide's take on Twilight's Glimpse of a Forgone Possibility in Mission 108.

There were a few instances of Twilight being reminded of his past, despite only displayed vaguely through a nostalgic gaze.

• Mission 3

The first was showcased when Twilight spotted a group of kids hanging out together from the rooftop park.

• Mission 38

The next appeared after the first intersect with Donovan Desmond, where Twilight had expressed a similar gaze towards Damian, Emile, and Ewen from a nearby academic building.

• Mission 108

Unlike the former two instances, a view from Twilight's flashback was shown in a fleeting comparison to his current view.

The differences that came with these occurrences were based on Twilight's viewing perspective.

• Third person perspective

The scenes from Mission 3 and Mission 38 were respectively viewed from the elevated ground of the building Twilight was in. The distance stretch between him and the subjects, as well as the lack of contact with them had provided him with the role of an observer.

• First person perspective

The scene from Mission 108, on the other hand, were viewed from a same-levelled ground and due to the presence of an interaction between himself and the observed subjects, Twilight was directly included into the scene. This had all contributed to bearing a starking resemblance to a memory featuring his childhood friends in a similar festive setting.

The glimpses of Damian, Emile, and Ewen far ahead of their respective guardians may also be viewed metaphorically as the past and the present of three individuals. Thus, the scene altogether had allowed Twilight to foresee an impossible future IF his friends had lived, as highlighted in the colourisation.

Note: Interpretations shall only be done once the bigger picture forms itself, for accepting assumptions made halfway would cause deception on oneself through their own thoughts.

[weirdlookindog]

Josep Maria Miralles (b. 1937) - Original cover painting for 'Dossier Negro' #117, 1979