#emile leon

[sneakersculture]

La nouvelle montre G-shock MRG-B5000 : la rencontre du haut de gamme et du design

En ce début d’année, très importante pour G-Shock, puisqu’il s’agit d’une année anniversaire pour la marque, nous découvrons donc une nouvelle montre G-Shock, la MRG-B5000, qui s’inspire de l’histoire de la marque, en reprenant des éléments du premier modèle qui avait été créé à l’époque. Une montre confortable et résistante G-shock a donc tout récemment révélé la nouvelle MRG-B5000R, une…

[zebreacadabra]

"Have One On Me" comparison :

-Ida Rubinstein and The Russian Ballet-

As Joanna said in an interview, a model in a some parisian art studio around 1920 in Paris (France) is one of the inspirations for the HOOM cover photo. Here we have the model, the painting and even photographs. The oriantal "odalisque" like pose is in there and a strong chinese screen that reminds me of course the one on the "Have One On Me" picture. We have less elements in here for making a comparison, but strong elements, as the same posing and background. So, maybe an other reference sources, maybe . . . Ida Rubinstein was a famous dancer, known for her work with the no less famous russian dance compagny : "Les Ballets Russes". Quite a sensation in Paris in the 1910's. An explosion of colors and energy with a lot of of exotic oriantalism coming from the east. Here she is depicted as her caracter Zobeide from the Sheherazade ballet, costume designed by Leon Bakst. The paintings was made by Jacques Emile Blanche. Also depicted, with the same chinese screen background her fellow dancer Vaslav Nijinski.

[leonsliga]

bestie I have a present for you. leon in pink

https://vm.tiktok.com/ZGefbx2gb/

Definitive proof that he’s way too pretty in pink for the opposition to handle:

[14dayswithyou]

hi. /homosexually 🥺❤️ i couldnt pick one so just do your favourite !! ♡♡ also lowkey half of these are angst fuel LMFAO?

for Leon.

"feelings change, but mine about you wont" / "i am so exhausted, but i'd sleep so much better with your arms around me"

for Jae

"I'm always going to support you. without even a second thought, I'll be there when you need me. I want what's best for you." / "let's sleep together under the stars."

for You <3

"hey, guess what? i love you" ♡♡♡♡

Soft spot prompts | No longer accepting !!

Omgggg Puppy hiiiii >:3 <- with homosexual rizz <3 I did them all because you are my favourite + I love being Silly teehee

Under a "read more" because it got long!!

001.

"Just like old times, yeah?"

It was probably illegal to camp out in the woods near the lake you used to frequent as kids, but Leon was adamant on holding onto your childhood tradition ever since he returned from overseas. The Davis family always enjoyed camping with you — even as kids — but the fact that Leon had you all to himself this time made the moment even better.

This time, his dad wasn't around to ask if you wanted to go fishing. This time, his mum wasn't popping in every 10 minutes to see if you wanted any snacks. It was just you and Leon; with your limbs tangled together inside of a swag that felt far too big for just two people.

A beat passes as you both stare at each other, before the soft pitter patter of rain bounces off the the tent roof and breaks the silence. And just like how the sky opened up, Leon finds himself wanting to speak what's on his mind as well.

"My feelings for you never changed either. Even when I was back in Australia, all I ever thought about was you." He shuffles closer, "But we're reunited again, aren't we? This time, I'm not going anywhere. I belong by your side."

Your matching bracelets intertwine once Leon reaches out for your hand — much like your feelings for each other.

002.

"Haha! That one kinda looks like Teo and his pointy nose!"

It was certainly uncomfortable laying in the back of Jae's beat-up truck, but his company made it all worth it. He'd thrown in a couple of pillows and a wooly blanket over the both of you earlier, but it was only now that you started to feel the biting sting of Colrand Bay's Autumn breeze.

But the stars were pretty and the cityscape view made it all better.

"Y'know, we are sooo going to get kidnapped later..." Jae cracks a joke from beside you, "But I'll have you to support me, right? I'll offer our kidnapper my left kidney and you'll offer to pay ransom?"

Support. That's all he's ever wanted from his friends. Someone who'd be there to love and accept him for all that he was — flaws and all. Jae didn't know if he truly felt like himself yet, but he was grateful to have you by his side for every step of the way. And he was determined to do the same for you.

"Thank you, Nate. I mean it."

003.

"Omgggg wait, really? That's sooooo crazy!!"

Deciding that your words were truthful, Saint puts the unused bone saw away and unchains your arms from the table. You finally get a moment to stretch out your tired limbs, as she casually skips her way to the mod cell door to unlock it and let the light in.

The rest of the mods are waiting for you upstairs, obviously used to seeing this kind of behaviour already.

"It only took like, two days for the Stockholm syndrome to kick in! That cute doctor said it'd take at least five..." You can hear her ponder from the staircase, "But aaaa it doesn't matter!! I love you too!! ^^ Wanna go to the beach to celebrate? Maybe Jae and Leon will be there!!"

Firstly, how the fuck did they say "^^" out loud... And secondly, why is Emile in her basement as well.......

[bulgariansumo]

Somewhere else in Aldaria...

It's nearly impossible for me to get into something without trying to shove my OCs into it, and Fields of Mistria is no different.

Bios Below!

Roxie - Town Doctor who is (not-so-) secretly a sorceress, taking after her late mother. She originally set up shop to study the magic around the area, but grew to realize the town needed her medical help.

Mia - Travelling merchant. Few other people come to [town name], so there's no competition. Though she tries to stay distant, she doesn't realize she's already been adopted as one of the townsfolk.

Lorenzo - Lord heir and leader of the town while his father serves at the capital. Just as much of a workaholic and organization-minded as Adelaide from Mistria, but not as friendly. Awkward with people in general. Kinda paranoid?

Emil - Backup heir. He's pretty sure he won't be needed, as much as his brother worries otherwise. Chooses to help out at the inn, though most people suspect it's an excuse to chat. Though he seems like a bit of a slacker, he deeply cares about the town and the people in it, and acts as a conduit between the town and Lorenzo.

Leon - Reliable, cheery, and slightly absentminded farmhand. Who actually owns the farm? I don't know! He's sure they'll be back soon. At least he gets to sample some of the fresh cheese, and he has a way with the animals. Used to be a navigator on a ship, but it turns out he's terrible with directions and just wanted to look at the stars. (I had a really hard time figuring out what his job is.)

Jun - Fisher who does a little carpentry on the side. Might've served in the royal army at one point, but they'd rather not bring that up. Easygoing and always ready to lend an ear.

Aiden - Rogue turned blacksmith. Does not want to be bothered and would much prefer to watch the town's shenanigans from a safe distance.

Angelo - An anxious runaway convinced that he needs to prove his worth. Thankfully, he also happens to be Leon's little brother, and once found out, he's given a place to stay. He's basically a stray teen who does odd jobs around town. Anything to keep him out of the mines.

[judesbelligoal]

Leon Bailey, Reiss Nelson and Emile Smith Rowe partying it up in Jamaica last night

[snifekinner]

more office au im so invested

Name: Gabriel Louis Claude Hoffmann

Age: 24

Pronouns: he/they

Job: Finance Assistant

Height: 5'9

How do they take their coffee: double shot mocha frappe, one pump hazelnut, one pump caramel - although he's always interested in the seasonal specials

i love gabe so much okay this is my specialest little boy and if you don't all clap for him i'll blow this fucking building up

he's! so! smart! but unfortunately they're also lazy so they put their brains to the best use: figuring out how to succeed the most with the least hard work. his role at hetatech hub is only the first step on a ladder to WORLD DOMINATION or at least making a killing on the property market

on first meeting he comes off as a lil spacey and kind of a bimbo, which he is, but underneath that is a cold, calculating financier. and under that is another bimbo. idk you will never really know what the true gabriel is and they like it that way.

loves arranging after work parties and lunch trips but he's kind of cliquey and only invites the people he thinks are cool. very good friends with emil, leon and brigitte, they go to get coffee together and bitch about their colleagues.

most flamboyant dresser on staff by a mile, they love wearing silly little hairclips and ridiculous shirts. once backfired incredibly when gabriel came to work wearing a yellow polka dotted shirt they got at a second hand shop, only to find arthur wearing the same shirt he bought first hand.

he's so silly i love him

[dweemeister]

The Robe (1953)

Henry Koster’s The Robe, distributed by 20th Century Fox, appeared near the beginning of an era where religious epics and sword-and-sandal films became massive box office draws worldwide. Cecil B. DeMille’s Samson and Delilah (1949) and Mervyn LeRoy’s Quo Vadis (1951) had already laid the foundation on which Koster’s film, adapting Lloyd C. Douglas’ novel of the same name, would find its success. Despite The Robe being highly influential in Hollywood and becoming the highest-grossing film of 1953, the likes of DeMille’s The Ten Commandments (1956) and William Wyler’s Ben-Hur (1959) overtook it artistically and financially – no shame there, as those are two far superior films.

So what is The Robe’s claim to movie history beyond its initial theatrical earnings? When The Robe first came to theaters, 20th Century Fox advertised it as the first film ever made in CinemaScope. Created by Fox’s president, Spyros P. Skouras, CinemaScope was a format in which a widescreen camera lens contracted its widescreen shots onto regular 35mm film and, during theatrical projection, another lens would de-contract the image from the 35mm film in order to project a widescreen format. Theaters would only need to make minor, inexpensive modifications to their projectors in order to show a film in true CinemaScope, a 2:55:1 widescreen aspect ratio. Almost all other films were shot in the Academy ratio at the time (1.37:1, close to the 4:3 ratio – think: black bars on the left- and right-hand sides of a widescreen monitor – seen on many older standard computer monitors and televisions). With increasing competition from television, Fox executives believed CinemaScope could be a way to lure audiences back into theaters. Despite this overreaction from Fox’s executives (as well as the other major Hollywood studios), the legacy of CinemaScope’s innovation is still apparent today. Seven decades later, widescreen formats, not the Academy ratio, are the default in film and television.

Walking through the markets of Rome, returning Roman Empire tribune Marcellus Gallio (Richard Burton) reunites with his childhood sweetheart, Diana (Jean Simmons), who is now promised to Marcellus’ rival, Caligula (an always-sneering Jay Robison). Not long after, Marcellus – out of pettiness rather than financial sense – outbids Caligula for the Greek slave, Demetrius (Victor Mature). Marcellus immediately frees Demetrius, but Demetrius thinks of himself as honor-bound to stay by Marcellus. Elsewhere, an incensed Caligula reassigns Marcellus to Palestine – which, to the film’s Roman characters, might as well be the armpit of the Roman Empire. Marcellus and Demetrius go to Jerusalem, where they witness a man named Jesus enter the city, heralded by crowds of Jews greeting him with palms. Several days later, Judean Governor Pontius Pilate (Richard Boone) orders Marcellus to crucify Jesus on Calvary. Marcellus executes the order but, during and after the crucifixion, witnesses and experiences supernatural events. Demetrius, who has become a follower of Jesus during that week, obeys Marcellus when he asks him to fetch Jesus’ robe. The moment Marcellus dons the robe, he suffers something like a seizure. He falls out with Demetrius, and spends the rest of the film reckoning with his conscience over his role in Jesus’ crucifixion.

The film also stars Michael Rennie as Peter, Dean Jagger as Justus, Torin Thatcher as Senator Gallio, and Ernest Thesiger as Emperor Tiberius. Michael Ansara and Donald C. Klune are both uncredited as Judas Iscariot and Jesus, respectively.

The Robe has the misfortune of peaking in the first half. The adapted screenplay from Gina Kaus (1949’s The Red Danube), Albert Maltz (one of the blacklisted Hollywood Ten; 1950’s Broken Arrow), and Philip Dunne (1941’s How Green Was My Valley) is at its most interesting whenever Marcellus and Demetrius find themselves at odds with the other. In the scenes they share together, that happens often. But when Demetrius disappears after their disagreement over Jesus’ robe midway through, the film begins to sag with no foil for Burton to play off of.

For the entirety of this film, Richard Burton’s acting is overwrought. Burton, who had just arrived in Hollywood the year before to star in My Cousin Rachel (1952), is leaning too deeply into his theatrical roots here. His grandiose exclamations, stiff facial acting, and inconsistent line delivery result in a performance that is easily the weakest part of this film (Jean Simmons is also guilty, to a far lesser degree, of these same flaws in her performance). The Robe requires Burton’s Marcellus to undergo a spiritual conversion – becoming an adherent of Jesus despite following orders to crucify him, a developmental arc more dramatic than any other character’s in this film. Burton’s inability to convincingly sell this conversion (the stoic masculine tension, which some will interpret as coded homosexuality, between Burton’s Marcellus and Mature’s Demetrius does not help) weakens the film’s spiritual power.

Instead, it is Mature who is The Robe’s reliable scene-stealer. Mature, at one time likened to a “miniature Johnny Weissmuller”, has the classical Greek physique that, frankly, Burton does not. And in contrast to Burton at this time in their careers, Mature was more capable of a nuanced performance, as evidenced in his roles as Doc Holliday in My Darling Clementine (1946) and Nick Bianco in Kiss of Death (1947). As Demetrius, his soul hardened through his enslavement, there remains hope for a life free from the yoke of the Roman Empire and its callous slave masters. One sees it in his face during Holy Week, culminating with seeing Jesus dying on the cross. His faith is there, too, during a torture scene upon his return to Rome and an encounter with Peter. Amid miracles and cruelties, Mature’s Demetrius is simply the most compelling character of The Robe and the viewer – through Mature’s performance, especially in contrast to those of Jean Simmons and Richard Burton’s – can discern his genuine turn of faith. The Robe’s failure to showcase this inner awakening more believably is the fault of its two central actors and its screenplay; Mature’s performance and Demetrius’ characterization are all that saves the narrative.

One aspect of Christianity that The Robe captures confusingly (and oxymoronically) is the insignificance of Judea and the prominence of early Christianity in Rome in the time immediately following Jesus’ crucifixion. Oftentimes in Biblical epics, Judea is a centerpiece of the Roman Empire when, in truth (and in The Robe), it was a relative backwater. By Caligula’s reign between 37 and 41 CE, Christianity almost certainly would not have had a substantial presence in Rome at that time. So while Caligula would probably see Christianity as a threat, the film’s decision to treat the early Christians as a clear and present danger to his rule and the Roman state religion is the film’s glaring historical inaccuracy. The Robe – the book and the film – muddies the timeline from Jesus’ crucifixion to the film’s final scene in Caligula’s court. The relative suddenness of the Roman Empire seeing the early Christians as a very minor cult into becoming an Empire-wide menace is difficult to reconcile.

With few other post-silent film era Biblical epics as a guide, The Robe helps set the aesthetic of its fellow Biblical epics and sword-and-sandals movies going forward through its costumes and production design. The work of costume designers Charles LeMaire (1950’s All About Eve, 1956’s Carousel) and Emile Santiago (1952’s Androcles and the Lion, 1958’s The Big Country) is resplendent, regardless of either the Roman or Judean setting. Art directors Lyle R. Wheeler (1939’s Gone with the Wind, 1956’s The King and I) and George Davis (All About Eve, 1963’s How the West Was Won) and set decorators Walter M. Scott (All About Eve, 1965’s The Sound of Music) and Paul S. Fox (The King and I, 1963’s Cleopatra) all make full use of the CinemaScope format and color to enliven the scenery – a sumptuous visual treat for the viewer, and, to reiterate, setting a standard that the crew of The Ten Commandments and Ben-Hur both would study and surpass.

Of all of 20th Century Fox contracted stalwarts behind the camera, composer Alfred Newman was the studio’s most important figure. If Fox’s executives needed a composer to craft a score for what they would consider would be their prestige motion picture of the year, Newman – who composed the original 20th Century Fox fanfare and its CinemaScope extension (the extension, which is now inextricable from the fanfare, was first introduced in 1954’s River of No Return) – was almost always their first choice.

In one of Newman’s finest scores of his career, it is his choral compositions, with incredible help from his longtime choral supervisor Ken Darby, that form the score’s emotive spine. Jesus’ motif, shared between wordless choir and strings, appears almost immediately, in the opening seconds of the “Prelude”. During the many invocations of a Messiah before Jesus’ first physical appearance in The Robe, his motif shifts, changes form, and modulates – imparting not spiritual comfort or devotion, but a mysteriousness and otherworldliness. When Jesus (whose face we never see) first appears in Jerusalem on Palm Sunday, the cue “Passover/Palm Sunday” represents one of the rare juxtapositions of the brass-heavy martial music representing the Roman presence in Judea and Jesus himself. The modulation to a major key at 1:22 in this cue, with festive percussion, also includes one of the only instances of celebratory choral music in the score. Jesus’ motif in “Passover/Palm Sunday”, appears at 2:26 – cementing his (and Christianity’s) association with the cue, and appearing as the only instance in which one might consider this motif triumphant.

Choruses, which Western viewers so often associate in religious movies as angelic musical devices, become mournful in “The Crucifixion” – arguably the standout cue of Newman’s score. Even though one might be well aware of Jesus’ death and can anticipate a turn in the music (starting moments earlier in “The Carriage of the Cross”), it is startling to hear Newman’s composition change so rapidly. But it is in these several minutes depicting Jesus’ final moments that Newman, with modifications to his harmonies and orchestration, transforms Jesus’ motif to evoke its tragic dimensions. It is magnificent scoring from Newman, and this is not even mentioning his wonderful demarcation of Roman and Judean identities through his score.

In a film about faith – how it comforts, destroys, heals, and vexes – one wishes that the characterization of The Robe’s supposed lead characters in Marcellus and Diana could feel more plausible. The film’s final scene, possibly allegorizing of screenwriter Albert Maltz’s travails as a blacklisted figure in Hollywood, is decently powerful, but it needs far more storytelling support from numerous scenes preceding it.

As it is, the film’s expressive power lies within Demetrius and Victor Mature’s performance. So how fortunate that, because Fox also wanted to make a sequel to The Robe even before it finished production, Mature also signed a contract to appear in a sequel. Nine months after The Robe made its theatrical debut, Victor Mature starred in Demetrius and the Gladiators, directed by Delmer Daves and also seeing Michael Rennie and Jay Robinson reprise their roles as Peter and Caligula, respectively. Though it did not top the box office for that year like The Robe did, Demetrius and the Gladiators was a financial boon for Fox.

With Hollywood’s major studios always ready to respond to the box office successes of their rivals, The Robe helped make possible the decade of Biblical and sword-and-sandals epics to come – and the required viewings for many a Sunday School student in the years hence. These films were Studio System Hollywood in full maximalism, adopting human and tactile scales seldom seen today.

Yet outside of churchgoers, The Robe – for its CinemaScope and genre-specific innovations – has seen its standing slip gradually over the years, no thanks to the reputations of better movies of this tradition and, regrettably, decisions to keep 20th Century Fox’s valuable past under lock and key. 20th Century Fox’s refusal to distribute their classic films more often and more widely – before and after the studio’s 2019 takeover by the Walt Disney Company (and post-takeover, I believe the situation is now worse) – is resulting in films like The Robe slip through the proverbial cracks of film history, sights unseen for younger film buffs. That is unfortunate, especially as The Robe, almost incidentally (and no matter my aforementioned criticisms of the work itself), continues to quietly wield, by virtue of being the first CinemaScope film, a remarkable influence over cinema worldwide.

My rating: 6/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog. Half-points are always rounded down.

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

[fiannalover]

Mint suggesting Emil gets in a polyamorous relationship with his childhood bestie and himself. Presea and Velvet's cycle of "I must be the one to kill her". Gaius just hanging around with a mask he enchanted to be a telephone in case he wants to be a depressed kid's life coach. Leon effortlessly soloing everything like a Warriors character. Luke being paired up with a cinnamon roll too suicidal for him to be mean too. Sophie reviving Asbel and the piano. Villagers going "urgh, shut up" over the callout post @ Edna. Symphonia Crew meeting Arche at a bar fight. Jude drugging and beating up Milla for medical reasons. Yuri Lowell

[unprocione]

➤  * 𝗘𝗠𝗜𝗟𝗘 ( @emile8 ) 𝑟𝑒𝑞𝑢𝑒𝑠𝑡𝑒𝑑 𝑎 𝑚𝑒𝑡𝑎 𝑜𝑛 𝑡ℎ𝑒 𝑝𝑟𝑜𝑚𝑝𝑡  ❝ 𝗛𝗢𝗠𝗘. ❞

✦  WHAT MAKES A HOME? A home is a place of refuge. A person’s most personal belongings are kept in a home, and it’s where a person feels safe and accepted. A home tells a story and expresses a person or family’s interests. To create a home requires an emotional connection and sense of belonging, not physical things. A house can be a home but a home can’t be a house. You can live in a house that doesn’t feel like a home. Or you can find “home” in a house that isn’t yours because home isn’t a physical construct, it’s a feeling. To be a home, it needs to feel comfortable, like a place you belong to and are at peace with. A house may be decorated with the nicest furnishings money can buy, but that won’t necessarily make it a home. The feeling of “home” can’t be bought. It’s an intimate relationship we have with the personal space we live in. A home reflects who we are, our personality, and how we choose to live our lives.

* while i know the above pictures from resident evil: damnation are likely of a hotel room, based on the construction & context, i'm choosing to think of this as leon's bedroom on purpose for personal characterization.

✦  WHAT DOES IT MEAN TO LIVE IN A ❝ SPARTAN ❞ LIFESTYLE? A spartan lifestyle or existence is very simple or strict, with the minimum of luxuries. Living a spartan lifestyle means embracing simplicity and self-discipline, and focusing on developing physical and mental strength, buying and using only what is needed to accomplish your task. No spare rooms, no extra cars, no fancy meals, no desserts, no frills. Additionally, it is important to remember that living a Spartan lifestyle does not mean living a life of poverty or deprivation, but rather one of simplicity and self-discipline. The lifestyle is very basic because all efforts are devoted to the military and to the state.

Simplify your possessions and living space. Get rid of anything you don't truly need and focus on keeping only the essentials.

Embrace physical fitness and challenge yourself to push your limits through regular exercise and training.

Practice self-discipline and self-control by setting rules and boundaries for yourself, and holding yourself accountable to them.

✦  WHAT DOES MINIMALISM SAY ABOUT YOU? A minimalist person is someone who has a simple, uncluttered lifestyle, someone who seeks simplicity, usefulness and clarity. They don't believe in owning things for the sake of owning things — they only keep what is truly important to them. Minimalists are often very organized and efficient and find satisfaction in pursuing meaningful relationships and activities. They pursue a lifestyle that focuses less on material possessions and more on what they value in life – what makes them happy.

✦  PERSONAL TOUCHES.

* framed photographs of dear friends & loved ones. pictured: claire redfield, ada wong, patrick devlin, ashley graham, helena harper. not pictured: jack krauser (frame is facedown), manuela hidalgo, sherry birkin, ingrid hunnigan, & luis sera.

* an unknown monstera, a pilea peperomioides, and a peace lily.

✦  PLACES OF INTEREST.

* weaponry workbench, vinyl record player, kitchen w/ cookbook storage, bedroom barcart, leon's weapons locker, & external home gym.

✦  HEADCANONS.

leon resides on a private and rural property in maryland, a good distance away from the city.

leon's residence is more house than home, more of a place to sleep than a place to rest. he's more at home in a familiar chain hotel than anywhere else, preferring to vacation over spending time in his empty house.

leon's absolutely pathetic at home maintenance, preferring to call in plumbers or electricians as needed, but he's also an absolute clean freak, the place is spotless, like scrubbing tile grout with a toothbrush on his hands and knees spotless.

prior to the disassembly of the anti-umbrella pursuit & investigation taskforce, leon & bruce mcgivern were bunkmates, both living in a barracks building provided by the organization.

leon prefers to live remotely, having become somewhat of a recluse, his home sheltered away from main roads & prying eyes by acres of forest.

leon has two locks on his bedroom door, and doesn't sleep with a sound machine, both in case of any scenarios involving possible intruders. the glass in his windows is also bulletproof, for the same rightfully paranoid reasoning.

leon doesn't get delivery. he doesn't get takeout. he doesn't do fast food at all whenever he has other options. leon grew up in a home where more often than not they had fast food for dinner as both parents worked and it was cheap and easy, and now that he has a home of his own, he prefers to cook for himself at every chance, mealpreps, and experiment with recipes when he has time. his tupperware collection is impressive. he would probably marry his air fryer if he could legally. leon kennedy, disgusted by a cheap hamburger to the point of nausea, but says he could really go for a steak right now when confronted with a rotten bovine carcass.

leon's first houseplant was his monstera, purchased after the events of resident evil: damnation, which he keeps by his bedside window. leon's second houseplant was his pilea peperomioides, purchased after the events of resident evil: six. leon's most recent houseplant is his peace lily, purchased after resident evil: vendetta. leon keeps all three of his plants in his bedroom.

the interior of leon's home is sparsely decorated, with very few personal touches, such as the vinyl record player, his plants, cookbooks, and photographs of his loved ones.

leon has a collection of cookbooks, some of which are in different languages.

leon's sink stays crowded with hair care products.

leon never really unpacks when he’s home, and it shows in the meticulous magazine perfection of everything. he spends more time in hotels than he ever does at his own home. leon is out of touch with civilian life, he’s never too comfortable, constantly on guard in the silence of his own empty house, unable to shut his mind off due to his post traumatic stress disorder, and so he doesn’t nest, so to speak.

leon is at his most comfortable at home while in the dark, with a bag of popcorn and a stack of movies to binge his way through.

leon keeps a ducati xdiavel & a white ford crown victoria in his garage. he added a gunsmith's workbench / armorer's bench to his garage during his furlough in 2009 while working on the design & construction of the sentinel 9 handgun.

leon prefers to sleep a thin, fleece blanket, and that’s it, a higher than average body temperature keeping him warm throughout the night. when the bed is made properly, it’s made with duvets and multiple pillows and quilts, and it’s all entirely for show, in a bedroom emulating normalcy ripped straight from a catalogue.

leon cleans out his refrigerator as soon as he hears that he has another assignment to tend to, to prevent spoilage while he’s away (he has a very sensitive sense of smell), so when he comes back, he immediately hits the grocery store on the way, no matter how tired he is. he definitely tries to carry his bags all at once.

leon doesn't have expensive taste, not even in alcohol. all of his belongings and furniture are of good quality, but not by any means designer or luxury items.

[sneakersculture]

Les nouvelles montres Yema Wristmaster Traveller

[force-shield]

[morvantmortuary]

Morvant Mortuary Playlists -

(Because we finally got to the point where it’s worth having a separate navigation for this! :’D Thanks so much to everyone who continues to humor me and my ND need to have music to pace to whenever I’m in the brainstorming process, y’all are the real MVPs 🖤)

Links to all playlists below the cut; this masterlist to be updated as more are posted!

Maxi:

maxi’s spotify playlist

maxi catches feelings spotify playlist

(sssh don’t tell him I posted this)

running through the graveyard

cemetery sunrise

maxi playing piano when a bit tipsy at 2 am

maxi comfort vibes

covers our mortician would lose his shit over

Hector:

hector’s spotify playlist

hector catches feelings playlist

hex comfort vibes

(sssshh definitely don’t tell him I linked this)

hex and the balcony (meant to be for the unwritten NOLA reunion scene from don’t ask me how I’ve been, will probably turn up in his actual arc!)

Rora:

rora’s spotify playlist

rora catches feelings playlist

rora comfort vibes

(I’m still talking her into trying karaoke again, but she’s shy :) check back later!)

Greymoon/The Mortuary:

something is stirring playlist

halloween masquerade playlist

greymoon, louisiana playlist

morvant song recs from nice people (my playlist that anons/friends have been kind enough to make suggestions for and I’m always adding to!)

can I get a necromancer please?

scooby doo and the cursed mortuary (from this brief chaotic au)

holidays with the morvants (xmas 2021)

being festive at the mortuary (xmas 2022)

Others:

vincent etienne morvant playlist

leon labeau (the grey man) playlist [in progress]

sybil lavinia clay (the redhead) playlist [in progress]

(all dividers, as always, made by daisy at @firefly-graphics! ✨

to everyone who got this far, I hope your favorite song comes up next on your shuffle 🥰)

[kakusu-shipping]

yo! 📖, 🗺️ and 💌 for your danganronpa s/i(s). feel free to pick the selfship on the last one!

I am once again... forced... to answer an ask with.... Well I have multiple Self Inserts for that Fandom you see... and I'm very bad at choosing anything ever so we're just gonna talk about all of them and here's my half finished redesign of all of them just to have in one place

📖 - What is your s/i's backstory? How does it make them meet your f/o(s)?

Danganronpa 1 and 2's S/Is are twin brothers who together make the Ultimate Collector, in a canon timeline only one of them gets into Hope's Peak, in my happy school life AU they both get in. V1 joins class 78 and during his school life there starts the anime Club with Hifumi and Celeste. V2 joins class 77 and mostly stays isolated from everyone until Teruteru takes an interest in him and starts talking to him.

In UDG V2 takes the place of Komaru, having escaped his room first and running into Byakuya, acquiring his gun, and eventually running into Toko

For DRV3 I'm still very eeeeeeeh on how exactly the story goes, what I consider the truth vs lies, and just how I want my rewrite to go, so everything about The Ultimate Baseball Star V2 is pretty undecided. He seems to bond with Ryoma over some pretty heavy criminal charges, however.

💌 - Any major changes in your selfship lore over time?

Oooh yeah, lots. Especially to V3 as mentioned above it's hard in WIP territory and has been for a WHILE but that's mostly because V3 is a VERY weird game.

Other than that, as time has passed I've cared a lot LESS about DR2's killing game and have basically written all of Collector V2's lore around my Happy School Life AU or UDG.

The only one who hasn't changed story wise is V1, but she HAS gone through a LOT of design changes. She was originally a lot more geisha styled, lots of make-up and such, and has sense become more calm Decora and Cluttercore

🗺️ - If your s/i is used for multiple f/os, how would all the timelines look if displayed together?

I'm gonna do what you did for this one and put it under a cut so this post doesn't get so long. Please excuse my horrid handwriting

[grapecaseschoices]

they're so cute.

[bulgariansumo]

Emil finds out that some experiences are not universal... This isn't the exact exchange, but it's based on Chapter 4 of Adventures in Spacepunk.