#modern family packs

[i-am-3zekiel]

Family Portrait from the Official Minecraft Sonic the Hedgehog Texture Pack, by yours truly. my personal favorite of the paintings i did for the pack, but be sure to check them all out! 

[ducktoonsfanart]

Donald, Daisy, Huey, Dewey and Louie and April, May and June Duck in modern outfits - Character body from head to toe - Duck comics and Duckverse AU - My style

My Discord friend asked me why the characters I draw don't contain head to toe, so I explained to him that usually not all of them fit on the drawing, and my characters turn out better when I draw them on a larger block than on a smaller one. So I did a challenge and drew Donald, Daisy Duck and their nephews and their nieces in modern clothes and 1990s outfits (sort of athletic clothes). Each drawing individually from head to toe, with the fact that the entire sneakers they are wearing are not visible. And I took a little inspiration from my previous drawings and other fanarts and combined from European (Italian and Dutch) comics and from Young Donald comics and took a bit from Quack Pack, adding everything and drawing in my own way.

Donald wears a hoodie jacket, blue trainers with sneakers and a sailor hat like he is from the 1980s and 1990s fashion, while Daisy wears similar to her teenage days and wears similar to Donald only without the sailor hat and Daisy wears a ponytail (I drew it after a teenage girl Daisy from the Young Donald Duck comics). Daisy's nieces April, May and June wear the color of their clothes as well as their sneakers and I mostly used from the Dutch version where April is in purple, May is in pink and June is in yellow and they wear pants. If anyone doesn't know, they are called in Dutch Lizzy Juultje and Babetje (April is Lizzy, May is Juultje and June is Babetje). And finally I drew Huey, Dewey and Louie Duck (Donald's nephews, in Dutch they are Kwik Kwek en Kwak) wearing T-shirts, shorts and sneakers to match their clothing colors (Huey wears red, Dewey wears blue and Louie wears green suit). And they all wear backwards baseball caps together, I styled it in my own way based on my old drawing which you can see here: https://ducktoonsfanart.tumblr.com/post/693238478358609920/huey-dewey-and-louie-duck-with-baseball

It's a little reminiscent of Louie from the Quack Pack, but here the boys as well as the girls are somewhere between preteens and teens, and I mostly used the comic book version. I hope you like it and I will try to put my favorite characters from head to toe as much as I can in the future, although it is more difficult than before, but I will definitely try. I accept challenges. XD

I hope you like these drawings and feel free to like and reblog this! Just don't use these same ideas of mine and my versions of my drawings without mentioning me and without my permission. Thank you!

[deus-ex-mona]

real talk: lxl should continue to explore romance fantasy concepts in their songs. it’s clearly working for them~

[incorrect-wolf-pack]

Sam: you passed out, do you remember anything?

Emily: only the ambulance ride to the hospital

Sam: That wasn’t an ambulance. I drove you.

Emily: But I heard a siren?

Embry: That was Seth.

Seth: Sorry, I got nervous

[fefyla]

NEW BUILD!!!

TRAY FILE ON MY BLOG

[mango-fizz]

im way too deep in this oc shit now im making aus, violeta is a sleep deprived social worker just trying to make a difference and felipe is the son of the owners of her favorite bakery that she stops by at every morning before work

[sbrinapacks]

heey! any sabrina x modern family layouts? :)

[waiting-to-be-lost-at-sea]

Theo: Hikari, are you busy?

Hikari (7 yrs old): Depends

Liam: Well, we wanted to have a little talk about feelings

Hikari *running away*: Oh actually I have this project due tomorrow!

[new-employeeamillion]

November 6

On this Day in random cartoon history, Bart meets Jessica Lovejoy in ‘94, Heffer gets sucked into TV the same night, an alligator falls in love with Donald Duck in ‘96, Grandpa Phil remembers his time in the war correctly in ‘99, XR loses his mind and becomes XL in 2000, Peter’s latest scheme is his own TV station in ‘05, Panini runs for president in ‘08 (she lost), SpongeBob celebrates its 10th anniversary 6 months late in ‘09, and Dudley finally shows his mother what he does for a living in ‘10. My Top 4 for today would be the Simpsons, Rocko, Arnold and Family Guy episodes, but I’d like to hear from you.

[non-un-topo]

I thought it was smart to choose Tuareg veiling as a research topic for an assignment because it's something I'm interested in and want to write about in fics, but now all I want to do is write and I have no time ;;

[imogenkol]

🐺 The Thatcher Family - original work

[template by the lovely @unholymilf]

[kcgarashi]

"Look at the students, it was like a second ago they just entered the academy and now they're graduating. Soon they'll be chunin."

"And then we'll be dead."

[kay9leo]

Hogtober 2024 - Day 1 Ollivanders

Iñaki's wands

Iñaki has two wands, her American wand that she nicked named "Astra" and her European one she got at Ollivanders in Hogsmeade that she names "Solis". Astra showcases her heritage roots while Solis showcases her American side in her mind. She treasures both wands.

When Iñaki was packing her things, she misplaced her American wand in the storage box instead of the moving box that would be shipped to London to follow the family's move there. Iñaki didn't realize her mistake until they arrived to their temporary London home and couldn't find her wand. Professor Fig was kind enough to lend her Miriam's wand until she could get her own wand at Ollivanders.

Iñaki was certain she wouldn't find a wand like Astra, her custom made wand, and was displeased to have to get a new wand. However, she found to her surprise the third wand she tried responded just as well to her. She didn't personally bond to her new wand at frist, seeing it more as her replacement until she can go back home and find Astra in the storage box.

It isn't until after her fight with the troll in Hogsmeade, did she feel bonded with the wand, feeling its warmth in her hand sooth her after a frightening moment. After the first week with her new wand, Iñaki felt like she met another twin flame in it, especially after Ollivander explained its production origin that reminded Iñaki of herself when she met with the shopkeeper a week later.

It was then when Iñaki gave her wand a new name - Solis.

Hogtober 2024 prompts

ABOUT SOLIS

The Breech wood is of an American Breech Tree - not a European Breech Tree to her surprise. For Iñaki, the first time she held the wand, it was as if home has found her again being so far away from America. The wood itself is sourced from a place close to Niagara Falls, so it has a bit of an electrical hum when Iñaki uses it due to the Thunderbird that dwells near it. The phoenix feather was one that came from a phoenix whose owner was known to travel around in the Americas and had stopped by in England for a conference before traveling back home.

When Ollivander made the wand, a number of people tried to see if it would yield to them, especially due to its beech beauty and the symbolism the material meant for most. Iñaki ends up being the owner and Ollivander figured it was because the wand understood her based on where the material was sourced from, the wand was looking for a home too and it found it in her.

She ends up naming it "Solis" due to the warm/golden glow of magic that swirled around her when she first used it. To Iñaki, Solis is her home away from home and she comes to treasure her second wand as well.

For right now, "Solis" doesn't have any modification like her first wand "Astra" does. One day it will though.

ABOUT ASTRA

Astra has a queztal feather core as well as a jade wand handle that came from Guatemala. The quina wood and the llama hide grip wrap were from the Andes in Ecuador. The jade wand handle and the llama hide grip wrap were modifications that were added a year or two later after she had her wand made; both were gifts from both sides of her family that had only helped showcase her cultural roots on her wand.

The first time Iñaki used Astra, sparkles of light that reminded her of stars in the night sky emerged from the wand, filling her with wonder and delight. Iñaki saw the wand as an extension of herself and who she is because of the process that went into making it.

WAND MAKING IN THE AMERICAS VS EUROPE

In the Americas, wands are custom made due to historical reasons unlike in Europe. Most wand makers in the Americas find that its easier to use materials that are meaningful to the user and work from there to make a wand. The price of a wand depends on what materials are used and where its sourced. Wands in the Americas tend to get modifications over time such as a new custom handle or grip wrappings. They are also harder for people to use outside of the holder due to how it's customized.

[homunculus-argument]

And speaking of scurvy, I am eternally amused by the thing where some ancient form of healing that was born in a time where people didn't know exactly how the human body works, or what causes it to stop working sometimes, that still somehow worked. Like how so many old folk medicinal plants were listed as a cure for various ailments that - from a modern view - are clearly just symptoms of scurvy, and the plant itself is rich in vitamin C.

I recall reading some story, no recollection of the exact time or place, where the king of a large empire suffered from constant horrible headaches and was incapable of falling asleep unless drugged or blackout drunk. Sick of taking temporary fixes to dull the pain and having to be sedated every night, he called up some old sage healer who was said to know how to fix things nobody else could explain, and the healer heard his symptoms and went

"Hmm. You spend too much time being a king. Your skull is packed so full of kingly thoughts that they don't all fit in there and that's why your head is in pain. You need to spend time not being a king." And prescribed him to schedule three days every month where he must go to a peasant village where nobody knows he's the king, live with a family there under a fake name and identity, work in the rice fields with them, eating the same food and sleeping on the same mats. Absolutely nobody is allowed to address him as the king, speak to him of any royal or political matters, and he himself is not allowed to think any kingly thoughts or think of himself as the king.

And naturally, this worked. Taking a regular scheduled break from a highly stressful office desk job to completely decompress, paired with physical exercise in the form of hard but simple physical labour, plain and simple food and Just Not Thinking About Your Fucking Job All The Time does help chronic stress, which here was worded as "spending too much time being a king clogs your brain."

Sometimes you do have ghosts in your blood, though I'm not entirely sure whether you should do cocaine about it.

[dykepuffs]

How Do I Make My Fictional Gypsies Not Racist?

(Or, "You can't, sorry, but…")

You want to include some Gypsies in your fantasy setting. Or, you need someone for your main characters to meet, who is an outsider in the eyes of the locals, but who already lives here. Or you need a culture in conflict with your settled people, or who have just arrived out of nowhere. Or, you just like the idea of campfires in the forest and voices raised in song. And you’re about to step straight into a muckpile of cliches and, accidentally, write something racist.

(In this, I am mostly using Gypsy as an endonym of Romany people, who are a subset of the Romani people, alongside Roma, Sinti, Gitano, Romanisael, Kale, etc, but also in the theory of "Gypsying" as proposed by Lex and Percy H, where Romani people are treated with a particular mix of orientalism, criminalisation, racialisation, and othering, that creates "The Gypsy" out of both nomadic peoples as a whole and people with Romani heritage and racialised physical features, languages, and cultural markers)

Enough of my friends play TTRPGs or write fantasy stories that this question comes up a lot - They mention Dungeons and Dragons’ Curse Of Strahd, World Of Darkness’s Gypsies, World Of Darkness’s Ravnos, World of Darkness’s Silent Striders… And they roll their eyes and say “These are all terrible! But how can I do it, you know, without it being racist?”

And their eyes are big and sad and ever so hopeful that I will tell them the secret of how to take the Roma of the real world and place them in a fictional one, whilst both appealing to gorjer stereotypes of Gypsies and not adding to the weight of stereotyping that already crushes us. So, disappointingly, there is no secret.

Gypsies, like every other real-world culture, exist as we do today because of interactions with cultures and geography around us: The living waggon, probably the archetypal thing which gorjer writers want to include in their portrayals of nomads, is a relatively modern invention - Most likely French, and adopted from French Showmen by Romanies, who brought it to Britain. So already, that’s a tradition that only spans a small amount of the time that Gypsies have existed, and only a small number of the full breadth of Romani ways of living. But the reasons that the waggon is what it is are based on the real world - The wheels are tall and iron-rimmed, because although you expect to travel on cobbled, tarmac, or packed-earth roads and for comparatively short distances, it wasn’t rare to have to ford a river in Britain in the late nineteenth century, on country roads. They were drawn by a single horse, and the shape of that horse was determined by a mixture of local breeds - Welsh cobs, fell ponies, various draft breeds - as well as by the aesthetic tastes of the breeders. The stove inside is on the left, so that as you move down a British road, the chimney sticks up into the part where there will be the least overhanging branches, to reduce the chance of hitting it.

So taking a fictional setting that looks like (for example) thirteenth century China (with dragons), and placing a nineteenth century Romanichal family in it will inevitably result in some racist assumptions being made, as the answer to “Why does this culture do this?” becomes “They just do it because I want them to” rather than having a consistent internal logic.

Some stereotypes will always follow nomads - They appear in different forms in different cultures, but they always arise from the settled people's same fears: That the nomads don't share their values, and are fundamentally strangers. Common ones are that we have a secret language to fool outsiders with, that we steal children and disguise them as our own, that our sexual morals are shocking (This one has flipped in the last half century - From the Gypsy Lore Society's talk of the lascivious Romni seductress who will lie with a strange man for a night after a 'gypsy wedding', to today's frenzied talk of 'grabbing' and sexually-conservative early marriages to ensure virginity), that we are supernatural in some way, and that we are more like animals than humans. These are tropes where if you want to address them, you will have to address them as libels - there is no way to casually write a baby-stealing, magical succubus nomad without it backfiring onto real life Roma. (The kind of person who has the skills to write these tropes well, is not the kind of person who is reading this guide.)

It’s too easy to say a list of prescriptive “Do nots”, which might stop you from making the most common pitfalls, but which can end up with your nomads being slightly flat as you dance around the topics that you’re trying to avoid, rather than being a rich culture that feels real in your world.

So, here are some questions to ask, to create your nomadic people, so that they will have a distinctive culture of their own that may (or may not) look anything like real-world Romani people: These aren't the only questions, but they're good starting points to think about before you make anything concrete, and they will hopefully inspire you to ask MORE questions.

First - Why are they nomadic? Nobody moves just to feel the wind in their hair and see a new horizon every morning, no matter what the inspirational poster says. Are they transhumant herders who pay a small rent to graze their flock on the local lord’s land? Are they following migratory herds across common land, being moved on by the cycle of the seasons and the movement of their animals? Are they seasonal workers who follow man-made cycles of labour: Harvests, fairs, religious festivals? Are they refugees fleeing a recent conflict, who will pass through this area and never return? Are they on a regular pilgrimage? Do they travel within the same area predictably, or is their movement governed by something that is hard to predict? How do they see their own movements - Do they think of themselves as being pushed along by some external force, or as choosing to travel? Will they work for and with outsiders, either as employees or as partners, or do they aim to be fully self-sufficient? What other jobs do they do - Their whole society won’t all be involved in one industry, what do their children, elderly, disabled people do with their time, and is it “work”?

If they are totally isolationist - How do they produce the things which need a complex supply chain or large facilities to make? How do they view artefacts from outsiders which come into their possession - Things which have been made with technology that they can’t produce for themselves? (This doesn’t need to be anything about quality of goods, only about complexity - A violin can be made by one artisan working with hand tools, wood, gut and shellac, but an accordion needs presses to make reeds, metal lathes to make screws, complex organic chemistry to make celluloid lacquer, vulcanised rubber, and a thousand other components)

How do they feel about outsiders? How do they buy and sell to outsiders? If it’s seen as taboo, do they do it anyway? Do they speak the same language as the nearby settled people (With what kind of fluency, or bilingualism, or dialect)? Do they intermarry, and how is that viewed when it happens? What stories does this culture tell about why they are a separate people to the nearby settled people? Are those stories true? Do they have a notional “homeland” and do they intend to go there? If so, is it a real place?

What gorjers think of as classic "Gipsy music" is a product of our real-world situation. Guitar from Spain, accordions from the Soviet Union (Which needed modern machining and factories to produce and make accessible to people who weren't rich- and which were in turn encouraged by Soviet authorities preferring the standardised and modern accordion to the folk traditions of the indigenous peoples within the bloc), brass from Western classical traditions, via Balkan folk music, influences from klezmer and jazz and bhangra and polka and our own music traditions (And we influence them too). What are your people's musical influences? Do they make their own instruments or buy them from settled people? How many musical traditions do they have, and what are they all for (Weddings, funerals, storytelling, campfire songs, entertainment...)? Do they have professional musicians, and if so, how do those musicians earn money? Are instrument makers professionals, or do they use improvised and easy-to-make instruments like willow whistles, spoons, washtubs, etc? (Of course the answer can be "A bit of both")

If you're thinking about jobs - How do they work? Are they employed by settled people (How do they feel about them?) Are they self employed but providing services/goods to the settled people? Are they mostly avoidant of settled people other than to buy things that they can't produce themselves? Are they totally isolationist? Is their work mostly subsistence, or do they create a surplus to sell to outsiders? How do they interact with other workers nearby? Who works, and how- Are there 'family businesses', apprentices, children with part time work? Is it considered 'a job' or just part of their way of life? How do they educate their children, and is that considered 'work'? How old are children when they are considered adult, and what markers confer adulthood? What is considered a rite of passage?

When they travel, how do they do it? Do they share ownership of beasts of burden, or each individually have "their horse"? Do families stick together or try to spread out? How does a child begin to live apart from their family, or start their own family? Are their dwellings something that they take with them, or do they find places to stay or build temporary shelter with disposable material? Who shares a dwelling and why? What do they do for privacy, and what do they think privacy is for?

If you're thinking about food - Do they hunt? Herd? Forage? Buy or trade from settled people? Do they travel between places where they've sown crops or managed wildstock in previous years, so that when they arrive there is food already seeded in the landscape? How do they feel about buying food from settled people, and is that common? If it's frowned upon - How much do people do it anyway? How do they preserve food for winter? How much food do they carry with them, compared to how much they plan to buy or forage at their destinations? How is food shared- Communal stores, personal ownership?

Why are they a "separate people" to the settled people? What is their creation myth? Why do they believe that they are nomadic and the other people are settled, and is it correct? Do they look different? Are there legal restrictions on them settling? Are there legal restrictions on them intermixing? Are there cultural reasons why they are a separate people? Where did those reasons come from? How long have they been travelling? How long do they think they've been travelling? Where did they come from? Do they travel mostly within one area and return to the same sites predictably, or are they going to move on again soon and never come back?

And then within that - What about the members of their society who are "unusual" in some way: How does their society treat disabled people? (are they considered disabled, do they have that distinction and how is it applied?) How does their society treat LGBT+ people? What happens to someone who doesn't get married and has no children? What happens to someone who 'leaves'? What happens to young widows and widowers? What happens if someone just 'can't fit in'? What happens to someone who is adopted or married in? What happens to people who are mixed race, and in a fantasy setting to people who are mixed species? What is taboo to them and what will they find shocking if they leave? What is society's attitude to 'difference' of various kinds?

Basically, if you build your nomads from the ground-up, rather than starting from the idea of "I want Gypsies/Buryats/Berbers/Minceiri but with the numbers filed off and not offensive" you can end up with a rich, unique nomadic culture who make sense in your world and don't end up making a rod for the back of real-world cultures.

[lesmana-enterprise-ltd]

The Winsbury Manor, Historical Residence in Ravenwood (NO CC)

Winsbury Manor is a grand Tudor-style estate built in 1490, nestled in the heart of Whispering Glen, Ravenwood. Steeped in history, this manor boasts intricate architectural details, lush landscaped gardens, and an aura of timeless elegance. With its meticulously preserved features and rich legacy, Winsbury Manor offers a rare glimpse into the opulent lifestyle of a bygone era, blending heritage with enduring charm.

Winsbury Manor stands as a testament to centuries of power and conflict. Established on land claimed by the Kingdom of Henford after their decisive victory in the Battle of Whispering Glen in 1485, the manor was completed in 1490 under the command of Lord Governor Winsbury I. Serving as Henford's seat of authority over the Kingdom of Ravenwood, it remained a symbol of dominance until the tragic Siege of Winsbury in 1532, where Dutchess Annelise Winsbury, the last resident, perished at a young age of 17, marking the fall of Henford's control. Left abandoned for decades, the estate was revived in 1609 by the Ravensworth family, who meticulously restored and modernized it through the centuries. In 2020, the Lesmana Enterprise acquired the manor, ushering in a new chapter for this storied estate, blending historical preservation with modern innovation.

Your Very own Retreat

Awaits at Winsbury Manor, nestled in the heart of Ravenwood's enchanting Whispering Glen. This historic estate offers timeless elegance, expansive grounds, and modern touches, creating the perfect harmony of luxury and heritage.

Isolated from the Main Road

A Tennis Court That Functions

A Chapel and Mausoleum

A Lush Manicured Backyard

Stables for Your Horses

A Lively Pond

Living Room (Former throne hall)

Dining and Kitchen

Lounges, Activity Rooms and Reading Rooms

Two Spacious Bedrooms

Packs Required

Download (Place Tray File)

SFS: Download Here

Don't forget to like, comment, and reblog! your feedbacks and comments means a lot to us.

Sul Sul!, The Lesmana Enterprise Co., Ltd.