#one source lighting

[pm-minimarauding]

ITS OVER ANAKIN! I HAVE THE HIGH GROUND!

Every single time I'm like "Oh fuck! The process! I can't trust it!" And then I paint for another half hour and everything is fine actually and I like what I made

I think the OSL could use some pure white highlights. What do you think?

[000bun]

[solangelo-o]

god of blood

[hinamie]

sidelong

[windwenn]

POV ur being judged by a teenager objectively cooler than u wyd

[veveisveryuncool]

new adventure with a fairy friend! ✨

super quick ghibli style test for gikabi kirby and ribbon <33

[zivazivc]

“Floyd, could you sing to me?”

The big brother looked up from where he was tucking the blanket under Branch’s feet. “Sure thing,” he said with a light smile.  “What would you like to hear? A lullaby?”

��I don’t know,” Branch mumbled as he nestled his head into the pillow. “You choose.”

Floyd could still see a crease of worry between his baby brother’s brows. He softly brushed a thumb over it in a silent reassurance that everything was going to be okay before he turned around to reach for their dad’s old guitar.

I think Floyd would often sing to Branch to get him to fall asleep, usually the songs and lullabies their parents sang when the older four were still little.

I know in the movie it seemed like they all left right after their fight, but I like to imagine that they just stormed off to cool off and that they actually left in the following days. And that this was the last song Floyd sang for Branch that night. :')

Both Sides Now (specifically this cover by Voncken) Rows and flows of angel hair And ice cream castles in the air And feather canyons everywhere I've looked at clouds that way But now they only block the sun They snow and rain on everyone So many things I would've done But clouds got in the way I've looked at clouds from both sides now From up and down, and still somehow It's clouds’ illusions, I recall I really don't know clouds at all Moons and Junes and Ferris wheels The dizzy dancin' way you feel When every fairy tale comes real I've looked at love that way But now it's just another show You leave 'em laughin' as you go And if you care, don't let them know Don't give yourself away I've looked at love from both sides now From give and take, and still somehow It's love's illusions, I recall I really don't know love at all Tears and fears and feeling proud To say "I love you" right out loud Dreams and schemes and circus crowds I've looked at life that way But now my friends, they’re acting strange They shake their heads, and say I've changed Well, something's lost, but something's gained In living life each day I've looked at life from both sides now From up and down And give and take And win and lose, and still somehow It's life's illusions, I recall I really don't know life... I really don't know life at all

[lucabyte]

i CANNOT stress enough how incompatible the themes of these two pieces of media are. i promise my media literacy ability is actually good im well aware that these character mappings are absolutely nothing. that said. play with me in this space. in this sopping wet miserable space. its bad luck to kill a piou piou

original screenshots (and hypnosis 1904) for reference

[doctahchang]

she WILL cry

[lelelego]

irresistible force meets a somewhat moveable object

[commission for @ssealdog]

commission me!

[tritoch]

i know a lot of people (very understandably) dislike the paladin job quests in ffxiv, particularly HW, but i do think it's fun that, now that the pre-ShB MSQ revamp is complete, paladins now have a very cool and thematic in-game storyline that happens without a word being spoken: the development of passage of arms.

none of the below is directly stated in the script, but imo it's a fairly obvious gloss on what the game presents, if you assume a paladin warrior of light. spoilers for all expansions through the end of 6.X.

in the new version of steps of faith, as vishap breaks through each ward protecting ishgard from attack, lucia mounts a final desperate effort to hold him back, with a very familiar looking animation:

but even lucia can't hold back vishap's flame alone, so the temple knights surge forward to assist her. their efforts make the shield visually more powerful and larger. the temple knights here band together in defense of ishgard, and their knightly resolve to protect their home is the difference between victory and defeat.

lucia and the knights do ultimately succeed in defending the last ward, as you have to defeat vishap before their shield falls or you lose.

later in heavensward, obviously, we will get ffxiv's most famous (failed) attempt at blocking something with a shield.

this moment can be read as fairly impactful on the warrior of light's development; as i've noted elsewhere, after the trauma of watching haurchefant bleed out in their arms at level 57, at level 58 paladins learn to channel their magic into healing (and it's called "clemency," or mercy. mercy for whom? who was guilty?), and as someone pointed out on that post, at level 58 dark knights used to get "sole survivor", letting them heal in response to a marked target's death.

for a time, you literally carry haurchefant's shield with you, and 3.3 very much literalizes in genre fashion the idea that even when you are standing alone, your fallen friends stand with you. you don't need to call any allies to stand at your side and raise their shields with you because they are already there, in spirit.

stormblood marks a pretty important turning point in the warrior of light as a combatant, in my opinion, and the text makes this clear in several ways. first, in pretty much all your jobs, you've now far exceeded your trainers and are pioneering new techniques. this is no less true of paladin, which for 60-70 abandons any trainers at all for you to show off your peerless skills in a tournament.

second, stormblood is straight up a story about you getting stronger. at level 61, zenos kicks your ass. at level 70, you kick his ass. why? because you fought and got stronger and developed incredible new techniques and became a one-man army.

for a lot of classes, this story lines up nicely with the big rotation changes or flashy new finishers on the way from 60 to 70. SMN is now busting out bahamut and casting akh morn; RDM gets verflare and verholy; DRG starts harnessing nidhogg's power directly through dragon sight and nastrond.

the tanks are divided in two: warriors and gunbreakers get huge damaging upgrades at 70 in the form of inner release and continuation, each of which lets them hit the same button many times for lots of damage and satisfying animations. paladin and dark knight get more protective abilities; dark knight gets the blackest night, and there's been plenty said about that already by pretty much everyone.

paladins get passage of arms. instead of a relentless new attack (and you get requiescat at 68, which is a way bigger deal for your dps rotation), your big reveal at 70 for zenos in your fight in ala mhigo is a superior way to protect your party, a shield that lets you stand for your allies so they never have to fall for you again. it's lucia's same shield, except you need no allies' shields to reinforce you, proof of your martial prowess and your ability to transcend limits, and perhaps in truth a reminder that you never really stand alone.

in many respects passage of arms should really feel like a paladin signature move to you now if you are playing it at this point, because you should be popping it in pretty much every fight (you are using your mits, right...?). basically every FFXIV fight has at least one big AOE with downtime that warrants passage of arms usage, usually after the mid-fight add phase with slowly filling bar. since that AOE usually drops during downtime, there's no reason not to pop passage of arms (which otherwise restricts your movement and actions), and even on normal, sometimes every little bit counts on a damage check even if it means dropping DPS (thinking here of harrowing hell P10N on release, which was...less consistent for a lot of roulette parties than you might hope).

so from 70 onward, passage of arms is in a sense a paladin warrior of light's signature move, and certainly the one a player gets to most actually enjoy (since if you're using it, you're by necessity not doing anything besides moving your camera and admiring your sick animation). it doesn't have any competition in terms of spectacle until confiteor, and those you're usually throwing out in the middle of movement.

it's such a signature, in fact, that the only other person shown using your one-person version of passage of arms is your greatest admirer, who studied your legend for over a century.

and it's when he fails (should've popped arm's length, bud) that the warrior of light decides they can't let their friends fall for them, and sends them away with the transporter beacon. this is all wrong: you were meant to die for them, not the other way around. yours is the shield that stands between your allies and defeat. it is you who will win this passage of arms and break your opponents lance. and you do.

and then later, when they need to quickly establish zero's domain as a place of fallen grandeur, the home of someone who once believed in heroes but is now a cool and cynical vampire hunter d, what do they use? a decayed statue of someone in the paladin endwalker gear doing the passage of arms animation, of course.

from a visible instantiation of knighthood as a joint effort to defend what is sacred, to a tribute to the fallen friends whose memories stand by you and animate you, to a symbol of the wol's power as emulated by their allies or darkly mirrored in other shards.

not bad for a mit button you hit once per fight and otherwise never think about!

[jayjay-thejet-plane]

🗡️🌹 Carole and baby Bradley for the soul <3

(the necklace pendant that bradley is clutching is a sunflower that nick gave to carole)

lineart below:

[likesdoodling]

Lighting practice :D

[christakisbang]

[elodieunderglass]

Your jockeyposting has enthralled me (certified non-horse girl) and made me curious—how much familiarity do jockeys have with the horses they’re riding? Is it normal for a given horse to have a Long Term Jockey or are the jockeys like. Called up a week before and asked to race a horse they’ve never met? (& interested to hear any Killy lore related to this)

Thank you so much! (In reference to Killie the jockey OC and random posting about horse racing more generally.)

In general, racehorses never have a long-term or even a repeat jockey, and vice-versa! Jockeys usually aren’t familiar with the horses at all.

There are three main situations where they might be, though; if they’re retained, if they’re nepo babies generational and have a trainer in the family, or if they’re amateurs having fun. So with apologies for making a really long post, I’ve structured this as a writing reference.

Retained Jockeys

Killie’s a retained jockey for a stable (very unusual - not many jockeys are good enough, and not many stables have the resource to employ one) and he and Thunder share an especially eccentric owner who likes to watch them paired up.

And hey, if we were unbelievably ultra-rich people with no moral compass, “putting Killie and Thunder in a jar and shaking them together, briskly, to see what happens” would be a fairly legitimate hobby.

I’m not an expert or personally involved in the industry, so if you were thinking of doing some writing in the setting yourself, a starting point for a retained jockey’s life is this “day in the life” video, of champion flat jockey William Buick, TW for discussion of weight.

Generational

Jockeys may handle horses as family businesses. In real life, “racing dynasties” are influential. A very lucky jockey, retiring in middle age with piles of winnings, often wishes to become a trainer; especially prosperous ones buy a stable operation, move in their family, use their reputation and connections to get owners to send them horses, and start chucking their own children on the horses as a source of labour. The children grow up, stick around home, and naturally keep getting chucked on horses for their day job. Next thing you know, you have a lot of grandkids and horses around the place, so you might as well keep going with it. Everyone pretty much lives at Grandad’s stable together, and then you get cousins scuffling on the day job like this:

That’s how Killie grew up, as the result of several generations of jockeys becoming trainers producing jockeys. but moving to a retained post was both a) the only logical move if it’s offered, and b) an escape from his parents, who are astonishingly awful. and if you are that kind of nepo baby, like Killie, it makes so much sense to flee the country (move to the uk and constantly pretend you’ve just dropped your phone in a horse’s water bucket, glubglubglub, BYE MA.)

Press “keep reading” for the amateurs and then what everyone else is doing.

Generational steeplechase jockey Jonjo O’Neill Jr does a day in his life here. he knows the horses and is doing admin, management and stable work … at his family’s massive operation.

Amateurs

Finally, in the UK, you can ride as an amateur jockey - usually in types of lowkey local steeplechases, like “point to point” - and basically anyone can do this. horse racing is fun, but you need a license to do it with other people, and the license remains incompatible with owning a registered racehorse. So technically your best friend could share a horse with you, in all but paperwork, and they could be the trainer and you could be the amateur jockey, and you could wrangle your way into actual races with a horse that you knew. It wouldn’t work very well as a day job (the horse would only race like 2x a month, netting you like £300 a month out of your friend’s pocket, plus the absurd costs of transporting/entering everyone) but if you were writing a crazy story in which some good friends and their pet racehorse decide to make it rich, that’s how you could do it.

Everyone else

Everyone else (including generational jockeys whose grandfathers didn’t have the foresight to establish a proper dynasty) just scrabbles around.

Most races aren’t high-stakes! There are a lot of basic boring races every day. (though, if you ask jockeys, there is apparently never quite enough work.)

horses might live at the stable of their owner but more commonly their trainer (some owners are both).

Jockeys cannot own racehorses themselves.

In the UK racecourses are randomly scattered around the country, usually hours away from each other. They all usually have several races every day.

Jockeys in the UK are paid £157.90 for Flat jockeys and £214.63 for jumps riders per race. They get this flat rate for everyone, whether they’re experienced or not! Their expenses are fairly high, and as freelancers they have to cover them all. The real attraction pay-wise is that they get a “cut of the purse” (percentage of prize money) if they win first, second or third place in a race. It’s a small percentage that they have to share with their agent, but there are sometimes some super-big stakes, where you can earn your year’s wages all at once.

Of course, you need to be piloting a pretty good horse in a high-stakes race to have a shot at that.

jockeys are a rare professional athlete that work every day, and they want (but are never guaranteed to get) a few rides every day. This usually means travelling across the UK constantly every day.

Racehorses usually only race once a week or less. They definitely don’t “work” as often! Their schedules rarely match up to jockeys. Driving them around the place is also a huge pain.

Jockeys live all over, and most of them are known to spend several times more hours driving between jobs than they ever spend sitting on horses. They get up very early each day, often “riding out” (doing early morning horse exercise) for trainers before hitting the road, often driving for several hours between races. This has been flagged in many sports medicine papers as one of their many wellbeing risks.

At any rate, with hundreds of jockeys travelling randomly around the country, getting injured and suspended and with stats fluctuating constantly, trainers work through agents to book jockeys - often not getting the one they want.

There are also considerations like trainer suddenly deciding they want to get a different (better) rider instead, leading to the one they booked getting “jocked off”.

All of everyone’s stats, from horses to jockeys, are publicly available, and everyone can study them obsessively. Trainers will request jockeys who have attractive stats - that’s not just “winning” stats, but weight/strategy/experience that might match the horse (+ terrain + conditions, etc). In their turn, jockeys with better options may turn down an offer of a horse with terrible form (I.e. a big loser, or a dangerous animal, or one that looks incredibly dodgy in race videos.)

Often trainers try to get the same jockey for their horse, but in all this chaos it’s not always possible, and everyone has to constantly pursue their own best interests.

Particularly winning jockeys and particularly influential trainers may gradually come together in working relationships, and as a horse gradually emerges as a favourite and the stakes rise, you’ll start to see it working more often with the same people. For example, in the Grand National, the jockeys will probably know the horses.

In conclusion, it’s common for the first time the jockey touches the horse to be when they’re thrown on top of it, prior to the race.

They get around this by studying form (race statistics), watching videos of the horse, and of course speaking to the trainer about their desires/instructions/strategy.

OKAY that is the MOST information that I could possibly have given!! I don’t know why I know all this!!! Thanks!!

[chimeride]

Grand Bailla, the 247th Known One.