#right next to her in the foreground of the picture

[woso-dreamzzz]

Photo

Patri Guijarro x Hardersson!Reader

Natalia Guijarro (OC) x Hardersson!Reader

Part of The Big Adventures Universe

Summary: Patri teases your girlfriend

"And this is one of her eating a plushie. And this is one of-"

"Patri," Talia says," Seriously, stop. You're embarrassing me."

"Good," Patri says, nodding her head," As your sister-"

"We're literally cousins."

"-It's my job to embarrass you around your girlfriend." She winks. "And show her just how out of your league she is."

Talia rolls her eyes, arms crossed as she sags on Patri's sofa.

You laugh a little bit, reaching out to squeeze your girlfriend's knee.

"And this is Talia when we went ice skating when she was little. We took Pina with us and she wiped us both out."

Pina yells out her outrage from the kitchen but doesn't come out to defend herself. She's been slaving out the stove for the whole day trying out some new recipe for lunch.

It hasn't been going well and none of you are going to tell her you've already ordered lunch until it turns up.

It's safer that way.

The burnt smell was really taking over the room which is why Patri busted out the old photo albums to distract you.

"Oh! I like this one!" Talia leans over you to point and you smile. "It was when I was little. At one of Patri's matches."

"Frido's there," Patri says, pointing out your aunt to you.

"And I'm there." You point.

The room goes silent.

"What?" Talia sputters.

You frown. "That's me. Right there. See?"

The picture is old but it was captured on a good quality camera so it doesn't look like it's faded at all.

In the foreground is Patri and Talia. Talia's little in it, maybe around four or five.

Patri looks hot and sweaty, straight off of the pitch after a match. She's got Talia up on her hip, both of them doing a big thumbs up to the camera.

In the background is the rest of the team, most of them are blurry but a few of them are more in focus.

Pina stands a little to the left, head half turned as she talks to someone just out of view. To the right is your aunt Frido.

It looks like she's grinning but she's a bit too far away to know that for sure.

Next to her, is you.

You're little like Talia is, still just a kid but you'd seen enough photos of yourself at that age to be able to tell that it's you.

Frido's hand is on your head, ruffling your hair and you're wearing her Barcelona shirt.

It's funny to think that so many years later, she wears your Barcelona shirt instead.

"That's you?!" Talia asks," But...But...What?!"

"Yeah, that's me," You confirm, nodding," What's so shocking about it?"

"But that's you! And that's me!"

"Yes?"

"But...We were so close to each other! How come we never met?"

You laugh at Talia's astounded face. "I'm very shy," You tease," I was probably scared. And, you know, language barrier. We wouldn't have been able to communicate."

Talia pouts and Patri laughs.

"Maybe it's better this way," She says," Otherwise you'd have been pining after her since childhood. How many more sappy letters would you have written in that time?"

Talia's face turns red and you grin.

"Sappy letters?"

"Don't listen to h-"

"So many sappy letters!" Patri seems delighted to have more things to embarrass Talia with. "For a moment, I thought she would start writing poetry."

"Shut up! You're so annoying!"

But, of course, Patri didn't shut up. She rarely did when the alternative was embarrassing Talia so thoroughly.

"She didn't know your address so she never sent them but I'm sure she would have. She really poured out her heart."

"Oh, yeah? What did they say?"

Patri clears her throat. "Your eyes are-"

"That's enough!"

Talia launches herself over your body to tackle Patri to the ground, the two of them wrestling on the ground.

"Fuck!" You hear from the kitchen right as the fire alarm goes off.

The doorbell rings. The food is here.

You smile, snapping a photo of the picture, sending it off to your aunt as you pick your way through the carnage to get to the food.

[omaano]

"Do you think we can keep it?"

Illustration for The Art of Losing (Is Hard to Master) by the amazing @insertmeaningfulusername

Summary: On a mission into Separatist space, Rex loses his entire squad except for one - and gains a friend who leads him through the labyrinth of grief to a brighter day.

I'm so happy to finally introduce this poor doomed squad to you: from left to rigth that's Rain, Amber, Rex (obviously), Bug, Whiplash and Clear. And you'll just have to read the fic to learn the name of the curious fluffball who's trying to befriend them ;)

With @xylionet as our wonderful beta for the story (and who also tirelessly cheered us on) we made up Team 16 for the @clonebang! I loved working with them so much! <3

ID and some closeups under the cut ->

[ID: A picture of 6 clone troopers resting. The landscape is snowy. Rain is standing furthest to the left. Their helmet is held in their hand. They are scowling at Rex. Next to them is Amber, standing with her back turned to Rain. Rex is crouched in the foreground, hand on one knee, as he offers his mug to a fox like creature with 4 eyes, 6 legs and 2 tails. Behind Rex to the right Bug is slightly bent over, mug in hand, grinning, other hand resting on his thigh. Off to the right side of the picture are Whiplash and Clear. Whiplash is standing, head turned to Rex but face obscured by his helmet. Clear is sitting, helmet balanced on one knee and mug in his hand. He is watching Rex, too. /End ID]

Close ups:

[bingiessm]

WARNING, LONG POST

Hello, welcome to the Bridgerton Season 3 trailer over-analysis corner. I am bingiessm--a film student that needs an outlet right now and wants to practice some film analysis--and am here to bring forth the FIRE/FLAME/CANDLE motif that was all over this trailer and I feel will be a HUGE motif throughout this season for Penelope and Colin (Polin).

So within the Polin context, let's look at each shot where a flame of a candle or lack thereof could represent their romantic interest in one another--and in particular the understanding/recognition of it.

This show is going all out putting candles EVERYWHERE--yes it was actual lighting in regency era, but you don't have to have it in the shot. That is a CHOICE. Also a choice to have it lit or not.

Also, "I burn for you" anyone?

FIRST SHOT: somewhat obvious but considering the context of both the mirror as well as other future shots within this trailer, this flame represents the feelings Penelope has for Colin, that she is well aware of and has held for a long while.

I also just have an inkling that she is seeing herself differently in this moment (feeling something for the first time possibly)--the way Nicola looks feels shocked/contemplative, but not scared as if it might be Whistledown-related.

SECOND SHOT: they are outside, talking about Penelope being a "lost cause." WHY IS THERE AN UNLIT CANDLE IN A MARKET STALL, if not to represent some unrealized feelings on Colin's part? It is also on his side of the frame. This is similar to this next one, both of which I believe are earlier in the season, as this is the start of him "helping" her.

THIRD SHOT: Once again, right there on Colin's side of the frame, YOU DID NOT NEED THIS IN THE FOREGROUND. It was a CHOICE to put a candle there again. They could have not had it, yes the shot would have had less depth and this does give a better sense of the space, placing them in a corner of the room instead of in an open space--but they didn't need to make it another CANDLE.

Colin has not fully recognized his feelings for Penelope yet, though they have always been there, and these two shots demonstrate that lack of understanding/feeling, but one that is soon to come with an unlit candle.

FOURTH SHOT: this, in the timing of the trailer, does come before the third, but RIGHT THERE IS A MIRROR AND CANDLES. It is on Penelope's side of the frame, but Colin, the mirror, and candles are what is in focus. She might be center frame, but we are drawn to the light as well as the contrast in Colin's outfit. This could arguably be Penelope's perspective, her burning feelings as he compliments her--also her future (we all want that mirror scene).

FIFTH SHOT: a HUGE TURNING POINT--a small flame, barely noticeable suddenly burning brighter as we focus on Colin in the background. This is so clearly him realizing his feelings for Penelope. It is also at the midpoint/turning point of the trailer when there is a big tonal shift. There is no more talk of Colin helping Penelope, but a larger focus on his perspective of her (all the gazing), the idea of romance, as well as mention of Debling--his rival. It will be a turning point for Colin when Debling--an actual suitor vying for Penelope's hand--comes into the picture. EDIT: Also going to add in, the candle is in a lantern--though that might have been easier to manage filming-wise--which could also represent him still holding back, especially with Debling in the picture.

SIXTH SHOT: This comes right after we hear Debling say "You look especially beautiful tonight, Miss Featherington." One of the many examples of Colin staring at the two of them, being jealous/worried. But right behind him? Oh, more candles. That they totally didn't need to have in the frame. Also, it doesn't look so much like a candle, but they are placed so close to one another that it looks like more of a flame. The lack of focus adds to this.

THEN WE GET TO THIS FINAL SEQUENCE--which imo is a FANTASY SEQUENCE

SEVENTH SHOT: Colin is coming from the darkness, with an unseen flame flickering directly behind him (small ember that he can't see).

EIGHTH SHOT: Penelope, also coming out of the dark, but with another flame on (what in this sequence is) her side of the frame. Though it is somewhat hidden behind these bars--some rough patches/guarded emotions? (probably depends on what point this is in the series).

NINTH SHOT: Penelope, already in the light of these fires, Colin entering with the large burning flame in the background covered by some growth.

TENTH SHOT: Penelope, lit by these fires, breathing heavily. A very clear close-up with so much blur to focus just on her face.

ELEVENTH SHOT: Colin, with a flickering/burning flame literally right behind him, lit by these other fires, staring right at Penelope.

So this whole sequence, in my opinion, is a dream sequence. But, in terms of this flame representation, this is Colin realizing he has feelings for Penelope. We see the flickering from the unseen light behind him in the seventh shot build and become the flame right behind him in the eleventh. It feels so obviously representative of the season. (The fog also seems to lift for him in this sequence, he comes out of the fog to Penelope--I could say more about this sequence and why I do think it is Colin's dream, mostly due to costuming and lighting and the fog as well) ______________________

And thus comes to a close my analysis/evidence of the FLAME/FIRE motif between Polin. I am cutting myself off here because this is a lot and I have an actual film shoot to plan. Thank you if you actually read all this. I love film analysis and Bridgerton is so fun and a stress reliever for me, so this was fun for me to write out.

Anyway, if any more of this fire/flame stuff comes up I might add on later.

TLDR: they are using fire and candles to represent the burning love between these two.

[havemybackanyday]

I started thinking about Buck texting Bobby every time he woke up, and my hand slipped.

---

Bobby is just beginning to prep breakfast at the station when his phone pings.

7:26am hey everything ok

It doesn't click right away—Bobby’s first assumption being that Buck is missing the job, maybe feeling a little left out. 

7:27am Yeah, everything’s fine here. Shift just started, you’re not missing much. Are you ok?

He watches as the three dots pop up and then disappear a couple times, and then puts his phone down to stir the eggs. He’s almost forgotten about it by the time the response comes in.

7:34am just checking

It’s then that the penny drops, and the realization breaks Bobby’s heart a little. He opens his camera and flips it around, taking a surreptitious selfie with A shift seated at the table in the background. Chim is gesturing animatedly, and Eddie is chuckling into a coffee mug while Hen rolls her eyes. In the foreground is half of Bobby’s own face, forgetting to smile as he concentrates on framing the shot. 

He sends the picture off to Buck.

7:36am We’re all here, all safe. We miss you. thanks bobby. miss you guys too

The next one comes in the following morning, just as Bobby is pulling into his driveway.

7:31am hey Hey, kid. All good here. ok, great sorry thanks No need, Buck.

Bobby knows there’s something Buck isn’t telling him about the coma dream and his place in it. When Bobby had asked him about it at the hospital, he’d been cagey, and since Buck got home, Bobby feels like he’s being tracked—like if Buck doesn’t know where Bobby is at any given moment, Bobby might vanish into thin air… or Buck might.

Bobby can be an anchor. He’s had practice.

2:12pm all good? All good.

They fall into a routine, where Buck will text “hey” whenever he wakes up and Bobby will reply with a checkmark emoji. It’s soothing for Bobby, too—this way, he knows Buck is sleeping, and gets a rough idea of when and how much. There’s always a text in the morning, and more often than not, a message also comes through in the afternoon. 

A couple days in, the afternoon text arrives while the 118 is on a call. Nothing serious, but several cars are involved, and Bobby is flitting around the scene, directing his people back and forth to where they’re needed. By the time he wraps up, Eddie is sitting half inside the truck and holding his phone, a concerned look on his face.

“Cap?”

Bobby pulls his own phone out of his turnouts.

3:42pm hey

3:48pm hey, bobby?

3:52pm i know it’s fine and i know you’re probably on a call but lmk if you’re ok when you can

3:54pm please sorry

Bobby takes a quick selfie with Eddie. Neither of them is smiling, but it’s not annoyance—it’s the same way they’d be looking at Buck if he were here, handling the call with them. No performing, just an ordinary moment in time. 

He sends it over.

4:09pm Sorry to make you wait. We’re good.

He looks up from his phone, and Eddie is watching him with pinched eyebrows. Wordlessly, he flips his phone around to show Bobby his own string of texts from Buck. Bobby sees his own name in the thread several times.

“How’s he doing?” Bobby asks.

Eddie blows out a breath and settles his elbows on his knees. “He’s… working through some stuff,” Eddie says, looking back at the text thread. He’s silent for a long moment, and then huffs a rueful laugh. “He seems rattled, which is pretty understandable. But beyond that, I don’t think he knows what he needs yet.”

“Well, until he tells us differently, the best thing we can do for him is to be here, and be us.”

Eddie nods, and they both swing into the engine.

That night, the ping of Bobby’s phone wakes him from a deep sleep in the station house bunks.

2:20am hey you awake

Bobby rubs a hand across his face. I am now. You ok? sorry i woke you No, don’t be. I’d rather you reach out.

Buck doesn’t respond; the three dots don’t even appear.

2:22am Did something happen? You alright?

2:24am just a nightmare You want to tell me about it? nah maybe later glad you’re ok, get some sleep

Bobby locks his phone and stares at the ceiling in the dark. He isn’t sure how much time passes, but at some point he resigns himself to the fact that his swirling worries won’t resolve themselves into anything legible right now. He swings his legs out of bed and heads upstairs to the kitchen.

Five hours later, he pulls into a parking spot outside of Buck’s apartment complex, a pan of cinnamon rolls in the passenger seat.

“Hey, Bobby.” Buck looks tired when he swings open the door, circles under his eyes, smile a little faded. 

“Hey, kid. Brought you something.” Bobby peels back a corner of the foil covering the cinnamon rolls, and watches as Buck’s eyes brighten.

He laughs and gestures to the piles of food on the kitchen island. “I don’t know if I’ve even got space for those, but I’ll move some of this out to the balcony if I have to.”

Bobby hands the pan over, and Buck lifts out a roll immediately, taking a huge bite that leaves icing on his lip. “Mmmmh. God. Thank you.”

He can’t help a smile at Buck’s enthusiasm. “Anytime.”

There’s a moment of quiet while Buck wedges the pan onto the overloaded island and finishes his roll. He’s licking his fingers and avoiding Bobby’s eyes when he says, “Sorry again for waking you up.”

“Buck.” Bobby waits for him to look up. “Don’t be. We’re all here for you—and not just because you got hurt. We’re here whenever you need us.”

Buck pauses, index finger still in his mouth. He pulls it out and says in a rush, as if racing his own hesitation: “You were dead. In my coma dream, you were dead. Because Hen and I never came to your apartment that day.”

“Okay,” Bobby says, nodding neutrally as the memories wash over him. The shame of waking in the shower. The helplessness of placing his pain in his coworkers’ hands. The rock-steady warmth of Buck and Hen on either side of him.

A vise tightens around his heart.

“Is that why you’ve been checking on me?”

Buck has the gall to sound ashamed of himself when he says, “Yeah.”

“Buck, you know—hey. Look at me, this is important.” Buck, who has shifted his gaze to someplace over Bobby’s right shoulder, drags his eyes back. “You know that my sobriety isn’t your responsibility, right?”

Buck nods. “I know, and I’m not trying to… fix things, or control things I can’t. I just…” He trails off, and his eyes are shining. “I don’t want to wake up again in a world that doesn’t have you in it. This version of you, I mean.”

“Oh, kid, c’mere.” Bobby steps forward and wraps Buck in a hug. 

God damn anyone who ever told this kid that his heart was a problem. 

When they finally let go of each other, Bobby holds on to Buck’s shoulders. Buck sniffs, and swats a tear off his cheek with the palm of his hand. 

“You’ve been through a lot, and I know you’re still sorting it out. But I also know how stubborn you are when you’re chewing on a problem,” Bobby says, drawing a wet laugh out of Buck. “I know you’ll find your way through it. And we will all be here for you. Every step, however long it takes.”

Buck nods, and breaks into a hesitant smile.

“And in the meantime, let us spoil you a little.” Bobby gives Buck’s shoulder a light jab with his fist. “We don’t want to wake up in a world without you, either.”

[beansprean]

Waiting on Mr. Right

My Exchangeapalooza gift for @jay-auris !! See it HERE on A03 and check out all the other fabulous entries HERE!

(ID in alt and under cut)

ID page 1: 1. Interior of a bar, romantically lit, and covered in heart balloons, heart and cupid decorations, heart shaped light strings, and various small round tables with two chairs each. The tables are occupied with male/female couples in mid conversation. A waitress dressed in black jeans, black button up, and a white apron around her waist walks through with a tray. In the foreground is the corner of the bar counter, which has a small sign advertising 'Valentine's Day Speed Dating' On February 13 between 7pm and 10pm. A little cupid cartoon is pictured on the sign saying 'Every time a bell rings, ladies move on to your next date!' At the bottom, it says 'Find your Valentine! (before it's too late)'. 2a. Close up of Nandor on a salmon background lighter at the top and darker at the bottom, dressed up in his finest red and gold fur trimmed coat, sitting at one of the small tables, hands folded in front of him. He stares expectantly forward and says, 'I am glad to hear your parents are dead; I never liked any of my previous 37 wives' parents. 2b. Reverse shot of a middle aged black woman in a red turtleneck sitting across from him, arms crossed with an uncomfortable expression as she stares back at him with no response. 2c. A brown hand in a dark beige suit sleeve rings a small golden bell. 3a. Close up of Nandor, leaning over the table with his fingers pressed together, presenting his date with a lascivious smile. He says, 'How many times a day do you expect cunnilingus?' 3b. Reverse shot of a white middle aged redhead across from him, dressed in a mauve v neck sweater and nervously avoiding eye contact while gulping a glass of white wine. 3c. A brown hand in a dark beige suit sleeve rings a small golden bell. 4a. Close up of Nandor, smiling sweetly with his hands folded in his lap as he says 'Without a word spoken between us, I find myself falling deeply in love. Do you feel this also?' 4b. Reverse shot of a middle aged southeastern Asian woman with a bob and large glasses. She still has her coat in her arms and hasn't even slipped her bag off her shoulder, and there is an untouched menu in front of her. With an expression of vague disgust, she replies'...No.' 4c. Reverse shot as the woman gets up to leave, Nandor planting his fists on the table and calling out 'Hey, the bell has not rung yet!' 5. Close up of Nandor as he crosses his arms and clicks his tongue, mumbling angrily to himself 'Clearly she has no idea how dating works.' A waiter reaches into frame to grab the abandoned menu and snorts in response. 6. Zoom out as Nandor jerks his head around to whine, affronted, at the waiter, 'Ayy, what, waiter-man? Where is the joke?' The waiter, who appears to be Guillermo wearing a black button down, black pants and a white apron around his waist, holds the menu up with both hands to shield his face, replying 'Sorry, sorry! Nothing!' /end page 1

ID page 2: 1. As Guillermo hides behind the menu, Nandor holds his hand up in a useless hypnosis gesture and barks 'I am Nandor the Relentless and I command you to tell me!' 2. Close up of Guillermo as he peeks cautiously over the top of the menu. Offscreen, Nandor continues, 'You are seeing so many people here have success...' 3. Close up of Nandor looking pleadingly upward as he says 'What am I doing wrong?' 4. Guillermo fully lowers the menu with a cautious smile, replying 'I mean...I guess you come on a little strong?' 5. Wide shot of them both. Nandor makes an affronted expression and curls one arm up to show off his bicep, gesturing to it with his other hand. He says, 'I am strong! I am very strong! Do modern women no longer admire strength?' Guillermo, holding the menu under one arm, holds up both hands in a soothing gesture and responds frantically 'Nonono, for sure! I just meant that you're acting really intense right off the bat!' 6. Close up on Nandor with a thoughtful hand on his chin as Guillermo continues offscreen: 'Talking love and marriage...it's too soon for a first date.' Nandor: 'Ahh... This is more third date talk?' There is a small reaction shot of Guillermo looking exasperated but resigned as he reluctantly agrees: '...Sure.' 7. Close up on Guillermo as Nandor asks offscreen: 'So what is first date talk?' Guillermo replies, counting off on his fingers, 'Well, it depends on the person, but generally... Get-to-know-you questions? Like where did you grow up, how many siblings do you have, that kind of stuff.' 8. Close up on Nandor as he turns his face away to glare into the middle distance, a sudden shadow melting half his face into darkness as he says 'I grew up in the faraway kingdom of Al Qolnidar, which no longer exists, and I had seven siblings, all of whom are now dead.' There is a small reaction shot of Guillermo looking shocked and cornered, unsure how to respond to all that. 9. Wide shot from Nandor's other side as he raises his eyebrows guilelessly and gestures to Guillermo with a hand, prompting, 'And then you answer?' Guillermo jolts in place, surprised to be placed in the date's role, and replies 'Oh, yeah, uh. Your date would answer, too. Um. I grew up here in the Bronx and I'm an only child.' 10. Repeat. Nandor and Guillermo both stare expectantly at the other. 11. Repeat. Nandor drops his gaze with a frown, eyes hooding, and grunts 'Hm. This is very boring, waiter-man.' Guillermo, flustered and irritated, throws his arms out in a helpless gesture and snaps 'Well, you have to actually engage in the conversation! Ask follow-up questions! And it's Guillermo!' Nandor says, uninterested, 'What is.' /end page 2

ID page 3: 1a. Close up on Guillermo on a bubbly pink background as he points a finger sternly and states 'My name! It's Guillermo.' 1b. Reverse shot of Nandor looking up at him, almost dazed, cheeks flushed a bit purple as he echoes 'Guillermo...' 1c. Reverse shot of Guillermo as he withdraws his hand to curl it protectively against his chest. He looks a bit taken aback by the reaction, cheeks gone a ruddy pink. 2. Wide shot of them both on a red-violet background crisscrossed with multicolored lights. Guillermo looks away from Nandor nervously, blushing and sweaty, patting his free hand anxiously on the menu held under his arm. He stutters out, 'I, uh. Anyway, I gotta-' Nandor, leaning his head on his hand and gazing at Guillermo with a besotted expression, interrupts, saying 'You are very wise in the ways of dating, Guillermo.' He puts extra emphasis on the name. 3. Close up on Guillermo as Nandor continues: 'You have been on many dates?' Guillermo fidgets, still looking away, and mumbles back 'Not, not like a lot, no. Not like a large amount. Like a normal amount, probably.' 4. Wide shot as Nandor lifts his head and leans closer with a small smile, asking 'And how do your suitors woo you? If they are asking you on a second date?' Guillermo is startled into making eye contact and goes red, clutching the menu to his chest with both hands as he sweats nervously. 5. Repeat. Nandor leans even closer, smile widening into something more flirtatious as Guillermo stiffens and looks away again, somehow getting even redder as his shaky mouth pulls into an uncertain grin. Guillermo stutters out, 'I mean...assuming the first date went well...um...' 6. Close up on Guillermo, smiling nervously even as he avoids eye contact. He says, 'I guess he might...get me flowers?' 7. Close up on Nandor on a bubbly peach background from Guillermo's POV, looking up patiently as he listens. Guillermo continues offscreen: 'He'd...tell me how much he enjoys my company, or...pay me a genuine compliment.' 8. Close up on Guillermo on a bubbly peach background from Nandor's POV, his smile softened and eyes far away as he continues: 'And...whisk me off somewhere fun. Somewhere new. Somewhere we could...stumble in to an adventure together. Away from everything else. And we'd stay up all night because we just...didn't want it to end.' /end page 3

ID page 4: 1. Close up on Guillermo's hand, crossed over his opposite arm, as Nandor nudges his fingers underneath to free his grip. Nandor starts softly, 'And...' 2. Wide shot on a bubbly pink background. Nandor has taken Guillermo's hand and is holding it like a knight would a lady, gazing down at it softly as if readying to kiss it. He continues, '...how many of your suitors have done this for you?' Guillermo, dazed, gazes down at their hands and replies '...I... I don't think anyone would...' 3. The plain green background wall slams back into view as a bell rings offscreen. Wide-eyed and red-faced, Guillermo snatches his hand away from Nandor and flings it upward as if tossing the moment over his shoulder. Nandor is left frozen, hand in the air, eyes wide in shock. 4. Repeat. Guillermo begins to back away from the table, tossed arm coming around to rub at the back of his neck. He looks up and away, sweating , red, and awkward as he chokes out a loud forced laugh and says 'Well, that definitely counts as coming on too strong. Terrible advice, don't do that.' Nandor leans after him, hand hovering in midair, squeaking out 'A-' 5. Repeat. Without letting Nandor finish, Guillermo disappears out of frame with a hasty 'Ok bye good luck!', leaving Nandor saying nothing but question marks, hand still frozen in the air as if reaching out after him. In the foreground, a woman with long brown hair and a dark pink sweater steps into view to take the seat in front of Nandor. 6. Slight zoom, the background returning to the light and dark salmon as Nandor settles back into his seat. The woman across from him, out of focus in shadow, says 'Hi, I'm Kjersten! Um...that's a really interesting outfit...' Nandor doesn't appear to be listening and is staring after Guillermo thoughtfully, a Mona Lisa curl to his lips. /end page 4

ID page 5: 1. Low angle of an alleyway, fenced at the rear and surrounded by tall buildings in multiple vague colors with some spray painted areas. Snow is piled up on either side of the center path against the sidewalk. In the foreground, there is a dumpster. A pink text box at the top reads February 14, 12:07 am. Halfway down the alley, a door opens and Guillermo steps halfway out, missing his apron but having added a coat, carrying a full garbage bag. A voice from inside calls, 'Guillermo, you can head out when you're done, okay?' Guillermo's breath steams into the air as he turns back to the door to respond: 'You sure? The dishes are-' The voice interrupts him with 'Sí, es El Día Dr Amor y Amistad! (In English: Yes, it's Valentines Day) Go sow your oats! You're too young to be working so much.' Guillermo replies without enthusiasm, 'Ha...yeah. Thanks, Teresa, have a good night.' 2. View from behind as Guillermo pulls the lid of the dumpster up with one hand and throws the bag in with the other. He sighs and mutters to himself, 'My oats are just gonna go home and watch Buffy...' 3. There is a clatter in the alley behind him and Guillermo spins around to face the viewer, startled and tense. 4. Extreme close up on Guillermo jerking back in shock as a wad of dandelions are suddenly thrust into his face. A voice offscreen calls 'Guillermo!' happily. 4. Zoom out as Nandor, now with a black and gold cloak dusted with snow over his finery, kneels down in front of Guillermo, arm outstretched to keep the dandelions pushing at his chin. Guillermo, pink and flustered and very confused, takes a step back and splutters 'Nandor?! The- the relentless?' Nandor ignores his reaction and announces, 'Here are some flowers!' 5a. Close up on Nandor as he looks up at Guillermo, dandelions thrust into the foreground and his hair and shoulders dotted with snow as if he had been waiting for some time. He proceeds, clearly rehearsed, 'I very much enjoyed your company tonight as well as the sight of your charming boyish face and plump behind!' His voice is demanding but his expression, eyes shining upwards and cheeks flushed purple, betrays his nerves despite the confident set to his brow. 5b. Reverse shot of Guillermo, staring down at him slack-jawed with wide shiny eyes and pink cheeks, the dandelions still hovering up by his face. Offscreen, Nandor asks 'Have you ever been to Staten Island?' Guillermo responds 'No...' on autopilot. Nandor concludes, 'Then that is where I will be whisking you for our date!' 6. Full body shot, the alleyway back in focus and showing an empty snow-lined street on the other side, a single window just above Guillermo's head lit up from within. Nandor finally stands up and rubs at his chin with a worried expression, dandelions clutched in the other. He says, 'I've heard tales of an all-night bowling alley, but my housemates never want to go with me.' Meanwhile Guillermo, frozen beside him with his hands hovering in mid-air, lets his brain catch up with what's happening. He stares into the middle distance as equations float around his head and his breath fogs into the air. Above, it begins to gently snow. 7. Close up of Guillermo, knocked out of his trace by a gentle prompting from Nandor offscreen: 'So...?' An EKG line skips a beat in the background as he startles and looks up, eyes shining and lips pressed together in a frown. 8. Reverse shot of Nandor, looking very nervous now as he stares back hopefully, holding out the bouquet of dirty dandelions one more time. /end page 5

ID page 6: 1. Close up of Guillermo on a bubbly pink background. He smiles genuinely, red-cheeked, and reaches out to take the dandelions from Nandor's hand. He says, 'Okay...' 2. Medium shot of the two in profile. Nandor, still holding the flowers as Guillermo tucks his hand inside his grip to take them, looks down at Guillermo in shock and echoes 'Okay?!' Guillermo looks up at him with a shy smile and clarifies, 'Yeah. Yes.' 3. Nandor drops his hand and straightens up, a giant silly ecstatic grin taking over his face. Guillermo turns back toward the building and points behind him with his free hand, the other now clutching the dandelions. He says, 'Just let me clock out an-' 4. A close up of Guillermo, blurred diagonally with sudden motion. The only thing clearly visible are his wife eyes, frozen grin, and a little white question mark. 5. Knees up of Nandor, now holding a startled Guillermo in a bridal carry, on a red background lined with glowing neon pink hearts. Grinning wildly down at his date, Nandor announces, 'Prepare to be whisked, Guillermo!!' Guillermo sits there wide-eyed, clutching his little wad of flowers to his chest and somehow finding his other arm looped around Nandor's neck. He stutters frantically, 'Wai- wait, Nandor, you don't have to-' 6. The background warps upward as Nandor shoots them both upward into the sky, flying them both right out of the panel. Guillermo's last word is stretched out in a startled 'OOOOOO??!' as they take off, a single dandelion escaping his grip and drifting back toward the ground. 7. Wide shot of the night sky, dark purple with bursts of white clouds and speedily increasing snowfall, lit by a clear full moon. Nandor and Guillermo fly through, Nandor smiling in a pleased way and clutching Guillermo tightly as he watches their ascent. Guillermo, both arms now around Nandor's neck and more flowers slipping from his grip into the night, stares up at him with awe. He thinks to himself, 'This is the best night of my life...' Behind them, the words 'the end' are carved into the moon. /End ID

[drmobiusvanch]

so yi sang isn't my blorbo but this is driving me crazy SO

Deep dive into this picture!!!!

Okay, first off. We can see that this is an edit of the picture of the League from Chapter 4.

The word 'edit' is chosen specifically. At first, it looks like the picture was just defaced, but Ring Yi Sang is an abstract painter and there's a lot of changes outside of what you might think. A lot of silhouettes are distorted wildly, especially including the two mysteries in the back left, and strangely Aseah.

Of the three faceless characters, I have no idea which one might be Rim. I'm GUESSING he's probably not the femme-y tall one, but who knows.

Also, Dongbaek has these swatches of white on her face, which no one else does.

They look vaguely similar to the 'feathers' on Yi Sang's painting of his wings.

But since we're talking about faces, let's inventory it, shall we?

Of the three unknowns, two are frowning while the one in the foreground next to Dongbaek is smiling. The frowning faces are heavily distorted as well. The face of the one on the right looks to be 'melting', heavily lopsided compared to the other faces, while the one on the left has their eyes de-emphasized, drawn smaller and darker than the others unless one of them is missing?

Very abstract, so it's hard to tell, but if you consider Dongbaek and front guy basic faces, you can see that these two are distorted in a way Dongbaek isn't.

Yi Sang's face here is very interesting. First off, he appears to have given himself a hat, but more importantly his face is drawn dramatically differently from every other face in the picture. Even the relatively un-distorted ones are childish smiley faces, while Yi Sang has a 'normal' face in silhouette. He's effectively saying that he is important, human, but the rest of the League are just shadows of the past.

As you can see, just about everyone in the back row has their heads distorted somehow. I have no idea what this means.

Gubo and Dongrang's faces, meanwhile, are really strange, even compared to the face of the person next to Dongbaek. They're both drawn with smiles, but the smiles are distorted even more than the lopsided frown in the background. Gubo's smile reaches entirely across his face, while Dongrang's is almost a 'V', with the corners of his mouth drawn up to be level with his eyes.

Young-ji is completely free of any graffiti, as well as any distortion.

(Aseah will be explained later.)

But what do the faces MEAN? Simply going off the ones we know, Gubo, Dongbaek, and Dongrang-even more when we consider the vague information we have on the fate of the others and compare that with the faceless ones, we have a pattern.

Yi Sang is smiling, fitting with his joining the Ring later.

Dongrang and Gubo, both of whom sold out to Wings, are smiling. Dongbaek, who was injured and had a breakdown after the fall of the League, is frowning.

For the faceless ones, Rim is one of them, another sold out to work with T Corp, and I can't remember who/what the third one was. Two frowning faces, one smiling. From the rest of this, it seems reasonable to extrapolate that the T Corp defector is the smiling man in front, and since Rim isn't notably tall, it seems very likely Rim is the shorter man in the back with his face 'melting', or in the regular picture, this guy:

But then there's Aseah. Aseah is one of the most interesting parts of this picture. We can't see his mouth, but it's not a choice on Yi Sang's part to obscure Aseah's face-it's a choice on nai_ga's. His face is blocked by the handle of Yi Sang's weapon. Why?

Aseah first appears in Leviathan as a captive of the Ring. When we see him in Limbus, he's an associate of N Corp and in charge of the Ring. Regardless of which, the fact that Yi Sang is a member of the Ring as well as a friend of Aseah's would make him an authority on Aseah's emotional state, as well as what happened to him. We don't know much about Aseah, who is something of a cipher. Whether he drew him with a frown or a smile could have meant a lot about what the circumstances around him are.

Also, interestingly, his face seems to be less distorted, like Yi Sang's. If his face was as distorted as Dongrang or Gubo's, it would be immediately apparent where his mouth was-even a more simply drawn mouth would probably reach up or down into the cheeks outside of the paintbrush handle.

Finally, as a side note, comparing the expressions with the original picture:

In the original picture, far-left, tall one, and Possibly Rim are all smiling. Yi Sang and Dongbaek have small smiles-Yi Sang appears much happier in his drawing than in the original picture, as Ring Yi Sang probably considers himself to be now. Aseah seems expressionless. Gubo is frowning slightly. Dongrang looks visibly uncomfortable, which is particularly interesting considering how he's drawn in Yi Sang's version. Considering our Yi Sang might have harbored a grudge against Dongrang, this one might too.

Regardless-it's very interesting that someone so focused on denying the past and putting it behind him would not simply deface the picture, but put effort into that defacement by giving them different expressions.

[m00nymonster]

Discord convo shenanigans. I think Ratthi is overly enthusiastic about cats and always scares them away, MB ignores fauna in general unless it's eating humans so cats LOVE it and it doesn't get why. Deep breath guys, this is a two page comic so it's gonna be a long image id, oof.

[ID: first page of a six panel comic. First panel is a splash image of a birthday party, with a banner saying HAPPY BIRTHDAY over a big window, a table with cake and punch, and a circular rug on the floor. The left wall has a framed picture on the wall, the right a closed door. The image is in black and white markers. In the background Murderbot sits in the corner in a comfy plush chair, listening to music with its eyes closed. In the foreground Amena and Mensah are having a conversation; next to them are Gurathin, Ratthi and Pin-Lee. They are observed by drones. In the left corner Small Human is poking a drone. A cat is approaching MB's chair. The next three images focus on MB in its chair. In the first the cat sits next to MB, it observes with a drone but doesn't otherwise pay attention to the cat. In the second the cat is jumping onto MB's lap; it looks startled. In the third the cat curls up into a ball, and MB stares at it, befuddled. Fourth panel: MB stares at the cat with an eyebrow raised as Small Human approaches and says, Oh, Miss Kitty LIKES you! Well you can't move now, you'll wake her up! In the last panel someone yells CAKE TIME! offscreen and Small Human runs off, yelling Ooooh! Wait for me! /ID]

[ID: Second page of a two page comic. There are four panels. The first has Mensah standing at the door, waving and saying Goodbye! See you soon! The second is a closeup of Mensah looking scared as someone offscreen says in a spikey speech bubble, Dr. Mensah, help. The third is a splash image, same as the first panel in the first page, but now the cake is eaten and the punch bow is empty. There is a spilled cup on the table. Murderbot sits in the corner, arms crossed, staring at the cat. It says verbally, I am trapped and cannot move. Mensah laughs behind her hand. Fourth panel: there is a large rectangle with LATER written on it in the left corner. Under it is Ratthi's chibi head, with a feed text box that says, GASP! In the center of the panel Murderbot stands in the center of the room, looking uncomfortable as Miss Kitty bats at its drone Small Human stands next to it, looking amused. On the right a feed text box says, with a crying Ratthi head beside it: Miss Kitty likes SecUnit more than me??? Below it is Gurathin's head, with a feed text box that says HAHAHAHA! Below that is another feed text box, this time with Ratthi's head with an angry expression yelling Not funny Gurathin! Finally at the bottom is Pin-Lee, smirking as her feed text box says, That's not funny, that's HILARIOUS. /ID]

[myymi]

picture frame

Sonic sighed as he fell onto the couch, grunting when he landed on his tail in an awkward way that caused it to bend weirdly. He shifted to fix it, glancing over at the table as he did so. He wasn’t sure why he did it. His eyes landed on the picture that sat atop of it—the centerpiece, he thinks is what Tails calls it. It was of the two of them, Knuckles, and Amy. Back in their younger years, after their first adventure as a group.

Amy was in the foreground, one arm holding up a peace sign as the other stretched to hold the camera with a big smile on her face. Her quills had been a lot spikier back then. She started styling her quills to mimic a more human-esc haircut when she moved into Station Square, but the spiky style would come back if you saw her early enough. He’s not sure why she felt like changing from the green and orange combo to her red dress, but she probably had her reasons. Knuckles was a bit behind her, a confused scowl on his face as he stared at the camera. They hadn’t properly explained what it was. At least—not in a way the echidna would understand. His stance was stiff and awkward, still a bit unnerved by Amy’s presence. Couldn’t blame the guy, not after spending, like, 13 years alone on a flying island. Perched on Knuckles’ shoulder was Tails, the only one who could get away with touching the echidna at the time. Actually, that’s a lie. Sonic could get away with getting a good punch if he pushed the right buttons. The newly 6 year old had an even bigger smile than Amy, brown fur still fighting the gold to be the more prominent color as one of his arms looped around Knuckles’ neck to keep him up there with the echidna's hand holding his legs. His other hand was holding Sonic’s, who had his trademark wink and grin combo while his other hand was holding up a thumbs up. Tails had grabbed his hand because he had tried to do ‘bunny ears’ behind Knuckles’ head, and the little guy apparently didn’t want that in this photo. That’s fine—he got him a later time, anyway. Sonic sat up and grabbed the picture, running his thumb over the frame. It was very detailed, but surprisingly cheap. And when he says cheap he actually means free, because Tails had made it himself. He didn’t want their first group picture to be stuck in just any old frame. It had to be a good frame, you know? Most of the carvings were just thoughtless swirls and whatnot to fill the space, but a few emerald drawings were freckled around. The main focus was the corners of the frame, each painted their respectful colors. The kid had taken the time to carve out specific shapes that he felt represented them all well enough. A chili dog for Sonic, the Master Emerald for Knuckles, and a piko piko hammer for Amy. The fox was so focused on getting his friends’ symbols down perfectly he’d forgotten to carve out something in his own corner. And, well, Sonic just couldn’t let that slide. Tails was the coolest guy around and if anyone deserved a special symbol in a picture frame it was his little buddy. So one night, after making sure the kid had fallen asleep, the hedgehog snuck out the frame and carved out his two tails. It was a bit rougher than the other symbols. Sonic never was good with tedious things like that, especially when he did it with his hands. He struggled enough with writing, but it thankfully wasn’t too noticeable. Tails had been so confused by it when he woke up the next morning, but shrugged it off. He probably assumed he just didn’t remember craving it. Sonic kept quiet about it, because he knew if he told the kit he did it he’d try to give the teen credit for the entire thing. He didn’t understand it, but Tails had this thing where if he didn’t do something 100% by himself he didn’t think he deserved the credit for it. Even if he had done 99.9% of whatever project it is, he’ll claim whoever did the 0.01% was much more deserving of recognition.

this is a snippet from a bigger fic, but that may take a minute for me to finish so here you go

[pyjamaart]

Year 4 of submitting art for the SiIvaGunner Art Gallery!! >:]

For the fourth time now, I can proudly present my entry for this years SiIvaGunner Birthday Gallery! I had to put up with a lot of obstacles this year, like starting in June when I normally always started in early May, my parents and my brother visiting during the exact time frame I wanted to work on this, a crippling addiction to playing Dragon Quest Monsters and many more.

But as you can see, I really locked in at the end and finished it exactly one day before the deadline (17th June).

Now to explain my vision for this piece: I'll have to admit, since starting my new job in February, I didn't have any time to keep up with the loads of SiIvaGunner rips that are uploaded each day, since I always listened to them at my old workplace while I took care of my mountains of scientific journals. At my new job, I don't have anything to do with journals anymore. I mostly talk to students at the counter all day. Can't really listen to YouTube videos when someone wants something from you every minute. I also do a lot of things related to facility management in between (our library buildings are practically falling apart in some places...), so even when I'm not at the counter, I have way too much stuff to do to listen to rips. Sigh. Sometimes, I miss my old job.........

But I'll try my best to catch up some time in the future. At the very latest in September. My first vacation days in 7 months... Anyway, let's get back to the image at hand:

In the foreground, there's obviously my beloved dynamic duo of besties: Woodman and Nozomi. Woodman has been missing from the channel for 1 and a half years. Please bring him back. I miss my wife, Tails...

For this piece, my theme was centered around my favorite SiIvaGunner joke from the past few months (or has it been years?): The raft ride. I wanted something fun and summer-y, so I decided to put all the characters I drew in cute little sailor outfits. For Woodman, I just drew him in something simple that I thought of myself, which complimented and incorporated his usual armor.

Next we have Nozomi, who dons her outfit from μ's fifth single "Wonderful Rush". I had a few water themed outfits to chose from with her (and Honoka, for that matter), but I chose Wonderful Rush for Nozomi since it just fit with the aesthetic I was going for.

Next to those two is Coraline from the 3DS street pass game "Ultimate Angler", which is also prominently featured on the channel. For her outfit, I just modified her usual attire a little to fit in with the sailor vibe. I also turned her sun visor around because I could for the life of me not figure out how to draw it properly at this angle. Uhhh... I mean, I turned it around because I thought it looked cool.

I hope you can see that I had an absolute breakthrough in Gimp. I think I already talked about it on my Buck fanart, but I finally discovered layer modes. After 4 years of working with Gimp. Spectacular, I know. If you don't notice it here, you'll definitely notice it on the next image in queue for the robot master quest I have going on. I can already spoil you who it's gonna be this time: Tornadoman! I honestly couldn't believe what I was drawing. I think I was possessed by something for a few hours. It was honestly a little scary. But I think you'll see what I mean once you see the actual image, it's really different from the usual stuff I draw.

Getting back to the topic of this picture, let's talk about the background now. I decided to draw a little ship with lots of familiar faces making up the crew.

The ships captain is Honoka, who is standing on the very left of the deck. I took her outfit from μ's single "Heart to Heart!", which also fit into the aquatic theme quite nicely.

Right next to her, under a rainbow flag that's fluttering in the wind above them, is Aquaman. My beloved. Since I drew him into last years birthday gallery image, I decided to do the same this year. I also put a little starfish on his hat because I think it looked cute ;)

Standing epicly and mysteriously on the top of the boat is Meta Knight. I don't know if you can see it when it's zoomed out so far, but he's holding some kind of folded map in his right hand. Maybe they're looking for treasure??

And on the very right of the ship are Tito Dick and Robbie Rotten, reenacting that one famous scene from the Titanic movie.

After that, we shift our focus to the left of the image, where we can see Fluttershy flying over the island from Tomodachi Life.

And that's it for this image folks. I hope I'll finish my Mega Man Fully Charged art before the weekend ends, so stay tuned for that next! And after that, we're going right back to the robot master grind. ;)

Until then, this has been Jenny Pyjamakama, signing off. ;)

[hatterladz]

WOOO Alright thoughts on Chapter 356

Okay I need to start with I can't say I'm surprised but Brute that was low it also hurt to see Fanny debating to go back. I'm glad Mugs comforted her, I'm so glad he told her what she was doing was right for her and that Brute was horrible. It also caught my attention that during that she said "the one good she could do" regarding being a nurse, which is also the first hints towards how she views herself

While on the topic of Mugs something I saw that was really interesting this chapter was it was mentioned awhile back that Mugs has a talent for making people feel his safer or more trustworthy. And honestly we always see other people completely forget about Mugs or in Holly's case she thought he was even better then Cups

But Fanny is the first and ONLY character to go "Mugs is more dangerous". Whereas usually when Mugs slips in the background or he's comforting he's seen as some big soft dope from other people's povs [which I'm now VERY aware is VERY biased] but throughout Fanny's chapter he's depicted as almost menacing. Off-putting. A face you see in the dark window. Yes he still helps, but not ONCE does Fanny see him as a softheart, hell it's even mentioned Vicious sees him in this way by his nickname being "fluffguts"

Which honestly is a view of Mugs I've been waiting to see, one where he isn't seen as soft but instead acknowledged for the quiet lurking danger that he is. The assassin who takes up more of that silent and stoic picture we think of. Where Cup comes off as emotional, a murderer not an assassin, Mugs has never once been depicted that way.

And also lead to my question; Why is Fanny the only one who sees this? Is it because Mugs is upset with her and being protective of his brother? Or because Fanny distrusts most people and therefor is immune? Or does she have a talent that plays into all of this? Now that I think about it she's also quick to be unnerved by Vicious and to think of her as a killer, even though there was no proof for that. Sure we find out Vicious isn't as bad as Fanny was thinking but it's a little on the nose isn't it?

Which also leads to the next menacing Mugs part; him being protective of his brother. Threatening Fanny. Now this is a dark part of Mugs we haven't seen at all. I think the most terrifying part of his threat as a reader; is we actually don't know what direction he's meaning it in. I was already taken off guard by his threats to kill/beat Fanny in the last chapter in Brute's stead. That I'm still not sure if he was lying or not.

And now, he threatens her again. Could it be something light or worse? I was going to say Mugs would never actually do that with everything but I think this is the arc we see Cups and Mugs in different roles. Cups becomes softer and fades into the background of their work while Mugs shows his hand in what he was capable of and steps into the foreground. He doesn't like hurting innocents.

Not once has it been mentioned he feels empathetic to people he feels deserves it. Cups had to hold Mugs back from attacking Brute.

But it's enough about Mugs.

Time to talk about that apology. I agree with Mugs that Cup doesn't get really any apologies from other's. Maybe a few times from Bendy but he gets hit when someone's mad and assuming the worst from him, and he sulks away while they move on not caring what they did to him in the first place. And Fanny being so willing and stubborn about giving him one is honestly extremely endearing.

I also enjoy how Fanny is so confused about Cup forgiving her. It's honestly sad on Fanny's part. But during Cup saying "you make mistakes you apologize" I couldn't help but wonder how vastly different this apology would be if Cup never swallowed his pride to apologize to Holly? How different would this scene be if Cup didn't get around to apologizing first?

I already know Cup forgives easily [he doesn't forget but he CERTAINLY forgives] but would this be a lack of boundary on his part and he'd go back to letting Fanny hurt him? He's not trusting. Would he tell her to leave? Not even give her a chance to apologize and run away and try to forget everything as he usually does? Reject her apology so he could self wallow? It's so hard to tell because at this point none of those seem right yet all of them seem possible

However I have mixed feelings about the ending. I get Fanny's breaking down, she's stressed and trusts Cuphead even if he's upset with her and this DEFINITELY wasn't the time. I've done that before. Where the stress of everything causes me to blurt out things at the wrong time to the wrong people. And hoo boy she is STRESSED

But it's also frustrating to me because the apology should've been about Cuphead not Fanny. Which is what Mugs was trying to point out. Granted Cup would've found out sooner or later either by visiting Fanny again or wondering where his brother keeps running off to. But it still takes away from the moment that was supposed to be about making amends. Being better.

I know this isn't Fanny's intention as it was impulsive. But it's still brings up some concerns. First how Mugman will take it, second about Cup getting involved when, all three parties seem pretty intent on him not being involved. Even if Fanny craves his company and comfort in her time of struggle [again fair] it still seems obvious she doesn't want his involvement.

I also feel that if Cup gets involved everything will get worse then if he left it alone.

Overall good chapter. I have a few more thoughts on things lol but this is long enough as it is

[wessexroyalfamily]

Pictured: (foreground) Crown Princess Elizabeth, Prince Thomas, and Queen Anne II (background) The Earl of Gloucester, and The Duke of Chelsea.

Members of the Royal Family gathered this weekend at Woodstock Palace for the recognition ceremony of His Royal Highness The Prince Edmund David Paul Francis Leopold of Wessex.

Prince Edmund is the second child of Crown Prince William and Crown Princess Elizabeth of Wessex. William additionally has a teenage through his first marriage to, Princess Margaret of Lancaster.

Edmund additionally holds the title of Serene Count of Chester as a paternal member of the House of Synklar, thanks to his grandfather The Earl of Gloucester.

The recognition ceremony is traditionally done a few months after the birth of a new member of the Royal Family. The ceremony dates back to medieval times when the sovereign would publicly recognize potential heirs to the throne.

Each new royal is formally presented by either his/her parents or "sponsors" to the Sovereign and rest of the court and blessed by the Bishop of Winchester. It is during the ceremony that the official title and styles of the child are made public.

Prince Edmund holds the rank and titular privileges as if he was child of the Sovereign. Holding the style of "His Royal Highness" along with the title of "The Prince" and territorial designation "of Wessex" giving all children of the Crown Prince the rank of "son of the Sovereign".

Like the ceremony of his older brothers, Prince Edmund's ceremony took place at Beaumont Chapel, the second most senior Chapel Royal.

Pictured: Crown Princess Elizabeth holding Prince Thomas and Crown Prince William holding Prince Edmund.

Since the recognition ceremony of his older cousins, the ceremony has become less formal at the behest of the Queen's son, Crown Prince William. In attempts to modernize, neither court or formal dress are no longer required, and the access the press once had has greatly diminished. The ceremony has since become a private family affair with only select images released by the royals following the ceremony.

Queen Anne II pictured with her youngest granddaughter Princess Maud of Chelsea and oldest grandson, and second in line, Prince Richard of Wessex

The ceremony marks also the Queen's first official appearance in public, since the funeral of her nephew Andreas von Bedford. The Palace reports that The Queen will remain in the capital until the national Fall Day of Thanks celebrations later this month and once again retreat to Fogmorre Castle after.

Affectionately called Leo by family, Prince Edmund is the youngest of the Queen's and Earl of Gloucester's six grandchildren, yet fourth in the line of succession following his father and two older brothers.

HRH Crown Prince William of Wessex, The Duke of Dorset,

HRH The Prince Richard of Wessex

HRH The Prince Thomas of Wessex

HRH The Prince Edmund of Wessex

HRH The Prince George of Wessex, The Duke of Chelsea

HRH Prince Patrick of Chelsea

HRH Caroline, The Princess Royal

HRH Princess Maud of Chelsea

Pictured: Prince Thomas of Wessex standing next to his mother Crown Princess Elizabeth of Wessex holding Prince Edmund.

Pictured: The Duchess of Chelsea with her eldest daughter Caroline, The Princess Royal

Pictured (left to right): Prince Richard of Wessex ; Crown Prince William of Wessex ; Prince Thomas of Wessex ; Crown Princess Elizabeth of Wessex ; Prince Edmund of Wessex

Pictured Standing (left to right): Prince Richard of Wessex ; Princess Albie, The Duchess of Chelsea ; Prince George, The Duke of Chelsea Pictured Sitting (left to right): Queen Anne II of Wessex ; Crown Prince William of Wessex holding Prince Thomas of Wessex ; Crown Princess Elizabeth of Wessex holding Prince Edmund of Wessex ; Prince Christian, The Earl of Gloucester

[ask-the-becile-boys]

Story. More or Less

Previous | Next

[ID: 8 digitally sketched panels in black, white, and green.]

[Panel 1: Ghost-Scratch and Ghost-Dee conversing, with Dee holding Scratch's shirt in her right hand. As a ghost, Scratch has entirely human features, but he has a line on his face where his cybernetics would usually begin and lines on his neck where he has vents. Scratch, looking panicked, asks Dee, "What's happening?! Am (em-dash) am I dead??" Dee replies calmly, "I hope not, or else I really screwed up by pulling you out."]

[Panel 2: Scratch, disturbed, looks over his shoulder, down at his body. His body has a green aura and is being cradled by The Skull, who appears human with a grey aura. Scratch asks, ""Pulled me out?"" Dee says from off panel, "You got his with a Green Matter (ellipses) something. I guessed if I held you here, away from whatever it's doing to your body (ellipses) maybe it'd buy enough time."]

[Panel 3: Scratch turns back to Dee and lowers his chin, looking up at her with nervous, slight reproach. He says, "(ellipses) You "guessed?"" Dee replies levely, "Seems to be working so far."]

[Panel 4: Scratch looks over at The Skull and Hare, whose heads are partially pictured in the foreground. Dee follows his confused gaze, her expression serious. Scratch says, "Who are these people? Their clothes look like (ellipses) (ellipses) (italics) Oh."]

[Panel 5: Dee's mannequin body, slumped over in the passenger seat. She has no aura of any kind, unlike the others. Scratch asks from off panel, "(ellipses) Dee?" Dee replies from off panel, "More or less."]

[Panel 6: Scratch suddenly leans around Dee, looking alarmed. He says, "(ellipses) The bag! Does Jack still have the (ellipses)"]

[Panel 7: Ghost-Jack sits against the walls of the van, crying miserably. In one hand he clutches the dart that hit Scratch. There is no bag. Scratch says from off panel, "No (ellipses) It's gone (ellipses)"]

[Panel 8: Scratch's gaze drops, looking at nothing as he grits his teeth and begins to cry. Dee puts her hand on his shoulder, expression softening slightly, and says, "(ellipses) Sit down." End ID]

[gothhabiba]

[ID: A sparsely furnished room with white walls and a bare, stark rectangular doorframe with no door. To the left, a wire bedframe with one pillow and no mattress: to the right, a small footstool and a hanging coat rack, from which hangs a world map that's been cut into thin strips so that it falls into the shape of a plastic bag. End ID]

Interior/Exterior Landscape 2010 is a room-sized installation. It contains, among other things, a hair-embroidered pillow which depicts flight routes between the cities most visited by Hatoum, a bag constructed from a cut-out print of a world map hanging from a metal coat rack, and a birdcage housing a single hair ball. Each element offers subtle references to Hatoum’s biography and to the history of surrealism, which Hatoum was introduced to as a child through her study of monographs on the artist René Magritte (1898–1967) and her reading of psychoanalytic writing by Carl Jung and Sigmund Freud, among others. The installation also contains a bare steel-framed bed without a mattress to lie down on, with long strands of hair hanging to the floor below like cobwebs, and a stool. In the corner of the room a chair next to the wall is conjoined with a small wooden desk so that the top of its curved back extends above the surface in a way which echoes Magritte’s illustration for the 1938 publication Dictionnaire abrégé du Surréalisme (Abridged Dictionary of Surrealism). Hatoum also references Marcel Duchamp’s (1887–1968) work Why Not Sneeze, Rose Sélavy? 1921, a birdcage filled with marble ‘sugar’ cubes which reflected Duchamp’s interest in the deception of perception. In Hatoum’s small cage, a hairball replaces the cubes. For Hatoum the use of hair is symbolically rich and has strong connections with memory – the Victorian locket, for example, containing a curl of hair from a loved one being a well-known form of keepsake. Although slightly disturbing, the overall effect of the hairballs is not one of revulsion but rather an uncanny evocation that is both delicate and unsettling.

— Clarrie Wallis, "Mona Hatoum: Interior/Exterior Landscape." The Tate.

[ID: The same room. The foot of the bed appears at the right in the foreground. Further away to the left, a desk and chair. The chair is facing towards the back of the desk but appears to have been pushed forward or upwards through the desk, until its back emerges from the middle of the desk's surface. End ID]

The Tate Modern’s retrospective of Mona Hatoum presents the melancholy autobiography of an exile, and it is not a pretty picture. Filled with sharp edges, electrified fences, and cages, it is overall a portrait of discomfort, and of the ever-present disappointment of a life circumscribed by the perceived denial of a real origin. Born in Lebanon to Palestinian parents, Hatoum found herself shut out of her birth nation when war broke out in 1972 and took up residence in London. In Hatoum’s work, whether there is a place she belongs or whether her home is where she lives is immaterial: the longing is there—it infiltrates every installation, video, document, and work on paper as a sometimes subtle, sometimes glaring inconsistency in otherwise banal and workaday objects and situations.

Interior/Exterior Landscape (2010) is the tenth room in this enfilade of objects, experiences and installations: it stands as a microcosm of the artist’s world. It is sparsely furnished; what furniture there is is largely useless or pain-inducing: a bedspring with no mattress, a chair embedded and trapped in a desk, and a pair of circular coat hangers. The bed and pillow are interwoven with hair, indicating both usage and the residual filth of a prisoner’s cell. Hanging on the wall, like a miniature of the room itself, is an empty birdcage, with a single ball of hair as [its] silent occupant. Hatoum can perhaps be criticized for freighting her objects with heavy-handed significance—the round coat hangers frame a map of the world; everywhere there is one object standing in for another, or an idea—but she crafts her installations in carefully coded phrases that reference the genre of artistic political protest. Iranian-born artist Siah Armajani has long used cage/vitrine-based claustrophobic rooms as a metaphor for exile, as in Glass Room for an Exile (2001 – 02)[,] and Ai Weiwei’s carpentry follies of chairs and tables rendered useless are also immediately called to mind. Hatoum’s spaces are encyclopedic in their description of herself—a well traveled intellectual who finds her voice stifled and her movements restricted.

William Corwin, "ArtSeen: Mona Hatoum." The Brooklyn Rail.

[kogarashi-art]

It's the last previews for Falling Into Darkness!

Important note before I go into some details on the pictures: I will, in general, not be doing this for other fanfics I post. The main reason I did this series of illustrations was as something of a treat for finally crossposting this 10-20-year-old story to my AO3 account. I don't really plan to draw a ton of illustrations for other fics I do.

That being said, I may do occasional images that will be posted with future stories on AO3 (I have a quick one for the first chapter of the next fic I plan on posting, for one), and if I do other fanart, related to a fic or not, I still plan to post art here.

But I'm glad for all the kind comments and everyone enjoying this series of illustrations with me. :D You guys are awesome.

With that, description-stuff (including more behind-the-scenes than usual) below the cut. 'Tis long; be forewarned.

First up, arguably the easiest illustration to do in the whole set. It's a silhouette, so the foreground wasn't really an issue (other than trying to get the edge glow just right, and I still don't think I quite managed but I'm definitely telling myself not to mess with it any further). The background was already painted for the second illustration in the whole set:

I just fixed up the paths and the treetops and added a little lookout stand to the building on the right, now that Sonic and Sally weren't blocking those spots. After all, it's supposed to be the same view anyway, so I figured I'd make it easy on myself and not have to completely repaint the scene.

The second image employs some little cheats here and there. Here's the original sketch from my sketchbook for comparison:

Very loose, lacking detail. Straight lines are more like suggestions. The robots are spiky blobs. I have a literal note next to a stick figure and a hollow shape telling me to get some references. There's the barest hint of the alcoves the robots are standing in.

I didn't show this level of behind-the-scenes off with other illustrations in this series (though I suppose if anyone's ever interested, I could do a process post about how I worked on these), but one of the first things I did with this series of illustrations was sift through the roughly fifty individual sketches I'd drawn to illustrate various parts of the story (not counting redraws of portions), ranging from vague shapes to much more detailed drawings, to narrow it down to the ones I was actually going to finish for this project. I ended up with 27 total images, including the two I'm previewing today, focusing on having at least one but no more than three images per chapter.

Once I'd determined which sketches, like the above, were going to become a finished piece, I then went through each and every one of them in Photoshop with a sketch pencil brush and filled out the sketches to a point where I could reliably ink them. That meant things like swapping out figures that didn't work with redraws of them or making size adjustments, like so:

The first image is the second illustration, and you can see I redid Sonic because his initial pose didn't work. The redraw was actually a pose of him I did to draw his post-Mobianization robotic elements from the end of the story, but the stance was actually good for what I needed, so I Photoshopped it in and then sketched the rest of the replacement drawing digitally. The second image is Sally watching Knuckles walk away, and you can see that I changed her left arm, and also reproportioned her body prior to inking (bigger head, smaller body).

And for pieces like the final one in this illustration series, I sketched in all the details that were missing from the initial sketch (which, as I said, was pretty barebones; in my defense, it was the last one I drew, and by that point I was pretty tired of drawing robot hedgehogs so Sonic was something of a stick figure in most of the last chapters' sketches).

And here's where one of the cheats comes into play. I drew one robot hedgehog. Specifically the one you see the most of, near the tip of Robotnik's cape by the drafting table. I drew it on its own layer in Potoshop, then copied and pasted it into all of the other holding bays, erasing parts that wouldn't be visible as I went along. I also went and found those references I needed for Robotnik and Snively and drew the two of them properly.

And then, because I much prefer physical pen-to-paper inking over digital (my tablet is not one of the fancy screen ones, and I've yet to really get comfortable digitally inking with it, despite owning it for nigh on twenty years), I colored all of the sketches red, assembled them in groups on letter-sized images, and printed them out onto cardstock (my preferred medium when I'm going to be traditionally inking). I inked them with my various inking pens (some Sakura Microns, some Faber-Castell PITT pens), scanned each sheet back into my computer, and cleaned up the lines in Photoshop (the reason for the red printout was to make it a bit smoother removing the sketch from the inked lines, though it wasn't as clean as I would've liked; oh well).

That left us with the above. Because I inked them each by hand individually, the robots don't look copy-pasted, because it was the underlying sketch that had been, not the ink work. The tables and holding bays also have straighter lines thanks to using a proper ruler for those (though I didn't concern myself too much with things like perspective and right angles), and after drawing the straight line, I went back freehand over spots to give them a bit of that hand-inked wobble.

From there it was a matter of laying down the flats in Photoshop, then shading, adding effects, etc. I like the cold yellow light I've got on the robots, and the overall shading on the yellow cape. Also that sense of satisfaction when I called this one done, because it was the last one. Huzzah.

I'll see you on Monday for the last chapter!

[cories-in-the-house]

Meet the Cories:

ID: Four small albino fish resting on the bed of black sand. There are two in the foreground, facing the two fish in the far back of the fish tank, who are blending in with pale white rocks.

(BACK) Garlic, Crouton. (FRONT) Sesame, Dumpling.

Dumpling is the biggest, plumpest cory. She is the easiest to tell apart from the rest of the gang, due to how much bigger she is and her round, paddle-shaped fins. Dumpling dominates all.

Sesame is the next easiest for me to tell apart from everyone else. He is the smallest of the gang, and can most often be found right now following Dumpling around (demonstrated in picture above). Sesame has a hell of a dorsal fin and a slightly longer snoot than I’ve seen from the others.

Garlic and Crouton have not been differentiated yet. They’re about the same size and are always following each other around, so I’ll have to keep observing them to see which spots they claim most often. It’s only Day 2 anyway!

After they’ve settled in I hope to get two more albino cories to meet the suggested minimum amount for a small school of six. I started with four since I haven’t owned fish in a long time and especially not cories, I just want to see if anything goes awry. In the near future I also hope to add three to four black or purple kuhli loaches named after ‘70s and ‘80s detectives. I also thought about adding a betta, but I’m debating if I want to have an emergency betta tank ready in case the betta bullies the bottom feeders. Both male and female individuals have the potential to bully other community fish, some are just particularly aggressive.

[sapphic-outlaw]

Part 2/2 Of course, Charles looks amazing on Johnny. My main focus was him for the photos, but I'll definitely get more eventually. For being a video game character, he's really just… stupidly naturally photogenic. So I nabbed some pics and opted to get on Taima for the time being because, why not? Nah, that actually isn't how it went down. It was more like Me: *gets on Taima and takes off* Charles: Aren't you gonna take Johnny back? Me: Huh? Oh shit I forgot Charles: It's fine, I wanna keep riding him, he looks cool. Have you thought about putting feathers on Taima? We had a little exchange on that as we continued (whether or not Charles would, wishing that he had because it would be cute as hell, telling him how I desperately wish that Charles' feathers were an object in game, then went on to complain about how unfair it is that the Charles outfit in RDO has the necklace properly colored on men but not on women. There might be a cultural reason for that though, I'm not sure). Oh, and Johnny broke a sign with his face. Anyway, next you're gonna see a pic with a sign in the foreground, and I took that for one reason and one reason only; because the text glitched out lol. I think it's supposed to say race series? But it caught my eye regardless. I didn't realize that the text was dynamic. Went through that enclosed bridge a few times for pics, but Charles was having a hard time keeping up because of the slowmo, so I picked a few that I liked after like 4 rounds back and forth and we moved on our merry way. At this point we were getting snacky too, I had made some chip dip and neither of us had started to eat it, and it smelled soooo good. But I was WAY too distracted lol. And I think Charles felt like he had to be polite, but the second I realized what was happening and gave him the go ahead, he ate 3/4 of my damn chips before I even had one. Mean lmfao. Shortly after moving on from that bridge we hit a moonshiner free roam event, and I wanted to ignore it, but Charles was itching to fight. Turns out he's not a great shot lmao (relatable) and Charles (the character) also just doesn't really look that hot when shooting. I mean, he always looks hot, but he makes silly faces. Guess we can't all be sexy when we're being shot by 30 men lol. I managed to nab a few good screenies before I decided to help him out. One thing that really amazed me is Johnny and Taima; they were SO CALM the entire time. I took these pics by putting Blair (my character) in a scenario and then used my free cam to get up in Charles' face without getting shot by him, so right before I stopped I pulled the cam back so I could snag a pic of just how chill Johnny and Taima were (sorry Charles lol). Even Johnny, who tends to get a bit antsy with shooting going on if someone's on his back, was still as stone. Taima is generally bombproof anyway, but the fact that I wasn't even there to help her chill out made it all the more impressive that she just… didn't care. That's about all the interesting stuff that happened! We started our trail ride at 2:10 AM and I'm wrapping up writing this at about 6:20 AM. I took 485 pictures, didn't edit any yet, nor did I go through the clips, but Charles is passed the fuck out and his snoring is making me tired as all hell, so I guess that means it's time for me to get some rest too lmao. I mostly wrote this for the memories, but if you read this far, I hope you enjoyed!!