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justsalpals · 7 months

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So Izzy still gets shot in the escape, but he hides it better so no one comes to help him run. When everyone else pulls ahead, he collapses.

(Maybe his leg genuinely gave out. Maybe he was using all his strength to stay upright while the crew could still see, and once they couldn't he didn't see the point. Maybe he knew he wasn't making it out alive, thought that this might at least slow them down to help his crew escape.)

Then Izzy is captured by the navy.

They could kill him of course, but... well wouldn't that be a shame? One of the greats, executed like a dog with no one to appreciate it? No, no, Ricky likes a spectacle. Get him in a cell somewhere, patch him up with the best medical service a minor prince has to offer. Get him in tip top shape, perfect physical health.

And then they'll hang him. In front of a crowd, where everyone can see that Richard Banes was the one to take down the great Israel Hands.

Maybe the level of showmanship was uncalled for given how many more dangerous or famous pirates were out there to use for his point, but Ricky simply can't help himself. Hands was always one of his favorites.

And he just can't get that talk at Jackie's out of his head. A shame Izzy hadn't actually managed to escape, because Ricky rather likes the idea of a nemesis to chase across the seven seas. Ah, well.

So Izzy is kept locked up as he heals, and he's pissed.

It's got it all. Dirty jabs. Antagonistic flirting. Getting to know each other. Izzy can do that thing he loves in his cell, where he's already standing in the shadows when someone walks in so he can say something dramatic, and Ricky eats that shit up. One time Ricky asks what happened to his leg, since that wasn't in anything he read, and Izzy claims he got mauled by a jungle cat.

And slowly Izzy starts to get better, and every day Ricky starts to dread it more. Because somewhere along the line he started to look forward to their talks, and Izzy healing means he's one step closer every day to his hanging.

whoops sorry, I still like ricky. what can I say? drink calling cards! bombs hidden in clocks! this man has flair. branding. drama. we love it.

#our flag means death #ofmd spoilers #izzy hands #richard banes #prince ricky #princehands #clockhands

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mousai-aesthetics · 2 years

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The Archer’s 1000 Picspam —> 242: Mister Monday

On the first day, there was mystery...

Keys to the Kingdom series

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mawvax · 11 months

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MACEGHOST COMIC PART 1/4

part 1 | part 2 | part 3 | part 4

The hour hand that never moves The minute hand that always leaves

#my art #maceghost #mace x ghost #mace #ghost #cod mw2 #call of duty #clockhands comic

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fyodorkitkat · 8 months

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What if that last scene was Fukuchi after becoming a singularity with amenogozen...

#thats why his feet look like clockhands #bsd spoilers #bsd season 5 #bsd theories #bsd #bsd fukuchi

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staryarn · 2 months

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Hugging Dante would probably mean that their clockhands press into your face. This is a positive however. Also the technique would be lacking, with a bit of shifting, but is made up for by the enthusiasm that would naturally occur if Dante would wish to hug an individual.

That's if you hug dante directly and are just as tall as they are. Tbh I was assuming head on shoulder type of hug but the idea of dante pressing their clock hands directly into your face is so much funnier

#hugging the manager going this too is yuri #Dante hugs you the dame way someone hugs a plushie when going to sleep #not toothpaste squeezing enough but a good tight hug #asks #anon #ill be real the answer that comes ro my head with the thought of 'clockhands into your face is' oh ok. sloppy kissing got it #but thats a me thing. who said that

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thesherrinfordfacility · 5 months

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timeline rundown

tbh this is mainly just for my reference and i will probably come back to it at a later date; a lot of other much cleverer people are spotting some scenes that appear to be out of order, and before deep-diving into scrutinising each scene and frame, i decided to (for the first run, anyway - im sure others have gotten much further ahead, but i personally like to do my own research) just go with a surface-level, basic approach of looking for time indicators.

edit 02/01: additions!!!✨

couple of notes:

this is initially going with the assumption that no fuckery is going on, and only highlights where things appear to be consistent or inconsistent

on the clockhands, and which way round to read them, this caused me no end of headache. for example, reading the ornate hand as the hour makes ep6 sensical, but then makes ep1 gibberish (and vice versa). so, im doing both! and colour coding them!

blue: ornate hand is the hour, other hand is the minute

orange: ornate hand is the minute, other hand is the hour

green: a timestamp that isn't shown by the clock, or has been surmised/hypothesised.

you can make your own conclusion as to which reads make the most sense, but i'll be adding commentary anyway!!!✨

episode 1:

aziraphale gets maggie's letter: the only thing we know is that the bookshop is closed which, given aziraphale's stunning opening hours policy, doesn't mean a whole lot but for the most part, he seems on average to open the shop between 9.30-10am, and close at 3.30pm

shostakovich: aziraphale gets the records and heads off to listen to them, saying that he will be doing so for the next 21 minutes. i know there have been theories out there stemming from mismatched serial number on the record - but for my money, the explanation is a bit more watsonian than that; that aziraphale has a certain amount of free time to chill out to some music before something else happens (ie., to me, before crowley arrives to the shop). therefore, i would say that it logically follows that the previous scene, and this one, is late afternoon after the shop closes.

crowley in st james' park: as the camera sweeps past buckingham palace, you can hear bell chimes in the background, likely posed as coming from big ben. it starts with the cambridge chimes melody, falls silent, and then rings the number of tolls for the hour. when the agent joins crowley on the bench, i can hear a count of five tolls, for 5pm. example of the 5pm toll here.

gabriel/jim arrives: when aziraphale pauses the record, it appears to be 4.20pm.

when jim is handed the hot chocolate, the main bookshop clock reads as 5.20pm, or 4.25pm. seems odd that there would be such a gap for the former, (albeit plausible given that aziraphale gets jim settled and fitted with a blanket etc.), but the latter is more likely.

- capture of the two preceding timestamps

shax and crowley again: crowley's phone reads as 10.35am which, needless to say, does not fit in the above and below timeline at all.

jim and aziraphale conversation continues: the main bookshop clock reads as 6.20pm, or 4.30pm. again, given that aziraphale immediately looks in the box after retrieving it from outside, makes the latter more likely. it also makes sense taking into account the following hypothesised timestamps.

aziraphale calls crowley: not time-stamped, but crowley notes that he is 'two minutes' away when aziraphale calls. jim doesn't appear to have moved, so presumably the call is made soon after the last scene, and when they are both in the café, it still seems to be fully open and running. if we accept that the start of ep1 is most likely around 4pm, and the aziraphale/jim conversation wraps up around 4.30pm-ish, this would make sense - that crowley arrives to the café around 4.40pm. they then obviously leave, and it cuts to:

maggie gives nina the record: same as the above; maggie remarks that she wants a little something "for the end of the day", and nina says she has to finish closing up. nina has cleared away the dishes from the boys' table, the café is has just emptied, and nina's colleague is getting ready to leave. if we treat this scene as concurrent with the "ah! gabriel!" scene, probably around 4.45pm.

crowley lightning strike: maggie is chucking away her tea bag, and nina is upending chairs. if we say that the "ah! gabriel!" and "so did i!" scenes together take maybe 5-10 minutes in-universe, could hazard that the lightning strike is around 4.50pm - 4.55pm.

interlude, where we then return to crowley getting back to his bentley, and it's nighttime. then gets abducted by beelzebub, before squealing off at 110mph+ back to the bookshop. there isn't a timestamp until:

from @katalina27ua (thank you!), crowley restores power: nina's phone reads as 9:02. this would suggest the morning, but i would suggest that given phones can be set to either the 12- or 24-hour clock, and coupled with darkness and emptiness outside, it's 9:02pm.

the dance: the main bookshop clock reads 1.45am, or 9.05pm.

episode 2:

"what comes after 'K'?": when aziraphale gets startled by jim, the main bookshop clock reads as around 6.53am, or 10.35am.

archangels arrive: the main bookshop clock reads as 09.55am, or 11.45am.

aziraphale starts playing the record: as has been pointed out by @canarybell, this scene is so clearly cut in half from the muriel-arrival scene* in ep3. possibly for timing issues, but still out of sequence of the above; im very tentatively putting the time of the main bookshop clock as somewhere around 11.40am or 8am... only the former could work in the ep2 timeline, but again, it is reasonably certain that this is cut from the beginning of ep3 where, in the context of that scene, it is most likely 8am*, and this scene's place in ep2 is just a continuity issue/post-filming to make up timings.

dirty donkey: no time-stamp, but going on face value of how packed the pub is, seems to be at least mid-late afternoon, or post-lunch weekend. im erring towards the former - that people have come in post-work, and it's somewhere around 3.30pm onwards.

jim remembers: the above makes sense with this scene in context, as the main bookshop clock reads 5.20pm or 4.28pm.

post-job flashback: when we return to aziraphale in modern day, and he calls for crowley, the main bookshop clock reads as 6.30pm.

crowley/nina conversation: the record store is still be open in this scene, which would be odd for 6.30pm onwards, albeit not impossible. the café is definitely closed (it's empty and you can see chairs on tables), and nina is only just leaving/finishing up the close. in which case, it makes sense that aziraphale dozed off for a couple of hours, crowley to have wandered off, and nina to have closed up (if her café closing time is, say, 6pm). so, im going with this being around 6.30pm also.

episode 3:

note: i miss out a fair few scenes in this episode and ep4, because a lot is so flimsy in the speculation. with scenes in the bookshop, we can help gauge time with the shops/crowds around it etc, but in ep3 - eg. when aziraphale is in the bentley - i don't think i have enough surrounding data to make a reliable estimate on when it is... so essentially, im just going on what timestamps we do have.

returning to *the muriel arrival scene from ep2: if we accept that this is meant to be joined with the ep2 scene, the main bookshop clock reads as, most likely, 8am (but reminder: could also be 11.40am) when he sits down to start going through the articles and drawn gabriel, which seems to take some time (given the next timestamp):

however, when muriel turns up at the door, and aziraphale pauses the record, the clock reads as what i think is 7.50am or 9.35am (quality is such that i can't quite tell which hand is which, but i think it's this way round). i think, however, given the continuation of the scene, the latter is the most likely:

cupperty: when aziraphale enters the main room with the teacups, the main bookshop clocks reads as 9.50am.

crowley enters: clock still reading as 9.50am.

- capture of all three preceding timestamps

a hefty jump forward to the gravity conversation: the main bookshop clock reads as 6.17pm, or 3.30pm.

another jump forward, when aziraphale gets to the graveyard, and borrows the phone: clock on the phone reads as 5.30pm.

crowley picks up the call: the main bookshop clock shows as around 5.25pm - 5.28pm - so a couple of minutes' difference, but still fairly reliable.

episode 4:

frankly this episode is anyone's guess, given that there's only two main scenes in modern day. but to start, aziraphale is obviously driving back during the night, so possibly late evening/very early morning. he says that he is late, and so presumably he was meant to get back to london before nightfall/at least, before its very late in the evening.

aziraphale parks up: nina's phone in the café reads as 6.47am. this is supported by the background crashing sounds; with lots of restaurants around, likely bin lorries emptying the bottlebanks/bins.

episode 5:

the opening, when aziraphale leaves to go invite the other shopkeepers, shows that the bookshop is closed but the café and marguerite's is open; the former doesn't really mean jack shit, but i reckon marguerite's is likely to be a lunch/dinner joint. so, with that in mind, likely to be sometime in the afternoon.

crowley has his 'oh' moment, and whistles aziraphale over: we obviously don't know how long crowley has been sat there, but long enough that the patrons have swapped over - so let's say maybe an hour, and again still likely afternoon.

crowley then leaves to go confront gabriel, and aziraphale presumably follows up behind him shortly after. when crowley returns downstairs, and aziraphale is sprucing up the shop: quality is once again dogshite so i can't be sure which way round the hands are, but fairly certain the main bookshop clock reads as 12.30pm or 6pm. the latter seems the most likely, given the following scenes/dialogue:

aziraphale sends out crowley to find nina and maggie, and make sure "they are on their way" - it indicates that the party, set to start at 6.30pm, is soon. rightly enough, crowley pops round to the record store and it's closed, but maggie is inside - and nina has closed up the café and set to leave also.

mrs sandwich and then mr brown arrive: the main bookshop clock reads as around 6.20pm - 6.30pm, but we then don't get a clear shot of the clock for the rest of the episode. we know it suddenly gets really dark as soon as nina flies into the bookshop, but given the demon raid going on outside it's not really a reliable indicator of time.

so up until now, ive been pretty certain that the orange timestamps are the more correct, as they seem to flow the most with the general in-universe happenings of the story, and correlate most with the external green timestamps of the eps. however, ep6 goes very screwy in this respect, and it seems that the blue timestamps suddenly become the more accurate.

episode 6:

demons enter, attack, and the bookcase falls/maggie and nina hold them off with fire extinguishers: the main bookshop clock reads as 2.30am or 6.12am.

crowley comes back from heaven, and the demons arrive: the main bookshop clock reads as 6.02am or 12.30am/pm.

just before the gabriel/beelzebub flashbacks: the clock still reads as just gone past 6am or 12.30am/pm.

gabriel returns: the main bookshop clock, over maggie's shoulder, is out of focus so i can't quite see which way round the hands are, but i think reads as either 7am or 8am, or 11.37am, just before they're ushered out by crowley. either one of the two blue timestamps seems the most likely.

crowley drops off nina and maggie: nina remarks that she should have been open "half an hour ago", which if she normally turns up to open up the shop anywhere between 6.30am - 7am (as per her phone from the end of ep4 - 6.47am), makes 8am more likely - that she turns up at around 6.45am, ready to open at 7.30am.

angels and demons arguing: the main bookshop clock reads, just behind dagon's head, as approximately 08.25am or 4.40am/pm.

michael threatens aziraphale, and metatron arrives: the main bookshop clocks reads as 8am (9am?) or 12.43pm.

"extremely alcoholic breakfast at the ritz": reliably informs, for the avoidance of any doubt, that this scene is in the morning. indeed, when crowley gets out of the armchair, the clock shows again that its around 09.02am, or 12.45pm.

crowley tidies up the bookshop: the main bookshop clocks reads as 09.23am, or 4.47am/pm.

"id better start talking": the main bookshop clock reads as 09.25am or 5.45am/pm. it remains this time for the whole first half of the feral domestic, right up until the kiss.

crowley leaves, and metatron returns: the main bookshop clock now reads as approximately 09.40am or 8.47am. we are shown the scene in pretty close, tight-knit order, with no conceivable gaps in the scene where 20 minutes could have gone missing.

aziraphale leaves the bookshop: the clock remains at 09.40am or 08.47am

again from @katalina27ua! crowley at the bentley: the time on his watch reads as, at least (from what i can tell at the quality i have), within the ninth hour. however, the linked promo shot shows clearer - if we accept this to be taken directly from live filming etc - that the clockface reads ~09:15am. edit 03/01: however, there is a different promo photo where it appears that the minute hand is pointing just between the 4-5, reading at 09:25am (i have hit the photo limit but will add to the rb!)

so. couple of things to talk about here.

for the most part between eps 1-5, the clock has been pretty consistent with not only keeping track of time as scenes have developed etc., but also matching up with other instances of where a timestamp is given to us outside of the bookshop. with that in mind, it is highly likely that the clock is a reliable source of marking the in-narrative time of the story. this, for me, is evident with the orange timestamps - where the ornate hand is the minute hand, and other marks minutes.

however, when we hit ep6, it goes to shit. the orange timestamps (providing that ive tracked this all correctly - but error on my part is a very high possibility, i couldn't be bothered to go get pen and paper) suddenly go screwy, and it's the blue ones that make more sense.

we'll revisit that second point in a minute, but returning to the first point - this tells me a crucial thing (imo). first, that the clock can be accepted as the constant in the equation upon which to compare the variables. therefore, for example, crowley's bell tolls in st james' park, and his phone clock, are immediately apparent as 'out of sequence'. the same goes for the part in ep2 where aziraphale starts drawing gabriel - this of course could just be down to a non/extra-diegetic we-need-to-cut-ep3-but-plump-out-ep2 reason (and i think that's probably the case), but crowley's phone is so purposefully and blatantly (and arguably needlessly - could have just answered straightaway and achieved the same result) displayed with the 'wrong' time, that it doesn't feel accidental.

so if the timeline more likely follows the orange, why does it go completely bonkers in ep6, and instead start to follow the blue? god knows, i really don't have much of an answer beyond the "freaky-deaky time shit is going on", and maybe "the demon incursion/crowley going to heaven/the angel and demon stand-off/unreliable narratorship all round might be something to do with it." but to my mind, it is the blue timeline that suddenly makes narrative sense - it's likely morning, crowley supports this with "breakfast at the ritz", etc.

similarly, what is interesting to note is that despite neil's answer that the 20-minute skip during the kiss was a continuity error (and i will say, full disclaimer - perfectly prepared to still accept this as the truth), the crew/team seem to have been fairly hot on keeping the clock otherwise within continuity for the whole show. for a scene of this magnitude, where they know it's going to be emotionally upheaving for fans, leaving them gasping for an Explanation for how it all went down, and therefore scrutinise it for every little detail? sorry, im personally not buying that it wasn't deliberate... will probably end up eating my words, but there we are.

my brain has melted out of my ears trying to wrap my head around this, but i'll probably come back to it at some point with, no doubt, some corrections - and some further thoughts✨

#good omens #honestly where there are errors just pls pretend you didnt see them. writing this has aged me by at least a decade

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exitwound · 14 days

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11:59 - wake. 1.5 hours - listen to music trying to remain conscious, music hurts, check apps, listen to more music, pee, get back in bed, overcome by exhaustion, take meds, put in contacts, strip pajamas and turn on the shower and stand shivering beside it, decide against getting in, turn off shower, remain calm while buried in ten thousand tons of setting concrete, get back in bed, keep eyes open, three deep breaths, keep eyes open, get out of bed, get dressed. 0.5 hours - breakfast. 1 hour - read something already read (dictée). 0.5 hours - take a walk in the rain. 1 hours - make lentil soup. 0.5 hours - pack things for performance. 0.5 hours - transit to theatre. 6:00 - call time. 6:15 - warm up. 6:45 - pre-show notes. 7:00 - makeup, hair. 7:30 - self warm up again, then lying on the floor in the lightless empty dressing room and breathing. ? unknown time - dance! 9:00 - transit home. 9:30 - lentil soup. 10:00 - cry inexplicably,then enter the world of signs and that which is ineffectively signified, transition into dreams. 11:00 - shower. 11:30 - cry, then unknown activities. time passes with neither cause nor effect. i think there is a phone in my hand, something stuck in my eyes, i was reading about lamotrigine and a woman misdiagnosed with severe progressive alzheimer’s who was said to be unable to draw a clock but it was very clearly a clock, only she had indicated that it was every clock at once, at every time, simultaneously, as represented by an infinite number of clockhands, they stopped her lamotrigine and she made a complete recovery, but her clocks were worse, back to normal, more like careless, obvious symbols than the real thing. 3:00 - talenti chocolate gelato treat and read (james tate selected poems.) 4:30am - sleep.

#i stopped participating in school i haven’t done homework in days and i feel so much better i feel so so much better #z

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autisticlancemcclain · 10 months

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prev chapter

———

“I’m not going to fucking dinner with him.”

Hunk balks. “You’re – uh, pardon?”

“I refuse to sit down and do something civil with that jackass,” Lance repeats. “I would genuinely and truly rather swallow glass.”

“You could swallow food,” Hunk points out. “I used to work with the head cook. He’s an oven now, but I have on good authority that he can still make literally anything, and no one makes food like him.”

Choosing to ignore the statement about the cook and the oven, because what the fuck, Lance stands and starts ruffling around the small room he’s taken refuge in. It does indeed look like servant’s quarters, small and homely, but it’s well-made; sturdier than anything Lance has ever been in before. The walls are beautifully smooth plaster, and the floor is polished wood. The bed is creaky from age but in no danger of cracking or falling. The quilt is old, but not too worn, clearly stitched by someone who knows their way around a sewing needle. The entire right-most corner of the room is a window, dark now with either the newly settled night or years of grime, but the craftsmanship of the window and its frame are clearly evident. There’s even a ledge just barely wide enough to sit on at the base of it.

It’s no giant room with a canopy bed and more windows than walls, but…well. Lance was half-convinced he’d be bound in a tower or outcasted to the stables, so he’ll take it.

“Colleen brought that little almond cake thing –”

“Financiers.”

“– with the tea, so I should be fine for the next four days.”

Hunk raises an eyebrow. Or, well, part of the decorative wood top of him moves. Whatever. It looks like an eyebrow, Lance is calling it an eyebrow.

“That was one single tiny cake the size of a child’s fist. And it took you what, a whole day to get here? There’s no possible way you’re not hungry, and you’re certainly not going four days without food.”

“I didn’t say I wasn’t hungry. I just said I’m not eating with His Royal Headass.”

For several moments Hunk says nothing, just stares with his eyes narrowed, scrutinizing him. Lance is used to this look, and the long sigh and “what am I going to do with you” that follows it, and as such is entirely unphased, holding eye contact with his hands crossed stubbornly across his chest.

But Hunk doesn’t do that. Instead he opens the doors on his chest, revealing several shelves on one side and a rack on the other, all filled with beautiful, rich fabrics. Lance can’t conceal the sharp inhale of intrigue, and Hunk’s smirk promises it does not go unnoticed.

“Come on,” he cajoles, shimmying a little so the fancy clothes sway. “Even if you don’t like the prince now, you might learn to tolerate him. Besides, you get food and to dress up. Who cares about the company?”

A knock interrupts Lance’s response. A moment later the heavy wooden door pushes open, and Adam pokes his head in, clockhands twitching.

“Dinner is served,” he says pleasantly. Lance notices that his voice is strained.

“I’m good,” Lance says. “Tell Prince Hairball to enjoy himself.”

Hunk makes a strangled noise, and Lance gets the distinct feeling that if he had hands he would be cradling his head in them.

“But – you must – you’re meant to attend,” Adam stammers.

Lance feels kind of bad for putting him on the spot like this, but not bad enough to actually go and force himself to sit through what he knows will either be the most agonizingly awkward meal of his life or a dramatic screamfest, so he shakes his head and turns away.

The door’s gentle click shut follows Adam’s hops out of the room, and then the room descends into silence. Very suddenly, Lance feels the urge to cry again rise up in his throat, but luckily he manages to shove it down, turning to sit by the window instead. The only thing he can see out of the dark glass is his own reflection, but he stares through it, imagining that just outside the window is his town, with its well-loved storefronts and stalls in the square, the overtrodden stone paths, the rolling hills of farmland, and most importantly their crumbling brick house. He imagines that he can hear the creak of the waterpump as the twins gather the jugs of water for the day, the gentle mooing of Kaltenecker in response to Blue and Red’s neighs, the clank of his mother in the kitchen, the grunts of his brothers and father working out in the fields. They’ll all be asleep now, long asleep, but he pretends anyway.

“What?!”

Lance startles at the booming yell that rings through the castle, bouncing and echoing off the stone walls.

“Oh, here we go,” mutters Hunk.

Seconds later, the walls start to shake ever so slightly, accompanied by the sound of pounding footsteps and sharp claws scratching the polished floors. Quieter but no less frantic are the clank and hops of something trying desperately to keep up.

Lance grits his teeth when the stomping finally reaches his door, and a great fist pounds on the wood.

“You were told to come to dinner!” roars a voice.

Lance doesn’t even bother entertaining the demand with an answer.

“Try asking gently,” urges another voice, muffled in a whisper. “Maybe you’ll be surprised.”

“He doesn’t deserve gently.” The words are so low and growly that they’re barely intelligible. “He waltzed into this place with an attitude. Why do I have to be the gentle one?”

A third voice snorts. “Believe me, you won’t be.”

Straining his ears, Lance hears a deep, carefully controlled breath. He can feel Prince Keith’s tension from through the door.

He smirks. The satisfaction of his fuming is more filling than a proper meal, honestly.

“Would you please,” Prince Keith grits out, measured, “come to dinner.”

Lance opens his mouth. Hunk looks at him sharply, a very clear warning, so Lance pauses, rolling his eyes and reevaluating.

“No, thank you,” he says as politely as he can physically manage.

“You’re coming to fucking dinner!” Keith roars. “Come out or I’ll – I’ll break the door down!”

“For fuck’s sake, Keith,” Shiro says sharply. “You’re supposed to live with him for the rest of your life. Can you try to avoid traumatising him?”

“Not traumatised,” Lance calls out helpfully. “Also not coming.”

Keith’s cut off-shout of frustration is, honestly, almost enough to make Lance want to open the door, just to see if his eye is twitching.

"You can't stay in there forever."

"I can, actually."

He can’t remember ever feeling this much pleasure in pissing someone off before. He tends to swallow things down to avoid making things worse for himself, at least until he can slip off with Blue and take his frustrations out with his bow. But there are no real consequences for his smart mouth, here. Sure, Keith will scream and shout and make threats, but Lance has carefully watched the way Shiro and Adam coral him. He’s heard news of every other fiancé leaving after two months. They need someone, for whatever reason, and as things are looking, Lance is their only option, as subpar and bottom-barrel as he may be.

There’s a strangled sound from beyond the door, and Lance imagines the prince with his head in his hands, desperately trying to calm himself down.

“It would give me great pleasure if you would kindly come downstairs and join me for dinner.”

There’s a pause, and then the distinct sound of someone getting smacked in the back of the head.

“...Please.”

Lance pauses, considering.

“No.”

For as much fun as he was having, he still jumps out of his skin when both Keith’s fists pound on the door as he roars again, a louder sound than Lance has ever heard, and gouges his claws through the wood so deeply that Lance can see the shining pointed edge of them.

“Fine!” His claws rip out of the door and there’s a sweeping sound, as if his heavy cloak brushes harshly along the floor as he whips around. “If he doesn’t eat with me, he doesn’t eat at all!”

He stomps off, slamming several things to the floor in his wake, shaking the foundations of the castle with his rage until he gets far enough away that his tantrum finally fades into silence. Lance scowls when he realises his hands are shaking and clenches them into fists, shoving them deeply into his pockets.

"You know, he might not be that bad if you get to know him."

"Fuck that. I don't want to get to know him."

"Maybe if –"

“I don’t want to talk about it,” he says harshly upon Hunk’s look.

“I wasn’t going to ask you too,” Hunk says quietly. “I don’t –" He sighs. "I know this can’t be easy.”

Lance feels guilty immediately. “Oh.” Hunk is the only person in his life, besides maybe Veronica if sisters can count, who has called himself his friend, and here Lance is, making life harder for him. Fuck. “Sorry.”

“Sit down, you walking disaster,” Hunk says fondly. “I have literally never seen him get that mad, and I knew him when we were kids. You are talented. Here.” A ball of yarn flies out of one of the drawers on Hunk’s side, nailing Lance in the face.

“Hey!”

Hunk smirks. “Come get the needles or I’ll launch those, too.”

He’s pretty sure Hunk is joking, but on the off chance he isn’t, he rushes to the drawer and grabs the needles himself before sitting back on the bed. He feels all the ugly feelings – the rage, the sick satisfaction, the confusion, the homesickness, the ache – start to melt away with the familiar smoothness of the wooden needles in his hands, the weight of the heavy wool. He has no idea how Hunk has figured out his affinity for the craft – most men don't bother with it, he knows – but he’s grateful regardless.

He falls into the rhythm of the stitches. He has no idea what he’s going to make yet, but right now he just needs to do something familiar. If he hates it, he can just undo the stitches and restart. It’s not like he has anywhere else to be.

Halfway through the skein, his stomach rumbles loud enough to echo through the room. He ignores it, because he made a very stubborn point and he intends to stick to it, but after the sixth time it happens in as many minutes, he concedes to the point that the stubborn point he point may have been, if he considers all possible angles, a poor one.

He clears his throat. “So, uh, you said you had a friend who was an oven?”

Hunk snorts. “Yes, you bullhead. Head down the hallway, turn left twice and right once, it’ll lead you to the staff entrance of the kitchen. Colleen should be attempting to wrangle Katie to bed, but other than that everyone should be available to help you out.”

Quickly setting down his knitting, Lance heads for the door.

“Wait, Lance.” Hunk’s face is very still when Lance turns back to face him, something serious in his eyes. “Don’t veer off from the path I told you, okay?”

“Why?”

“Just – don’t do it, Lance. I don’t want you to end up in the west wing, or things are going to get bad in here.”

If Lance is being entirely honest, he has no desire to deviate from Hunk’s directions. At least he didn’t. If Hunk hadn’t said anything, it probably wouldn’t have even occurred to Lance to go to the west wing anyway. This is the second time he has been warned away from the west wing, now. If Lance was curious before, he’s burning with it now.

But Hunk is his friend, and he’s doing him a favour, so he bites his tongue and nods his head and walks down the way Hunk instructed him too. It helps that he’s ravenous, and is more focused on food than anything.

But he won’t lie and say that he doesn’t have to force himself away from dark hallways and beckoning shadows.

———

next chapter

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mla0 · 1 month

Text

another mla0 hill i'll die on is not getting why people take habit at its word and think the whole "michael had a meat shield and threw stormy / would throw shaun into the fire to save himself" is true. it doesn't add up to me, and habit had something to gain from getting shaun to turn on her brother (the clockhand and michael's location.) also, if the meat shield thing was true, why would michael purposefully chase someone like eric away? wouldn't he have been perfect cannon fodder? also why would michael straight up disappear for months when shaun and stormy were staying together- doesn't that kinda contradict the whole supposed goal of surrounding himself with others?

like cmonnnn habit was totally talking out of its ass. the thing is always just saying shit !!!

#og #mlandersen0 #mla0 #slenderverse #nothing makes me happier than knowing that shaun very clearly did not buy this shit and didnt answer habits questions in goodbye #she may be stupid but she aint THAT stupid ok. ok

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konjkitkatty · 30 days

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Hey, just wanted to tell you that I absolutely ADORE Boros, I love their design and The God of Time's crown being a clock is genius.

oh BOY im so glad- lore yap session incoming!

yknow i was rlly worried abt the reaction Boros would get when i finally finished him. I knew for a while i wanted to do smthn with a time deity in COTL but i’d never seen any fanmade bishop ocs up until mine and I wasn’t sure if that was like- some sort of unspoken bridge i wasn’t supposed to cross. Yea, gods existed before the bishops, but the bishops r the last of them, there’s a whole prophecy, I wasn’t sure if it was like… yknow… ALLOWED. The lack of seeing other ocs like him also meant i had veryyyy little references to draw inspo from… like, thank GOD for my mutuals otherwise Boros would just b snake Heket 🤧

The clock was a completely out of nowhere idea to make their crown more unique, since without the clockhand pupil the Orange Crown is… well….. kinda just the Blue Crown with a few extra sides. Plus, I wanted to make it more unique- like the Purple and Yellow Crowns!

It was revealed to me in a maladaptive daydream- the sound of time ticking away following the god wherever they may go, a permanent reminder of how the noise of marching seconds never truly ends nestled safely atop their head. It, the journey, the flow of a river neverending, the sand carried away by eternal winds, ever so present yet always fleeting. Death, the inevitable end, the long drop, the only escape from time’s eternal dance for mortals and gods alike. But what is death without time? What is time without death? What are either without a beginning?

Plus, like, yknow, it looks rlly cool…

Yap session over. Either way, i’m VERY satisfied w Boros AND the Orange Crown and i’m happy to know everyone else seems to be as well!

#ramblings of a kitkat #wow lore drop where’d THAT come from😨

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mawvax · 11 months

Photo

MACEGHOST COMIC PART 4/4

part 1 | part 2 | part 3 | part 4

#my art #maceghost #mace #ghost #mace x ghost #clockhands comic #cod mw2 #call of duty

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fortunesfavours · 2 years

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a cover design for @quinn-of-aebradore’s wonderful fic clockhands and butterfly wings that I definitely am normal about and this is definitely not the second piece of work I’ve done for it. Hi Quinn.

Click on the cover for the full image with top and bottom since it got cut off

Been really wanting to practice graphic design a little more an since my dream career is doing book covers I was like well. here we go. Found some arcane circle brushes that were really helpful as the basis for the circle, as well as a fabric brush to work off of for the damask. If I find where I found the grainy brushes I’ll link them but I’ve had them for ages. The title text modification was incredibly fun to do, I love taking text and making it my own.

Was really fun to translate the one-shot into what would be a whole novel, to try and capture the Vibes and imagine what a full novel would be like. Ended up leaning into the fancy dark new adult vibe. The pages Would in fact be sprayed with colour all fancy. This would be on display at a book store.

font, mock-up from freepik (won’t let me link), circle brushes, damask brushes

#critical role #book cover #graphic design #shadowgast fic #shadowgast #crit role #critrole #my art #mighty nein #the mighty nein #crit role fanart #essek thelyss #cr essek #caleb widogast #cr caleb

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