#Guild Headquarters
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Guild Missions Distribution Office by Derinzed
#source linked#linked to source#guild#guilds#mission#missions#distribution#office#offices#adventures#adventuring#adventurers#adventurer's#map#maps#building#buildings#headquarters
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fenryn! fenryn! fenryn! fenryn!
STOP TEMPTING ME, ANON!
Fenryn is a toxic mess of a man with mommy issues, daddy issues, a paranoid fear of poverty, a hedonist to the core, deep seeded trust issues, extreme claustrophobia, and an unrepentant thief who enjoys stealing not for the thrill but because he sees all wealth as belonging to him. So, yeah, he is not kind or good. His only redeeming qualities are that he hates rapists, does not steal from the poor, and is polite to women. However, do not think that you can change him with the power of love or friendship. Only Fenryn can change himself; his character arc will be long and difficult. Also, Nocturnal has her eyes on him, and who knows, maybe he'll ally with a certain Thieve's Guild. Fenryn works alone, but it helps to have friends in high places.
#( answered )#when I write this guy y'all gonna' start thinking that Briengr is an angel compared to Fenryn#HE IS NOT PLEASANT#Buuuut he'd make an amazing dad should he ever have kids#he'll break generational curses to be the best dad he can be#also his reasons for not really joining the thieve's guild is because their headquarters is the stinky ass sewer#I'm sorry but Fenryn thinks he's way too attractive to live IN THE FUCKING STINKY SEWERS
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I'm thinking about opening up membership to [CADS] as an rp guild but then I'd need to figure out like.
Guidelines. And probably a Discord.
#bunny thoughts#is it weird I really wish there was a core map guild hall? like taking over Caudecus's manor or something#or actually expanding on the inside of the guild headquarter's that's in LA#I say this mostly because like... I love the other maps but I'm not really sure Makko would set up shop there#maybe gilded hollow idk
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New World Headquarters for the Research Commission, Formation of The Hunter’s Guild: The Settlement of Astera
or
The Settlement of Astera
or
Astera
(Monster Hunter: World)
made by hand primarily from paper
(also floral wire, toothpicks, epoxy resin)
28” x 20” diameter
My largest miniature yet and certainly the most densely constructed. This piece took me 5 months, chipped through well over 1k blades, 4 pads of bristol paper, countless sheets of cardstock, 3 bottles of glue, 48 LEDs, and a liter of clear cast resin.
For scale photo scroll all the way down!
I kept a weekly journal documenting the process for free reads on my Patreon over here: https://www.patreon.com/collection/60826
#monster hunter#monster hunter world#astera#ship building#scale model#painting#sculpture#papermodel#paper model#papercraft#paper art#miniatures#miniaturist#model making#capcom#monster
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The Animation Guild has succeeded in its bid to establish a union in Texas.
Austin-headquartered Powerhouse Animation Studios (Castlevania, Sonic Frontiers: Divergence) has voluntarily recognized a bargaining unit of 129 artists and production workers that sought to join the IATSE Local, the union announced on Thursday. TAG first started unionizing animation studios outside of L.A. County in 2022 with its push at Harriet the Spy studio Titmouse New York, but its new union at Powerhouse Animation marks its first in a so-called “right-to-work” state.
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On August 11, day 102 of the 11,500-person Writers Guild of America (WGA) strike, which has largely shut down the film industry coast to coast, aided by below-the-line workers respecting picket lines and bolstered by 160,000 members of the Screen Actors Guild-American Federation of Television and Radio Artists (SAG-AFTRA), who initiated their own strike on July 14, the studios finally returned to the bargaining table.
The Alliance of Motion Picture and Television Producers (AMPTP), the organization that bargains on behalf of the major studios, offered counterproposals, a long-awaited response to the WGA’s proposals. The two sides met the following week and continued to exchange proposals.
Then, on August 22, day 113 of the WGA strike, the two sides met again, but with an important addition: previous negotiating sessions had been led by AMPTP president Carol Lombardini, the studios’ hired hand, while at this one, the bosses who make the decisions were in the room.
Disney CEO Bob Iger, Warner Bros. Discovery CEO David Zaslav, Netflix co-CEO Ted Sarandos, and NBCUniversal’s Donna Langley came to the table to face the WGA’s elected leadership in the room outside of the AMPTP’s Sherman Oaks, California, headquarters where the negotiations have taken place. Workers, suffering the devastating effects of a months-long strike, hoped that the studios might finally offer counterproposals that meet their needs. Instead, the bargaining session led to further unraveling.
“We accepted [the] invitation and, in good faith, met tonight, in hopes that the companies were serious about getting the industry back to work,” wrote the WGA negotiating committee in a message to members following the meeting. “Instead, on the 113th day of the strike — and while SAG-AFTRA is walking the picket lines by our side — we were met with a lecture about how good their single and only counteroffer was.”
The two sides had agreed to adhere to a media blackout, vowing not to leak information about the proposals to third parties. Yet immediately following the August 22 session, the AMPTP publicly released a document highlighting elements of their counterproposal.
“This was a meeting to get us to cave,” said the WGA leadership, “which is why, not twenty minutes after we left the meeting, the AMPTP released its summary of their proposals.”
The Hollywood Studios Still Aren’t Serious About Ending the Writers’ Strike
These sociopath CEOs are hearing it from shareholders, who want us to get back to work. The shareholders are making it clear that the psychopath CEOs can release the LESS THAN ONE PERCENT of their compensations to get us back to work.
So the sociopath CEOs put on a big show of coming back to bargain and work this out ... and when the WGA sits down to bargain, these sociopath CEOs have the fucking nerve to just lecture the WGA about how great their absolute garbage offer is. The offer WGA rejected because it didn’t address any of the issues on the table.
These sociopath CEOs are the problem:
Disney CEO Bob Iger, Warner Bros. Discovery CEO David Zaslav, Netflix co-CEO Ted Sarandos, and NBCUniversal’s Donna Langley
These sociopath CEOs are greedy and entitled. That any one of them thought that lecturing WGA, then gaslighting members (in violation of not just the agreed upon media blackout, but likely in violation of labor law) would move us any closer to getting back to work tells you everything you need to know about who the problem is.
Fuck these scumbags, fuck their greed, and fuck their gaslighting.
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Midnight Lessons (Mihawk x gn!child!reader)
A/N: Here we go, stoic dad time! Guys please drop by my ask box, wanna get to know my audience!
Dividers by @saradika
Night had fallen in Cross Guild’s headquarters, the members still busing around completing their chores. In the main office, quiet reigned between two of the founders, the only sound echoing in the office being of Crocodile’s exhaling his cigars in a thick mist, sitting at his desk and looking over the current paperwork, and the sound of Mihawk sharpening and polishing Yoru, on the office’s couch, his sharp gaze examines his black blade for any blemishes or imperfections.
A knock rings on the door to the office the two reside in
Crocodile’s eyes narrow slightly as he bellows smoke from his cigar and looks up. He sighed, remembering he had locked the door so he and his co-worker could have a meeting, so he stood up and opened the door, grunting when he saw who was at the door.
“Mihawk, it’s your brat,” he called out, staring at the child in front of him
Mihawk puts down his sword and walks over to the child.
He squats down to the child’s level*
“Why are you awake at this hour?” Mihawk asked in a deep, quiet voice
The small child mutters something under their breath, sniffling.
Mihawk raises an eyebrow and nudges their arm with his finger, asking them to look at him instead of hiding their face.
“Do not mumble; speak up.” Mihawk’s voice is like a whisper, but his stare was piercing like a sharp blade
“Can I stay with you, Dad?” They cry out, voices still barely above a whisper
Seeing the child’s sad expression, Mihawk frowns and sighs quietly.
“Yes, you can stay. But not for long; you must return to your room soon. Mihawk’s voice was still quiet, but his tone had an unmistakable gentleness as he easily lifted the child carrying them back to the couch.
The small child hugged his dad tightly, trying to muffle their sobs so as to not bother their father at work.
Reader tightened their arms around their father; in response, Mihawk gently caressed their head and patted their back, silently reassuring the child.
“Why are you awake?” he repeats his previous question.
Crocodile glances at the pair once more before turning his attention back to a stack of paperwork on his desk.
“I had a nightmare,” they cry.
Mihawk’s brow furrows, and he looks down at the child.
“What was it about?”
“Y-you were gone.”
Mihawk’s expression tightens when he hears this. His eyebrows narrow, and his lips pull into a thin line. He stays silent for a moment.
“Do not worry about such things, I will not leave.”
Reader nods, comforted by their father’s short but meaningful words.
He pulls the child close to him until their head is lying on his chest, and their face is buried into his neck. The child can feel Mihawk’s heartbeat in their chest. He wraps an arm around the child, holding them close while they sniffle and sob.
Mihawk’s expression remains blank, and he does not say a word until the child’s crying stops.
Reader nuzzles closer to him as they are slowly lulled to sleep.
Mihawk’s arms enfold the child, gently caressing them and providing comfort. The child soon falls asleep, wrapped tightly in Mihawk’s warm embrace.
“Did they fall asleep?” Crocodile’s deep voice cuts in
Mihawk remains silent. He continues caressing the child, gently ruffling their hair. Then he softly turns his head to peer up at Crocodile, still sitting behind his desk.
“Yes.” Mihawk’s voice is still calm and tranquil despite his expression turning cold and serious
That soon changed, however, as the third founder slammed open the door as he came in, startling the child wide-awake, childish cries echoing through the office.
Mihawk tightened the grip around the child slightly.
Crocodile looks up from his desk, and his eyes narrow as he sees the third officer standing at the door.
“What are you doing, Clown?” he asks coldly.
Buggy’s eyes widen in surprise at his tone. He stumbled back, and then tried to compose himself*
“I…I was just-”
Before Buggy could finish, Mihawk’s gaze pierced through him. His eyes are dark and menacing, looking like he’s about to attack him at any moment. Mihawk’s hand tightened around the child again, and he was clearly agitated.
“Out!…” a low, deadly tone leaves Mihawk’s voice. Buggy’s eyes widened in shock, even he could not ignore the seriousness of Mihawk’s tone and expression. His eyes darted to the child, still sobbing and buried in Mihawk’s arms. Buggy gulped before quickly turning to leave the office. The whole place became silent again, with only the sound of the child’s soba as they cried into Mihawk’s chest.
“I’m going to pulverize him,” grunts Crocodile
Mihawk’s attention goes from the doorway towards the crying child in his chest.
Eventually, and with the help of Mihawk’s warmth and comfort, Reader’s cries recede. They are still snuggled close to Mihawk and can feel themselves surrounded by his warmth and presence. His fingers still brush through their hair while his other arm holds onto the child firmly.
Mihawk gently moves Reader from his chest to between his legs, grabbing his sword and continuing to sharpen it
Reader looks at his actions entranced, his attention captured by Mihawk’s strong but careful sword care.
Mihawk’s hands move gracefully over the blade, which shines brilliantly in the candlelit room. His motions are quick and efficient, and he works accurately and skillfully. His face remains calm and unconcerned as he continues sharpening his sword. From the corner of his eyes, he can see Reader staring at him with a mix of curiosity, fascination, and admiration. The unspoken question lingering in the air.
“No, you cannot work on this sword.”
Reader frowns at the rejection without the child having the chance to ask but makes no comment.
Mihawk notices the expression but does not say anything. He looks at the child and raises an eyebrow before turning his attention back to the sword. He runs his thumb caressingly along the blade but then stops abruptly.
“However, I can find a sword you can work on if you so desire, Blade Child.”
They smile and nod.
“I want to. Can you tell me how to do it?”
“Yes,” Mihawk replies in a low tone as he finishes sharpening his sword. Pulling Kogatana out from its sheath in his pendant and showing it to Reader.
“You may use this sword to practice on,” he says as he puts Kogatana down and hands Reader the sharpening stone, helping them grab it correctly and guiding their hands in the appropriate motion.
The child laughs gleefully, excited to be able to repeat the similar actions they saw their father do minutes prior
Mihawk relaxes slightly at the child’s enthusiasm; he watches as Reader sharpens Kogatana with gentle but firm guidance and hand placements.
After a few minutes of instruction, Reader feels comfortable enough to sharpen the sword on their own. The light sound of the sharpening stone against the blade echoes through the office.
“I did it, Dad!” Reader exclaims, showing Mihawk the freshly sharpened Kogatana
Mihawk’s expression softens as he looks at the blade with the sharp edge.
Then he looks over at Reader proudly.
He nods his head.
“Yes, this is much sharper now. Not a bad job for your first time.”
Mihawk places the blade back on the sheath on his pendant.
The child laughs at the praise, knowing it is as strong a compliment as he could pull from their stoic father.
Not sure how to feel about this one; what do you guys think? Please send in requests for what you guys would like to see next!
#one piece x reader#Mihawk x reader#Mihawk#Dracule mihawk#dracule mihawk x reader#mihawk x child!reader#Dracule mihawk x child!reader#one piece fluff#one piece imagine#one piece x child!reader#one piece x platonic!reader#cross guild#cross guild x reader#cross guild x gender neutral reader#cross guild x gn reader#mihawk x gn reader
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Headcanon: cuddling
Characters: Mihawk, Crocodile
A.N: My second post... I'm starting to like it ^-^ even if reader insert is still unfamiliar to me ^-^". If you have any suggestions or wishes, please write to me :)
✩₊˚.⋆☾⋆⁺₊✧✩₊˚.⋆☾⋆⁺₊✧
Mihawk 🗡
- Mihawk sees cuddling and physical closeness in general as useless and pathetic, a waste of time. He sleeps alone and doesn't need anyone. At least that's how he saw it until you came into his life. At first, he gave in to your desires for physical closeness just to do you a favor (and to get you to stop bugging him), but after he got used to himself and your closeness, he started to enjoy it. However, no matter how much he likes it, he would never admit it.
- Just like Benn Beckman, Mihawk doesn't like public affection and you know it. But if you snuggle up to him, because you're in a difficult emotional situation or just need his closeness, he'll let you cuddle him - but don't expect him to like it.
- In the evening, when you two are alone in his room at the Cross Guild headquarters on Karai Bari Island, the usually stoic Mihawk seeks your closeness.
As he does every evening, Mihawk sits down on the cozy two-seater sofa, crosses his legs, rests one arm on the back of the sofa and looks expectantly at you. And as you do every evening, you smile at the non-verbal invitation and sit down next to him. Mihawk immediately puts his arm around you and pulls you closer to him. You rest your head against Mihawk's chest and Mihawk begins to gently stroke your head and through your hair.
Crocodile 🪝
- Crocodile is always busy and has little time for you. When he does have some time to spare, he doesn't waste it on useless cuddling, as he would call it. In his opinion, cuddling makes you weak, and weakness is something he can't stand.
- In public, however, things are different. Crocodile loves to show off, and he especially loves to show you off. He likes to have you by his side.
During conversations, he tends to grab you at some point and sit you on his lap. He always has one arm around you, possessive and proud.
At first it was strange for you to be shown off like this, but now you've gotten used to it and don't mind it anymore. Even if Crocodile likes to show off, you are with him and can cuddle with him like you want.
#sir crocodile#dracule mihawk#one piece headcanons#one piece fluff#one piece#reader insert#one piece x reader#mihawk headcanons#crocodile headcanons#mihawk x reader#crocodile x reader
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Muppet Fact #1059
Writers employed by Sesame Street have unanimously voted to support a strike authorization vote from the Writers Guild of America. According to Variety, if a deal is not reached by April 19, then picketing outside Sesame Workshop's headquarters will begin April 24.
Source:
Earl, William. “'Sesame Street' Writers Approve WGA Strike Authorization Vote as Contract Expiration Looms.” Variety, April 16, 2024. https://variety.com/2024/biz/news/sesame-street-writers-strike-authorization-vote-wga-east-1235972886/.
#muppet facts oc#jim henson#the muppets#muppets#muppet facts#fun facts#sesame street#behind the scenes#childrens tv#wga strike#wga
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August 4 - Hollywood Food Insecurity Spikes Amid Strikes
The entertainment industry’s most vulnerable workers are increasingly unable to feed themselves amid a historic double strike with no clear end in sight, according to non-profits tasked with addressing the food insecurity crisis. They describe Hollywood’s ongoing work stoppage — prompted by the contractual impasse between the writing and acting guilds on one side and the Alliance of Motion Picture and Television Producers on the other — as a humanitarian emergency broadly affecting the community, not just striking union members.
The Los Angeles Regional Food Bank, which runs pantries for those in need throughout the county, attributes a meaningful portion of its nine percent uptick in year-over-year distribution to the strikes’ impact. “When income stops immediately, the demand rises very rapidly,” explains chief development officer Roger Castle.
“This is happening right after the pandemic, which drained a lot of people’s savings,” observes Keith McNutt, executive director at the Entertainment Community Fund, which has distributed $3 million to more than 1,500 workers as of Aug. 1. “So, you have the financial burden on people who’ve already been depleted.” As a result, his organization — whose donors include Seth McFarlane, Steven Spielberg, and Greg Berlanti — has seen an unprecedented wave of immediate requests for basic living expenses, including groceries. “Before this started, we would do about 50 grants out of the L.A. office a week. Now we’re getting 50 applications a day.”
On July 28, below-the-line unions IATSE and the Teamsters Local 399 held a drive-through food drive for industry members affected by the strikes at IATSE’s West Coast headquarters in Burbank. It drew about a thousand vehicles throughout the day.
According to the relief nonprofit Labor Community Services, which helped to organize the event and is planning another in August, the organization distributed 1,740 food boxes, feeding an estimated 8,700 people, that day.
In California, striking workers are ineligible to receive unemployment assistance, while nationally, they cannot receive SNAP food benefits unless they qualified pre-strike — something Sen. John Fetterman of Pennsylvania is aiming to change with a new bill, introduced July 27. One place that striking actors in particular can turn to for help during the work stoppage is the SAG-AFTRA Foundation, which offers emergency financial assistance and other resources, including grocery store gift cards, to union members. SAG-AFTRA made a seven-figure donation to the Foundation early in its strike to assist these efforts. (The WGA West does provide its own members with emergency financial loans from its strike fund and Good and Welfare fund.)
Cyd Wilson, its executive director, has seen an explosion in demand for the organization’s help. “People are making these decisions: Should pay my rent, or should I put food on the table? Should I put food on the table, or should I pay my utilities?” she explains. “There’s a great deal of suffering that’s happening.” By Wilson’s estimate, the foundation is now handling 40 times its typical number of applications per week, and it has already distributed as much in grants since the beginning of the WGA’s strike three months ago as it typically would in the span of a given year.
Meanwhile, Groceries for Writers, a direct aid project administered by Humanitas, a non-profit focused on film and television writers, has distributed more than 1,100 gift cards to WGA members since the onset of its work stoppage in early May. Humanitas executive director Michelle Franke says that “many of these writers have left notes indicating they’re in very urgent financial situations. Writers describe struggling with student debt, falling into eligibility gaps with CalFresh and EDD [state unemployment assistance], eviction notices, writing teams splitting low pay, having only just moved to Los Angeles and not having a large local support network as a consequence, dwindling savings.”
Groceries for Writers is hardly alone in addressing the growing need. In July, L.A.’s World Harvest Food Bank founder and CEO Glen Curado estimated to The Hollywood Reporter that his organization, which is offering free food to striking writers and actors, was serving an average of 150-200 members of this group per day. That effort was inspired by The Price Is Right host Drew Carey’s gesture of paying for all striking writers dining at Bob’s Big Boy in Burbank and L.A.’s Swingers Diner for the duration of the work stoppage.
THR asked both the AMPTP and the talent unions whether they bear any responsibility for the worsening situation. In a statement, a spokesperson for the AMPTP said: “Like those negotiating on behalf of the guilds, representatives from the AMPTP and its member companies came to the table in good faith, wanting to reach an agreement that would keep the industry working and prevent the hardships caused by labor strikes.” SAG-AFTRA didn’t respond to a request for comment, while a WGA spokesperson said in a statement: “The public knows that working people are putting everything on the line in order to negotiate a fair deal with the studios who have caused this strike and the resultant suffering by refusing to address the reasonable proposals that writers brought to the table over 90 days ago.” Neither the AMPTP itself nor any of its major studio and streamer members responded when THR asked if the companies or their philanthropic arms had made any contributions specifically to address the industry’s food insecurity crisis since May.
Support staffers — early-career workers who fill roles such as assistants and coordinators and tend to be low-paid — are especially at risk at this time. “So much of the compensation that they receive is, no one’s going to say it, but it’s implied to be food-based,” notes Liz Hsiao Lan Alper, the co-founder of advocacy group Pay Up Hollywood and a WGA West board member. Alper says that support staffers are often paid the “bare minimum” but access complimentary food through writers’ rooms, craft services on sets or in agency kitchens and conference rooms. And so, when the strikes occurred, the need was “overwhelming,” she explains: “It’s invisible compensation that just went away when the work stoppages happened.”
For that reason, on June 7 Pay Up Hollywood relaunched its COVID-19-era Hollywood Support Staff Relief Fund. So far, the fund has distributed around $45,000 in one-time financial need grants up to $1,000 apiece, according to organizer and support staffer Alex Rubin, who says she’s encouraged support staffers to obtain free food distributed on picket lines. “I think that there is a little bit of embarrassment and insecurity about not being able to feed yourself,” she says. “It is the reason why we give our grants as just like, ‘Here’s a one-time grant. You don’t have to tell us how you want to use this.’”
Helping people in entertainment with food during work stoppages is a “tangible message,” says James Costello, a Teamsters Local 399 driver and an IATSE Local 44 prop master, who was volunteering at IATSE’s July 28 food drive. A second-generation Teamster, Costello still remembers a union strike in the 1980s that prompted his parents to warn their children that their Christmas holiday would be affected that year, and the Teamsters emergency relief that arrived in the fall, offering groceries and a Christmas tree.
As the strikes drag on and both the WGA and SAG-AFTRA have yet to formally reprise negotiations with the AMPTP (although the Writers Guild is set to have a preliminary meeting with the studios’ organization on Aug. 4), the non-profits on the front lines of the industry’s food-insecurity crisis are girding themselves for a long period of need. SAG-AFTRA Foundation’s Wilson says it’s pursuing a “very aggressive fundraising strategy” to meet the demand. (Already, it’s netted over $15 million in emergency assistance from stars like George Clooney, Nicole Kidman, Matt Damon and Dwayne Johnson, who are donating $1 million or more apiece.)
The Entertainment Community Fund’s McNutt notes that pocketbook pain will outlast the current conflict. “Just because the strike ends, it doesn’t mean the need will end. Everyone doesn’t go back to work the next week. We’re going to be looking at this [elevated] level of need for months afterward.”
Give to the Entertainment Community Fund
Give to Humanitas' Groceries for Writers
Give to the Green Envelope Grocery Aid mutual aid fund
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Cross Guild prompt that's been in my head for weeks: I FIRMLY believe that Crocodile is one of those types of people that feel bad for stray animals. To the point that he just always has some sort of pet food on him or he just straight up snatches them off the street and takes them back home.
But, one day, as he's walking through the streets late at night, he hears rummaging coming from an alley, and he goes to check it out. Crocodile faintly catches the glimpes of a fluffy tail and automatically assumes it just another stray dog lost in the city and immediately approaches it. Only to find out it's a little lost Mink child.
Crocodile is immediately heartbroken and just snatches the poor Mink kid up like "You're mine now. You're coming home with me."
Once he takes the poor kid back to the Cross Guild HQ, he tried to discreet about it but eventually Mihawk and Buggy run into Crocodile carrying the little mink child in his arms and they both immediately freak out!.
________________
Mihawk: Crocodile.... you have a problem. Go put it back where you found it.
Buggy: OMG! Is that a mink!?
I feel Mihawk would try to get through to Crocodile and tell him how much of a problem he has taking in strays. But at the same time Mihawk is low key finding the little mink he brought in cute.
________________
Eventually Buggy starts to bond with the young Mink child Crocodile brought in because I feel he has that safe energy for children. So the mink child starts to become closer with Buggy, wanting to hang out with him more often. Which ends up making Crocodile jealous because HE wanted to be the one the Mink bonded to.
But at the same time Crocodile low key finds the sight of the clown making balloon animals and putting on little performances for the Mink quite endearing.
PS: I also like to think that the stray Mink child Crocodile brought in happens to be a little feral after having lived most of their life on the streets all alone. So when Crocodile had brought them in, the mink child starts running around headquarters, reeking havoc in the dinning hall by stealing the other crewmembers' food because they probably hadn't eaten in days. Crocodile finds it hilarious and completely ignores the crews complaints and tells them to feed the mink child even more and to give them whatever they want.
This is a hilarious and great idea. Indeed Crocodile would be the person that feel bad for stray animals. I’m guessing this is taking place on another island, because I doubt Buggy would let stray animals live on his island. He definitely has an animal barn or a few animal barns.
Crocodile snatching the Mink child because one. I doubt the Mink child has parents around or if they do… Those are bad parents, so it’s better for the child to come with Crocodile.
Crocodile trying to smoothly sneak the Mink child into Cross Guild HQ is kind of amusing to imagine. Is Crocodile trying to hide that he has the child or trying to make it seem normal?
Never mind that, of course Buggy and Mihawk freak out because it's a child in a very dangerous place. No doubt there’s many places on Karai Bari that can really hurt a kid. In the end, Mihawk and Buggy couldn’t resist. The child wasn’t safe in the place Crocodile found them in. So, they guess it would be better that the kid is with them.
Yeah, Buggy forming a bond with the Mink child way before Crocodile. Hell, it would be funnier if it’s on the same day that the Mink met the clown. Yeah personally, it’s funnier if it went that way. One moment, Buggy is freaking out and the Mink kid is nervous being in a new place and around new people. Then, couple or few hours later, Buggy and the child are having the greatest fun together. Indeed, that watching Buggy making any balloon animal the Mink wants and performing little shows of the Mink is truly endearing.
Idea: Crocodile must have tried to get the Mink to the doctor, but with the kid being feral. I doubt that went well, so when Buggy gets the Mink child to the doctor of Karai Bari Islands. Crocodile must think it’s going to be hard… Hahaha that didn’t happen.
It was quite a breeze once Buggy explain to the Mink that they need the doctor check them out. Soon as the Mink kid is out of the doctors, they start wreaking havoc on the place. HQ is the Big Top Tent in the middle… or is it to the side. Never mind that, yeah, the Mink must be so surprised about all the fun things around.
It took Buggy saying that the Mink needs to eat for the crew to stop complaining or if they do it’s in their head. So, the Mink child gets to eat all they want.
#one piece#cross guild#buggy pirates#buggy the clown#sir crocodile#dracule mihawk#cross guild polycule#buggy the star clown#buggy the bombastic clown#crocodile x buggy x mihawk#buggy the genius jester#mr. 0#hawkeye mihawk#buggy the flashy fool#bughawk#crocobug#crocohawk#buggy#crocodile#mihawk#ideas~4~stories says#ask
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Cathedral of Night (Vampire Fortress) by Midveil Maps
#midveil maps#cathedral#cathedrals#night#vampires#vampire#vampyr#vampiric#fort#forts#fortress#dark#horror#undead#headquarters#guilds#base#bases#map#maps#royalty#nobles#manor#manors#estate#estates#mansions#necromancy
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Two unions representing actors and media professionals held a rally on Saturday outside the Toronto headquarters of Amazon and Apple, to highlight the plight of their members in long-running labour disputes.
The Alliance of Canadian Cinema, Television and Radio Artists (ACTRA) is seeking higher pay, protections and benefits for its members amid fractious talks to renew the National Commercial Agreement with the Institute of Canadian Agencies (ICA).
Members of the Screen Actors Guild–American Federation of Television and Radio Artists (SAG-AFTRA) have been striking for better pay and protection from the use of artificial intelligence (AI), among other things.
ACTRA president Eleanor Noble said her union has been locked out of its commercial jurisdiction by Canadian advertisers for "an unconscionable 501 days," while SAG-AFTRA has been on strike for 58 days.
"We are in our lockout and you are in your strike because of corporate greed. Corporate greed, making billions of dollars off the backs of performers," Noble said.
"We have said it time and time again — enough is enough."
Continue Reading.
Tagging: @politicsofcanada
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by Michael McWhertor and Nicole Carpenter
Workers at Sega of America voted Tuesday to ratify their first collectively-bargained contract with the U.S. arm of the video game company, granting new protections and raises for about 150 full-time and temporary employees.
Workers in the union, known as Allied Employees Guild Improving Sega (AEGIS), won important concessions from Sega of America as part of the contract, including base-building raises for all employees, layoff protections, and a commitment to crediting people on games they’ve worked on, including early QA testers. It also affords employees in the union other protections, including letting workers pursue creative work in addition to their work at Sega and a guaranteed continuation of hybrid work.
Workers will also receive just cause protections, joining Tender Claws workers in being the only ones in the North American video game industry to have them, organizers said. In the state of California, where Sega of America’s offices are located, workers are employed at will — meaning employers can terminate employees for almost any reason, provided that reason is not unlawful. These protections mean employers must follow a series of strict guidelines before getting rid of a worker, whether through firing or other means.
Organizers for the union say contact negotiations between AEGIS-CWA and Sega of America spanned six months.
[...]
Workers at the games studio and publisher announced their intent to unionize in April 2023. The union partnered with the Communications Workers of America and voted to officially form a union the following July.
AEGIS-CWA now represents employees across multiple departments at Sega of America’s headquarters in Burbank and its Irvine campus. Union employees work in a variety of roles, including brand marketing, localization, marketing services, product development, sales, and quality assurance.
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Looked up the original source of the new image, apparently this was actually taken and published two weeks ago, on July 28th. It was taken by a photojournalist named Caroline Brehman who was documenting the picket line in L.A that day.
ORIGINAL IMAGE DESCRIPTION: "Actor Jane Fonda speaks at a picket line outside Netflix headquarters in Los Angeles, California, USA, 28 July 2023. SAG-AFTRA (Screen Actors Guild - American Federation of Television and Radio Artists) hits its second week mark on strike as members picket alongside Writers Guild of America members who have been on strike since early May over better wages and working conditions." EPA-EFE/CAROLINE BREHMAN
Makes me wonder if there are other images out there that have captured this sign.
PAY YOUR WRITERS AND ACTORS.
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Writers employed by “Sesame Street” producer Sesame Workshop have voted unanimously to support a strike authorization vote from the Writers Guild of America as the April 19 expiration of the current contract approaches.
The 35 writers represented by the union have been in negotiations with the production company behind “Sesame Street” and other children’s programs since February. If the sides can’t reach a deal by April 19, picketing will begin outside Sesame Workshop’s Manhattan headquarters on April 24, the WGA said Tuesday.
“We are committed to working with Sesame Workshop to codify a fair contract for writers that embodies these values, and which allows the Workshop to continue to attract top-level talent who can artfully create stories that successfully balance entertainment, playfulness, and joy with education and enrichment,” the union’s Sesame Workshop negotiating committee said in a statement. “Our demands would be extremely meaningful for the affected writers, particularly those in animation who are currently being excluded from basic union benefits and protections like pension and healthcare. We hope for a speedy and amicable resolution to these negotiations so that we can continue to do the work of helping the next generation grow smarter, stronger and kinder.”
“Our writers are integral members of our creative team, and we are engaged in good faith negotiations with the WGA. We’re still hopeful that we’ll come to an agreement in advance of the expiration,” the company said in a statement.
Sesame Workshop is a nonprofit organization, which means it’s in an unusual position of facing a strike threat. WGA East president Lisa Takeuchi Cullen acknowledged the awkwardness of the situation.
“No one wants to see a picket line on Sesame Street,” said Takeuchi Cullen. “Millions of parents and families around the world are going to have a lot of questions. They might ask why the bosses at Sesame Workshop are ignoring their company’s own messages of kindness and fairness.”
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