one problem with a theatrical adaption of tlt is htn, where the reveal that Gideon lives on works because of the change of second person to first.

the only way i can think of it working is that the actor playing gideon works backstage, like the lights system (but is hidden from the audience aside from subtle hints)

the biggest hint is when when wake breaches pal's river bubble she 'breaks' the lighting system and the stage goes dark. harrow is ushered into the wings by pal so she doesn't see anything, but the lights flick back on just before the curtains drop for a scene change, and pal looks directly up at the light box in surprise and smiles. if the audience is quick to turn around they can see a flash of a black robe.

Oh boy my friend, have you come to the right place!!

So, fun fact about ninja. Bear with me, I am going somewhere with this. The image of a ninja covered head to toe in black, with a hood and mask, comes from Kabuki theatre. It was originally a stagehand uniform. Like stagehands in modern theatre, stagehands in Kabuki would wear all black to signify that they were not really there, and whatever effect they were causing (carrying a prop, creating a breeze, ect.) was to be taken as happening on its own. Basic stagehand stuff, a lot of productions in many styles around the world do it, especially if they don't have fancy rigging systems.

Someone (I don't remember who now, or in what play) had the idea to dress the ninja in a production up as a stagehand. In the convention of the theatre, this made them invisible. The audience was already so used to ignoring stagehands, they didn't know any more than the characters that the ninja was present, despite the actor being clearly visible on stage. Which meant when the ninja struck, it was as if out of nowhere. I can only imagine the uproar in the theatre the first time it happened. It worked so well as to become commonplace, and the rest is history. The popular image of a ninja is still a kabuki stagehand.

So, back to the stage play of Harrow the Ninth. I think you've hit almost exactly on how to incorporate the Gideon twist into a theatrical production. But not as a lighting tech. Gideon is a stage hand. Maybe there would be more than one stagehand, maybe she would be the only one, but she would operate in full view of the audience, literally setting the scenes. I think it works best if she's the only one, but if the production needs more, she should subtly stand out in some way. As the play went on, we would notice that this one stage hand... increasingly interacts with Harrow, though Harrow never acknowledges it. At first it might look like she's playing Harrow's necromancy, because that would be the main special effect she would need to help with. When Harrow is unconscious at the end of a scene, it's always the same stagehand carrying her out. But we all know she's not really there. Until Palamedes acknowledges her. Turns to look right at her, and speaks to her. I can see the scene clearly. He would look at her, stunned, until Gideon finally took off her mask. The line "Kill us twice, shame on God," would be addressed to Gideon, and then he would turn back to Harrow, kiss her on the forehead, and tell her to go. Gideon, always out of Harrow's line of sight, would guide Harrow away while Harrow looked back at Palamedes.

Tech looks like every dad who ever taught their daughter how to drive 🤣🤣

Sat down and half-designed a scenario in which Leshy and P03 begrudgingly collaborate on the whole tabletop gaming thing

Voltron but the Castle automatically connects to its visitors minds. But like room wise.

First night in the castle, none of the paladins noticed anything spectacular about their rooms. They were exhausted and had no reason to go looking around. But gradually, they noticed changes. Lance and Keith were probably the most drastic of said changes.

On the paladin's second day aboard the castle of lions, Lance woke up... feeling like everything was a dream. And for a moment, he almost thought the past year had been a dream. His bed felt soft and plush, his entire body was quite literally melting into the mattress, and the blanket he was using (which he swore was paper thin last night) was now heavy and soft and resembled the quilt his abuela had given him only three years prior.

His walls were the same walls he fell asleep surrounded by the night before except, one of them was no longer a wall but it wasn't a window either. It was a video of the Varadero beach from back home. The waves, God he could hear them, almost smell them. (Think the hotel Katniss was staying in from the first hunger games. It's literally that window but it's a wall.) When he sat up from the bed and his feet hit the floor it was weird how it was no longer the cold metal it had been last night, but was now the same wooden flooring that was used on his own bedroom from back home. And for a small moment, lance wanted to cry. Because he knew this wasn't real, his rug wasn't here and that wasn't a window to the beach (even if it was the beach was a 37 minute drive from his house.) His bed wasn't an uncomfortable twin XL bunk bed and even though there was a desk and closet, none of his things were in either of them. It was a fucked up illusion and lance almost wanted to be mad.

Keith on the other hand, it took his room time and effort to change around him. It was as if the longer it took for him to connect with Red and the other paladins, the longer his room took to understand what he wanted and needed. The Galra genes were easy, the Castle detected it when he first walked in and got scanned. Changing the shape of his bed and the general atmosphere of the room was easy, it was genetics. But when it came to wants, the castle had to learn alongside everyone else what Keith wanted.

The first really major thing was the blankets and pillows that seemingly came out of nowhere. Sometimes pillows would even change overnight if the castle felt that his sleep patterns were irregular. The next thing that changed was the flooring that resembled Shiro's apartment. It was weird, a miniscule thing Keith didn't think would ever bring up emotions, but that stupid flooring from Adam and Shiro's apartment nearly brought Keith to his knees. But Keith's favorite addition to the room? The ceiling. Somehow the castle was able to detect day night cycles of Texas and perfectly replicate it. During the day he could see clouds and sometimes if it rained the floor would create these fake puddles, a hologram almost, and at night he could see the constellations. (The other Paladins secretly loved Keith's room. His bed was large and nest-like, taking up the majority of the room, and you could move the ceiling around to look and point out the different constellations)

Love when people make the Prison Dimension essentially Rise Leo’s version of 2007 Leo’s jungle

“Come now, baby sister. Aren’t you curious in the least about your role in all this? The Kaminoans had a very special plan for you…”

For this, the month of spooks and frights, have some Imperial Tech on Mt. Tantiss horror. Happy Halloween and sweet dreams >:)

More Omega Appreciation

It's no surprise that I love Omega, I make that pretty apparent. After all, she's my sweet bean, my little sunshine. I adore everything about her. In fact, I'd put her in my top 10 fave characters because of the impact she's had on me. But what makes her so endearing?

To me, it's her hope and compassion for others. Omega is full of life and wonder. Every situation she's thrown into, Omega takes with full stride. I remember falling in love with her in the first few episodes of season 1 when she goes to Saleucami. I think most of us want to go back and relive childhood where everything new was exciting and magical. And while she's certainly matured over the course of this series, there's still so much wonder in her. We can call it filler, but don't deny how adorable Omega is when Phee tells her stories. The way Omega lights up around others and new situations is adorable and makes her incredibly likable.

I'll go back to my point about her hope and compassion. Omega truly sees the beauty and strength in others, no matter who they are. Where Hunter is always distrustful of Cid (and rightly so), Omega still tries to help her. Yes, Omega is child and she is naive, but I still find her traits endearing. With Batcher, she believes in the hound's strengths to survive even with Hemlock trying to tell her otherwise.

But the most important character that Omega's kindness touches in my opinion is Crosshair. She never gives up on him even though she could. All throughout her imprisonment on Tantiss, Omega keeps her hope alive. Not a day goes by that she doesn't look for a way out. Crosshair, however, has given up. Everything that's happened to him has broke his spirit. But then Omega shows up and the fight is put back into him. Throughout the entire show, Omega continues to believe in the goodness that Crosshair has within him. She's always the one to reach out to him. I love that about her. I feel that we need more people like her in the world. It's so easy to not care about something or dismiss someone who might have differing opinion. But Omega teaches us that a little kindness and persistence can go a long way. I honestly do see so much of myself in her as a result.

I don't get personal on here, but I'll just say that there are times in my life where I've been put in Crosshair's position. I've felt trapped in my own Tantiss. Yet, there was always an Omega in my life trying to help. Omega, to me, represents the pure love and hope that people, especially family, can have for each other. No matter how dark things get, she keeps fighting and hoping. She never gives up on her family.

She is the emotional core of "The Bad Batch." It's through Omega that the Batch begin to see life in a different lens. They realize that they don't have to be soldiers. They begin to grow in different ways. Tech and Crosshair become more emotionally vulnerable around her. Hunter and Echo become more paternal. And Wrecker gets to let out his inner child more around her. She shows them new ways to love and care for one another.

I hope sweet bean never loses her endearing traits by the end of show. Sure, she will have gained more life experience, but that light she carries better stay alive. It's so important. It's one of her best features and it leaves an impact on those around her. The Batch are lucky to have Omega in their lives. Guys, if you have an Omega figure, someone who's filled with love and joy and always supports you, give them an extra tight hug.

I'll get off my soap box now, but she is truly one of the best Star Wars characters to come out in recent years.

As much as it pains me to admit, I need to share something controversial with all of you. I just need to get off my chest since it won’t leave me alone.

Tech would be a BMW driver.

I’m so sorry.

drawing Crosshair not being grumpy is something that can be so special to me

re-drawing a Bad Batch scene a day until season 3 comes out (or i forget): day 32

✨part 3 of my TBB modern AU✨

it's the nerds turn!! 🤓 these outfits are 100% copied from Sims 4 LOL. I realized after I'd finished Tech that I actually drew him in his work clothes, not his typical casual wear 😅 and Echo of course is super comfy and warm all the time 😊

I'm not sure who to draw next (I'm leaning Phee and Rex maybe??). we'll see what strikes my fancy, I guess 😁

part 1 - Hunter & Crosshair | part 2 - Wrecker & Omega

Fellow Psych enjoyer!! Im watchin psych at this very moment lol, i know its a tough question bc i dont even have a definitive answer but like, what's your favorite episode?

hmmm well i did very much enjoy the episode where Lassiter & Henry bond over fishing... i also like the episode where Shawn gets kidnapped & ends up on top of a moving car <3

I am heavily contemplating on buying myself a dvd player soon and buying all the DVDs for a ton of movies and tv shows I grew up watching cuz I miss the magic of dvds

this, too, is yuri.

How would tech’s death be worked into the modern batch au tho :’( :’( :’(

It will NOT because the modern AU is for HAPPINESS ONLY!

Crows Of The Commonwealth

I was on CrowTok and it made me come up with an idea.

So, obviously a lot of the crows in the Commonwealth are made by the Institute, though I personally like to believe that there are still a lot of crows that are regular ones, too.

Crows are an incredibly smart species of bird, which makes sense as to why they're the ones the Institute use. To my memory, I don't think there are any other birds in the game. Again, I'd like to headcanon that they're not the only ones left but if only a few species of birds managed to survive the bombs and the aftermath, I wouldn't put it past crows to be one of those species due to that intelligence.

Crows are known for recognising people, which also works in favour of the Institute as to why they'd choose them specifically. If you are able to tell the difference between individual crows, you'll be less likely to question if a specific one if following you if you are aware they likely recognise you.

However, they're also known to bring gifts and trinkets if treated right, or actually attack people who don't. And they remember faces. I don't get the impression that the Institute treats them too kindly if they don't even consider Gen 3 Synths as people, who are literally created with technology and human biology/DNA.

If we imagine that the Institute Crows work like Synths do, then that means that they are also able to become independent like Synths can. We know they have the level of intelligence, more so than another species of bird, to perhaps reach that level of independence. That's exactly why the Institute picked them. Wouldn't it be ironic if that became part of the Institute's downfall.

So imagine a Sole Survivor, fresh out of the Vault, scared and cold on their first few nights. Hungry, tired, likely sick, grieving. Alone. They have Dogmeat. They have themselves. A few strangers they saved. Nothing else.

They're trying their best one night to settle. They've only been unfrozen for a few days by now, but have yet to leave Sanctuary. They chose to stay for a couple days to prepare for their long journey ahead, and rebuild their home so they had somewhere to go back to. Preston has taught them basics self defence and survival, Sturges has helped them temporarily fix the holes in their walls. They're not close to these strangers yet, but there's a small comfort in knowing there's still people, and people nearby to run to if anything not friendly comes knocking on their door.

They're picking at a 200 year old box of stale cereal, not able to stomach the taste just yet. In the end, they end up leaving it in a bowl for Dogmeat to have, preferring to sleep, hunger be damned. They sleep on the floor that used to hold the dinning table, not ready to sleep in the now-too-empty bedrooms.

By morning, their sleep is interrupted. Not by the cold October air that their thin, makeshift blanket- That doubles as their coat during the day- barley keeps away. Not by the sunlight that seeps in by the broken shards of class where the window used to be. Not by drops of rain that fall through the cracks in the ceiling. Not even by Dogmeat licking then awake, like he did yesterday morning. This time it's the sound of pecking and squawking that has Sole prying their eyes open.

A small group of grows picking at the bowl of cereal. They must've gotten in through what once was the window, or literally any of the holes of missing metal panels scattered throughout the building. Sole barely has it in them to care. They know they shouldn't waste food that could've gone to them or their new furry friend, but they truly cannot bring it in them to mind. They wonder if the birds have a hard time finding food, too, and decide it might not be a waste at all.

They sit up. A few of the crows fly up onto the windowsill at their movements, one stays enjoying their breakfast, unfazed. Sole waits, sitting still until the birds realise they have no intention of harming them. They glide back down onto the floor, going back to eating.

After a few moments, the crow that stayed perks his head up, neck twitching into an angle that lets him look at Sole. He hops over, stopping just before he reaches their lap. Sole raises their hand, thumb and index finger moving slowly until they land on its neck. His feathers bristle under Sole's pets, his feet dancing happily beneath him. The other crows finish their breakfast. Salem, Sole decides to call him, joins his friends who hop back onto the windowsill. They fly off. He turns his head to the side, a beady eye looking at Sole again. He squawks at them before flying off to join the others.

Sole spends the rest of their day taking metal panels from some of the completely collapsed houses to fix the holes in their walls. They're able to find paint at the old Red Rocket down the road when looking for more equipped tools. Repainting isn't exactly their priority right now, just making sure the house will be fit to stand against the weather, and for when it gets colder in the next few months. The paint will be useful when they get to the stage of being able to consider making it look presentable, however. Unfortunately, the only paintbrush they find is snapped in half. They toss it in frustration. Less so because of the brush itself, and more so because Sole has a lot of anger built up from the events of the last few days that they have no other outlet for.

They end up going home when the sun starts to set, having avoided the empty tomb of memories for as long as possible. It wasn't safe to be out so close to dark.

When they set down their tolls by the door, something on the kitchen counter catches their eye.

Upon inspection, they realise it's an intact paintbrush.

Their confusion lasts barely five seconds, as they hear a familiar squawk. Hoping on the windowsill is Salem. His eyes study Sole. He's waiting. Sole smiles, pulling open the duffle bag they'd taken on their supply run. They pull out two wild mutfruits, which they'd harvested from bushes near the station. Sole cuts them into smaller pieces, before tossing them gently into the grass of their back garden from the car porch. Salem glides to the pieces, now satisfied in knowing that Sole approved of and appreciated his gift. Sole looks up to the trees that border their garden where other crows have started to also descend from to join in on the food offering. Apparently, there's a lot more in this group than what Sole had assumed from the smaller one earlier. About twenty feathered creatures dance about on branches decorated by orange and brown leaves or nibble at the mutfruit in the grass.

Salem flies over once he's had his fill, taking a seat on Sole's shoulder. His friends also begin hopping over gradually, and Sole ends up sitting down to welcome them and pet their small heads. Dogmeat also seems to love the attention, or perhaps just the warmth that radiates from Sole's body as he curls up next to them. Every so often, one of them drops a trinket into Sole's lap as they snuggle into them. A random screw, some gears, even some bottlecaps. Bits and bobs that a few days ago, Sole would've considered mostly junk, even if they'd still been appreciative, but everything now is useful. They even drop a few things by Dogmeat's snout, who sniffs them, tail wagging. Sole doesn't think Salem appreciates the happy licks Dogmeat gives him, though.

Regardless, Sole breathes out slowly, deeply, as they take in the sunset and birdsong before them. It's the first time they've honestly felt any peace since leaving that godforsaken Vault.

Sole makes a mental note to redesign the kitchen window when they get around to fixing it so that it'll be able to open widely. They also begin thinking about designs for birdhouses, feeders, and small fountains.

It's safe to say Sole feels slightly better than they did when they went to bed last night.

They feel less alone.

For some reason, as Salem nestles into their lap, against their stomach, a small pressure builds in their gut. They can't quite shake the instinct, the thought that comes with it. The feeling that Salem feels less alone now, too.