random google image search

The Ipliers as Cats!

This is for the super-duper patient @kittygamer29​ ! I’m sorry it took so long and lol look at the cats I hope they look cats I have no idea how to draw them

(Also I took random images from Google search…so uh, references are not mine)

Hope y’all like it :D

MCU Ladies week: day three- favourite scene

(Note this isn’t my image I did a random Google search)

Agent Carter is my favourite of the marvel shows. Not just because Peggy is my favourite character but because it feels so authentic. I mean sure there are child assassins and evil psychics but the emotional arcs are very real, especially for Peggy. The final episode of season 1 is very emotionally intense, Peggy is on the run from the SSR, she had to tell Angie she was a spy, her friend has been kidnapped. It’s all very intense. In the end though, the story of Dottie is mostly resolved and Howard is saved.

The real story of Agent Carter though isn’t about spies, it’s about Peggy redefining herself after the war. Her colleges undervalue her contributions because she is a woman. Her relationship with Steve is often trotted out as an excuse to marginalise her. And she is still grieving for the live she lost in the ice. She never really said goodbye, his body is buried in the ice so she emotionally carries the memory of steve with her. The final scenes of Agent Carter season one are so beautifully shot and so laden with symbolism I find it hard to pick any other as my favourite. By pouring Steves blood away, she is finishing the mission, solidifying that she doesn’t need the approval of the men at the office. She could bring the vial in and maybe take some credit for finding it.

But more literally, she is letting the last physical piece of Steve Rogers go, she is absolving herself of the guilt she feels for his death (she should have gone with him, she should have looked harder). Steve continues to be an important part of her life, but she is ready to move on a little, hold the grief a little less tightly. Whilst she has always known Steve was more than the vial that contained his cells, Steve was his heart, and his bravery and his desire to do good but she had a hard time internalising that. So this moment is so huge for her. She isn’t forgetting Steve, she is remembering him in the most meaningful way. And yes she cries but that’s because she finally gets to say goodbye properly and bring a little part of him back to Brooklyn where he belongs, which is an incredible feat of strength on her behalf, and honestly very Captain Rogers of her

Trade art for preludeinz, aka 1fort-2fort-redfort-blufort, for being a sweetheart and buying me Portal 2!! Miss Pauling in Meryl Strife’s outfit, from Trigun!

Originally it was just supposed to be Pauling in a poncho, but in the google image search there was a very random pic of Meryl AND IT GAVE ME THE BEST IDEA EVER [and preludeinz was a great sport and let me draw it instead lol]. Badass ladies with derringers can’t be beat, after all. 0w0

Bonus capeless!version! too since I’ve always loved that version.

External image


penultimate-word-deactivated201  asked:

Hi. Do you know anything about 18th century firearms? I'm wondering how much damage pistol shot would cause to the face at close range. Would there be just a single entry wound or would the face be unrecognisable, and at what range would that kind of damage occur? Many thanks for your help.

It wouldn’t. At least not from a pistol. Handguns usually lack the ability to completely shatter the skull, they’ll still pierce the skull, but it will be a (figuratively) clean entry wound.

Gunshot wounds vary based on how far away the gun is from the victim. Bullet velocity, and caliber also affect the wound, but it’s not a huge consideration most of the time. Now, keep in mind, this is all from modern forensics. But, the basic idea of how a gun works hasn’t really changed in the last 800 years. That is to say: boom = splat.

Gunshots over two feet from the firearm will result in a small circular wound in the victim. This will usually be slightly smaller than the bullet. This is because the skin stretches to accommodate the bullet before it penetrates. It also bunches, creating something called an abrasion collar, which is an inflamed ring around the entry wound. The collar is usually black or blue as it picks up grime and oil from the bullet as it passes into the deeper tissue.

Between two inches and two feet (roughly) there will be a pattern of burning and unburned powder that gets forced into the skin. This is called stippling. It creates tiny pinpoint hemorrhages under the skin. The closer to the victim, the smaller the ring.

It’s worth pointing out, this will occur if you shoot someone with a blank at very close range, and you can kill someone with blanks because of stippling.

Shooting someone with the gun pressed against them will result in a contact wound. In these cases the expanding gasses from the gunshot will vent into the victim, resulting in a star shaped eruption under the skin. These are big messy wounds… but they still won’t cause someone’s skull to cave in, or even for their face to be completely unrecognizable.

As an aside: These are the same gasses you’re trying to reduce when suppressing a firearm. I’m not sure what kind of a contact wound you’d get off a suppressed firearm.

Now, a shotgun loaded with buckshot, at medium range, can turn someone’s face into hamburger. The 18th century equivalent would be a blunderbuss. These were loaded with whatever shrapnel came to hand, and were really nasty weapons. So, if you haven’t looked into them, that’s probably what you want, even if they weren’t one handed.

If your character hot loaded their pistol and forgot (or chose not) to load a ball, the resulting spray at close range might be enough to sear their opponent’s face. This should kill them, but it is theoretically possible for a character could survive that. Though, getting shot in the head is surprisingly survivable, in general.

Now, that’s if we’re talking about the entry wound. Exit wounds are usually larger and ragged, particularly if we’re talking about 18th century firearms (there’s some modern exceptions). If your character was executed by a gunshot to the back of the head, it’s possible, if the angle was right, for the bullet to take most of their face off on the way out. Obviously, this isn’t a survivable wound, but it is possible.

In a modern context, jacketed and high velocity rounds tend to produce exit wounds that are very similar to entry wounds. When the shooter was more than a couple feet from the victim, and using one of these rounds, it can sometimes be difficult for an ME to differentiate between a victim’s entrance and exit wound.

Incidentally, Teflon coated rounds would actually fall into the high velocity group there. These gained a reputation for armor penetration, but the actual cause is the Teflon reduces drag on the bullet, improving its flatness. Either way, if these miss bone on the way through, they’re going to leave a similar entrance and exit wound.

Soft rounds can leave really messy exit wounds. If they impact a bone straight on, they can shear apart, it can even leave multiple wounds, or they can flatten out and wedge against the bone, leaving no exit wound whatsoever. If they flatten out, continue moving and start to tumble they can leave tiny exit wounds that look like minor lacerations.

As I’ve said before: bullets are kinda random.

Oh, and a reminder, when it comes to gunshot wounds, Google Image Search hates you, but it is useful if you really, really, want to see what this stuff looks like. Just remember to bring a strong stomach.

-Starke

archieandkobi said: Apparently, the pistols back then were really weak. I’ve heard of cases where people tried to shoot themselves and failed because the balls didn’t even get through their skulls. Most seemed to suffer concussion.

That would actually depend on how much powder the loaded. One of the quirks with pre-19th century firearms was, you were responsible for the amount of powder you loaded into the weapon for each round. This was partially dealt with by using premeasured paper cartridges that you would tear open and dump down the barrel. But, those weren’t universal, much like modern speedloaders aren’t something everyone uses. If you don’t put enough powder down the barrel, it’s not going to clear it with enough force.

I’m guessing the cases you’re looking at were the result of under loading a pistol, but, I am guessing there.

-Starke

lojomojouniverse  asked:

HI (again) I'm in a drawing mood and I would like to draw Fen'heral and Isii in some kind of Arlathan grab, but I can't find any of my refrences I've saved. :( With that said I'd love your take on Arlthan fashion (and if you have any reference pictures I'd love to see them). Thank you so much for your time!!! Your definitely the one first blog I check for drawing ideas and anything to do with Dragon age! :D

Thank you so much! And I fully support making Isii + Fen’Harel sketches. ;)

I did some scouring to try and find images that I felt represented what I picture when writing scenes set in Elvhenan. (Just for reference, I did post some sketches of the pantheon where you can get a sense of some of their costuming.) I’ll focus primarily on the noble class, as I see the merchant class as essentially trying to emulate the same general look but with much simpler materials (and less adornments). Slaves’ clothing would be determined by their masters (some would dress their property well to display their wealth while others would essentially keep them in rags. The roles they serve would also determine what clothing is chosen for them).

For women:

The costuming for the women of Elvhenan is heavily influenced by Roman design - lots of flowing, diaphanous fabrics with textural interest achieved through draping and layering. I also see a contrast between very soft, light fabrics against rigid adornments: scrolled metal collars, decorative chest plates and belts, often in golds and silvers. The typical silhouette for an Elvhen woman would be a loose gown that is belted with a sash around the waist, carefully layered and wrapped until it stretched from her hip to just below her bust. Common necklines included deep v’s, scoop neck, off the shoulder, and sleeveless. 

For Men:

This one was much harder to find images for. There were a lot of similarities between how men and women dressed in Elvhenan. Jewelry was not limited by gender; it would be commonplace to see a man wearing the same types of layered chains, collars, bracelets, chest plates, etc. as his female counterparts. Men also commonly wore sashes around the waist, stretching from the base of their ribs to the top of the hip. Unlike women’s clothing, the male silhouette was more structured and heavily layered. They tended to wear long tunics or jackets (similar to a sherwani only belted) and then layer it under a robe or a cloak. These jackets and/or tunics tended to end right around knee length with the legs covered in layered wrappings (like the ones Solas wears in DAI). Fabrics for men were stiffer than what women typically wore. 

(I’m going to toss up a source link for that last design because when I found it on a random Google Image search, I loved it so much I had to track down where it came from.)

8

Strange Magic: Art School AU

If Bog and Marianne had an engagement photoshoot this would be about it. 

They wouldn’t want to have an engagement announcement but Dawn suggests a paint war and they are sold. Sunny is, of course, the photographer. Dawn is standing by to hose them off.

The announcement would probably say something like, “Marianne Summers and Alan King will be undertaking an extended collaboration starting from [wedding date].”