single shotgun


Knaak combination rifle

Manufactured by Georg Knaak in Berlin, Germany c.1907~25.
7,92x57mm Mauser five-round integral bolt magazine, Mauser G98 bolt action repeater, 16 gauge single shot shotgun barrel with side lever break action and external hammer.

A one of a kind combination gun with a sexy look, for a hunter that didn’t know if he liked rifles or shotguns the best.

The Lost Legacy of Doom’s Hitscan Enemies

I’m dancing. My feet follow no pattern and make no sound as I glide effortlessly over the terrain, but the rhythm of the Super Shotgun guides my every move. I weave to and fro among the soaring fireballs and scything claws, spotting opportunities, darting near and far, catching hellspawn in efficient point-blank bursts of scattershot. Boom, click, ker-chunk. Boom, click, ker-chunk. Boom, click, ker-chunk. Somewhere in the back of my head, I’m dimly aware of the familiar noise of a pneumatic door sliding open, barely audible above a tinny MIDI rendition of ‘Fear Of The Dark’. It’s catchier than you’d think.

Somebody roars. I’ve heard the sound enough times to recognise it as a ‘somebody’. Startled, I pivot to catch sight of the new assailants: two heavyset bald men, cradling imposingly large guns, furious piggy eyes as red as their bulky chestplates. Chaingunners. Before I can close the distance, they open fire, tearing an abundance of new holes in my circle-strafing, road-running backside. I put them out of action, but the damage is done. Was that a fair exchange? It’s not as if I could’ve outpaced their shots. Are they a fun enemy design in this, the most famous of all famously fast-paced first-person shooter? My kneejerk response is ‘no’, but Doom—because of course, it’s Doom—is a lot smarter than it seems.

Few games can claim to have lived as long and as healthily as Doom. Of course, it’s had the unwavering support of a community on its side, constantly tweaking and touching-up and doing everything in their power to stop the wrinkles under its eyes from showing, but its simple formula and flexible combat were always going to hold up well against the test of time. Doom has influenced the design of the modern first-person shooter in more ways than I could possibly articulate, with a little bit of DNA in everything from ARMA to Ziggurat, and yet… I feel there are one or two lessons from it that never quite caught on.

See, the concept of the ‘old-school’ first-person shooter, while not especially formally defined, is very much a thing. We’ve seen bits of it in the likes of Painkiller, Strafe, Tower of Guns, Dusk, Desync, Devil Daggers, and yes, even Doom 2016: games that buck dominant design patterns to focus on swift, streamlined, evasive movement, and a host of enemies that force you to make the most of that movement. Out of style, but by no means out of their depth, these games take after Doom more than most, but no matter how much they borrow from it, there’s one particular feature that many seem to skirt around. Something regarded almost with a kind of hushed, ‘we don’t talk about that’ shame, like the uncle at the family get-together who isn’t allowed to leave the country for reasons that nobody’s quite sure of. Hitscan enemies, a regular staple of Doom’s encounters, have near-vanished from the contemporary games that bear closest resemblance to it. What happened?

Well, at a glance, they do seem to clash with the desired experience. Doomguy can outrun a lot of things—many of which need at least fifty supervised hours logged before you can operate them independently—but he cannot outrun bullets, nor buckshot. You can’t dodge a hitscan enemy’s attacks by just going fast; the nature of Doom means that they take no time to pivot and have impeccable aim, other than the inherent spread patterns of their weapons. Your only recourse, it would seem, is to get out of range—a bit of a tall order, in most scenarios—or to take cover, which sounds like it would go directly against the fast, exciting experience of running around with the wind in your hair and a rocket launcher under your arm. ‘Cover’ is a dirty word; one that brings to mind hunkering behind a chest-high wall, plinking away at a succession of targets and crawling out only when a grenade gets tossed into your lap. To be in cover implies one is at rest, without any of the spatial analysis, fast-paced action or thrilling escapes that characterise the rest of the combat. You can see this stigma manifest frequently in retro first-person shooters, which often come hand-in-hand with the attitude that cover is for babies, and charging blindly into battle with your enormous, impenetrable testicles hanging out on display is the only acceptable combat strategy for ‘real men’. You could probably write a hefty tome about how unhealthy pulp action-hero masculinity has seeped through various layers of media and eventually pooled, like a discarded half-finished McDonalds’ thickshake, in nooks and crannies of gaming obscurity, but that’s a discussion for another time.

The thing is, Doom itself doesn’t actually work that way. In fact, it does a number of things to ensure that hitscan enemies don’t stifle the player’s movement, but instead add an extra set of considerations and trade-offs, forcing them to look at the play space—and when and where they position themselves in it—in a more nuanced manner. Like most of the ingredients that go into a first-person shooter, the way Doom’s hitscan enemies work is subject to its encounter design—a surprisingly diverse field, as custom WADs frequently demonstrate—but there are a few qualities to them you can count on in every sensible encounter.

Let’s break this down, piece by piece. Of the five enemy types in the first two Doom games with hitscan attacks, the three most common ones by a large margin are the ‘former humans’: undead soldiers who utilise conventional firearms—provided your definition of ‘conventional’ extends to a portable belt-fed chain gun, I suppose—and have all the durability of a cardboard cutout of Master Chief that somebody left out in the rain overnight. Upon noticing the player, they give a suitably enraged bellow and enter their attack routine: move, pause, shoot (if possible), repeat.

This pattern gives us time. Like a fireball whistling through the air, it gives us a chance to handle our predicament by reacting and moving quickly. It only takes an undead sergeant a few tenths of a second to level his shotgun barrel at yougive or take a bit of bumbling around, as they are wont to do—but in the world of Doom, it’s enough to at least start on a decisive manoeuvre. Doomguy runs quickly enough that you can very likely put something between yourself and your foe before they fire—it doesn’t even have to be a wall; other monsters serve perfectly well—and since the poor daft AI has no concept of suppressing fire, you need only be behind it for the split-second it takes them to return to their ‘move’ state. Consequentially, cover is less about clinging to the warm, comforting bosom of a solid wall and more about rapidly, momentarily repositioning yourself when the situation demands it; diving around corners, circling pillars, making use of the nearest solid thing in a pinch and immediately darting back out again. Taking cover is every bit as much about clever, well-timed movement as circle-strafing a pack of imps, and to be honest, probably demands far more split-second decision-making.

Another quality that’s critical to the success of the former humans is their relative squishiness: you can usually count on a single shotgun blast to put one out of action, and even glancing shots are likely to interrupt their routines long enough to buy some extra breathing room. A crowd can be swiftly dealt with by just raking a chain gun across their ranks—conveniently, the exact weapon dropped by the strongest former human, the Chaingunner—and pointing anything bigger at them is usually outright wasteful. This is key because it means that they’re only a very short-term threat—or, in larger battles where they’re mixed up with other enemies, only a threat for as long as you ignore them. Ducking behind a pillar once to evade a sergeant’s buckshot is a rush, but having to go through the same motion two or three times is stagnation. By letting you remove the former humans from the fight almost as quickly as they appear, Doom lets you quickly lift the restrictions they impose and expand the space where you can freely move, ensuring you’re never tied to one piece of cover or trapped in some godforsaken alcove.

But not every hitscan enemy in Doom goes down so easily, does it, hmm? I’m going to gently refuse to acknowledge the Spider Mastermind—a rare, highly-situational boss that squats unpleasantly at the end of the first game like a cane toad under the wheels of your dad’s Hilux—and instead concentrate on the notorious Arch-vile, whose pale, emaciated, lanky form is enough to set off half a dozen panic alarms in any Martian marine’s head. It’s everything the former humans aren’t: fast, durable, and capable of suddenly blasting half your health clean off from the far side of a munitions bay—to say nothing of its ability to revive fallen monsters, unravelling your work more and more the longer you leave it standing. Crucially, however, while the Arch-vile makes for a more persistent and punishing threat than the former humans, it also gives us much more time to work with. It takes about three full seconds of dramatic posing for an Arch-vile to wind up its hitscan attack—a pillar of infernal fire that explodes around its target—and once again, you are only required to actually duck behind something for the split-second when the attack connects to avoid taking damage. 

Consequentially, while our vitamin D-deficient friend does rather firmly, briefly force players into hiding, it also affords us the opportunity to stretch our legs and take nontrivial actions in between its attacks, giving it a distinctly different effect to Doom’s other hitscan enemies. Between every Arch-vile’s attack, there’s time enough to dart around the immediate area, change cover, take care of some lesser enemies, or—most likely—run up to it and empty both barrels into its repulsive mug. At an abstract level, the Arch-vile clamps down on the player by forcing them to be out of certain zones at certain times, but doesn’t make those zones inherently damaging to cross, like a crowd of former humans does.

Putting everything back together, Doom’s hitscan enemies are designed not to eliminate movement, but to carefully squeeze it; to force the player to take action, moving along vectors towards positions of safety. Restrictions on where in the combat space you can safely be are what make Doom’s fights engaging, and the restrictions that hitscan enemies provide are every bit as important to your positioning as a Revenant’s homing rocket or an Imp’s tossed fireball—they just take a different approach. Yet they’re also designed to ensure you’re never required to linger at your destination a moment longer than necessary, either by being easy to remove from the battlefield, or by only periodically applying their particular brand of pressure. Like every enemy in the game’s toolbox, they can be abused and used outside of their ideal roles—take a peek at The Plutonia Experiment, half of Final Doom, for some truly breathtakingly rude Chaingunner placement—but their basic principles are every bit as valuable as their peers.

Doom will force you to move, but it will never force you to stay. And that’s the philosophy that every first-person shooter should be built on, really.

After the last picture, I realized I really really liked drawing Tommy Jarvis. And the more I thought about it the more I just, really like his character and arc. So, after finally sitting down to Actually Watch one of the movies (that being part 6 because Tommy, and because it’s less gory than some of the others and didn’t make me ill), I came to a conclusion.

After three movies, one game, and actually killing Jason Vorhees a maximum of two times (since Tommy has to be present to kill Jason in the game)….

Tommy Jarvis needs a nap.

And as awesome and cool as it would be to draw him doing something Epic, I feel like he (and all the counselors in the game too) needs a chance to just rest. So, think of it post-re-killing Jason (since I doubt he’d be very restful if Jason wasn’t dead), probably waiting for the police and paramedics to get done. A cup of coffee, drying off after probably ending up in the lake at one point, the beginnings of a nice bruise on his face, probably more bandaging that we can’t see because heck Jason can do a lot of damage… I think Tommy’s earned a break.

Pose referenced from @senshistock (I’d link to it but tumblr’s a pain about outside links.)


Iver Johnson 700

Single shot break open shotgun available in .410 and 20 gauge; the ones in the photos are the .410 model. Barrel lengths are either 18″ or 26″ depending on your needs, and you can choose between a wood or synthetic stock, the latter being cheaper in price. Since its only a single shot shotgun its budget friendly for someone looking for a simple firearm. (GRH)


Meiji Type 13 ‘Civilian’ Murata bolt action rifle

Inspired by the Mle 1874 Gras rifle and produced between 1880 and 1889 in Japan, before the design was converted to use a tubular magazine.
11x60mmR Murata, possibly converted as a shotgun, single shot, bolt action, custom stock and brass inlays.

This beautiful rifle was at some point in its life refitted to feature a Tanegashima style stock, giving it the most outstanding Japanese flair.

another similar Murata rifle

a Japanese matchlock musket

anonymous asked:

I've seen you write some really great in-depth things about firearms and most of it goes way over my head. There are words that I recognize as having to do with guns, and I have no idea what they mean. Any chance you could give kind of a brief Guns And Characters That Shoot Them 101 crash course for those of us who might work with characters that use guns and don't want to sound like idiots while writing them, but aren't necessarily going into the nitty-gritty details of gunfighting scenes?

Let’s see what I can do. Fair warning, there’s probably going to be a few very minor technical inaccuracies. I’m typing this off the top of my head.

Gun: pretty much any gunpowder based weapon. This includes both hand weapons and artillery. It does not (normally) include weapons that fire self-propelled ordinance, such as a missile launcher.

Gunpowder: This is actually a catch all term. Early gunpowder (now called “black powder) was mixed from saltpeter (potassium nitrate), charcoal, and sulfur. Modern firearms use variations of smokeless powder, originally developed in the late 19th century. Black Powder is still used with some antique and replica weapons.

As an academic distinction, it’s worth pointing out that gunpowder isn’t actually explosive, it just burns very aggressively, which results in the expansion of gas and bushing the bullet into motion. Unburned powder that remains in the gun is a persistent headache in gun design, and why guns need to be cleaned frequently.

A tiny amount of an explosive, called the Primer, is used to get the powder burning. Historically this has included substances such as picric acid and nitroglycerin. I believe modern primers use lead styphnate, but I’m honestly not sure, off the top of my head.

Cartridge: The entire package of a bullet, powder, and primer. In modern weapons, the container itself is referred to as a shell casing. The shell casing can also be referred to as a shell or casing, independent of the other.

Shell casings are sometimes referred to, idiomatically as “brass” because it is the most common material, though aluminum and other soft metals are used.

Idiomatically, shotgun cartridges are referred to as shells. Historically these were frequently made from paper. Modern shells use corrugated plastic, color coded to denote the contents.

After having been fired, a cartridge (or shell) is referred to as “spent.”

Firearms/Small Arms: Firearms, primarily refer to handheld gunpowder weapons. Small Arms refer to guns with a bore diameter (literally the size of the barrel) smaller than an inch.

Bore: This is the literal hole in the center of the barrel, that the projectile(s) travel through.

Chamber/Battery: Both terms are technically correct. This refers to where the bullet resides when the weapon is ready to fire. If a weapon’s chamber is empty, it is impossible to fire it.

Chambered: Both the state of a round being in the chamber, ready to fire, and a term that refers to the cartridge size a firearm has been designed to accept. Examples: “Chambered in .308.” “It has a round chambered.”

Incidentally, “rechambering” a weapon refers to changing the rounds a weapon will accept, removing a round and loading a fresh one is cycling (see below). Rechambering a weapon usually involves replacing the barrel, action, and magazine. Though it can be more involved if alternate parts aren’t available.

Action: The mechanical systems that clear and replace the bullet in the chamber whenever the weapon is fired. We’ll come back to this with a couple varieties in a bit.

Cycle: The actual process of the action functioning. Depending on the firearm, this can either occur automatically with each trigger pull, or it can require a direct user input.

Receiver: The physical housing that holds the action.

Hammer: a physical component behind the pistol which strikes the firing pin. Not all firearms have one.

Bolt: This is the component that actually locks the cartridge in the chamber, when the weapon is ready to fire.

Firing Pin: This is a small metal cylinder pin which (in modern firearms) strikes the back of the cartridge, detonating the primer, igniting the powder. Usually this is a separate articulated component, though some weapons have a simple stud soldered onto the bolt.

Open Bolt/Closed Bolt: This refers to which configuration the weapon fires from. Technically the bolt needs to be closed in order to actually get the bullet moving.

With an open bolt design, the act of dropping the bolt will detonate the primer. This is primarily used with fully automatic weapons (see below). The bolt will fall, igniting the primer, recoil will send the bolt back, and the return spring will cause it to close, firing again.

Magazine: This is where rounds are stored inside of the weapon, before firing. The action will extract a round from the magazine each time it is cycled. Depending on the firearm, this may be removable.

Clip: A device used to load a firearm’s magazine. This is NOT interchangeable terms. Usually these are short metal strips that grip the base of the shell, though speedloaders for revolvers sometimes qualify as clips.

Clips can be used with modern weapons to quickly reload box magazines, but they’re somewhat uncommon.

If the firearm’s reloading process involves loading the rounds and then ejecting the clip, that’s, well, a clip. If the reloading process involves removing an empty container, and loading a fresh one, that’s a magazine.

Few things will irritate someone with firearms training faster than mixing these terms up.

Rifles: The term actually refers to two separate things. Rifling are mildly spiraling lands and grooves cut into the barrel of a gun. This prevents the bullet from tumbling once it leaves the barrel, and massively improves accuracy. Rifles originally referred to any firearm that featured a rifled barrel. However, the term is no longer inclusive, because handguns and other non-rifles include rifled barrels.

Handgun: A smaller version of a firearm that can be operated with one hand. This term is inclusive of several different varieties of firearm. It should be noted: you should not use a handgun one handed, but it is possible.

Pistol: This refers to nearly every handgun, except revolvers.

Revolver: A firearm that rotates to feed rounds into the chamber. Most often this refers to handguns, though some grenade launchers also use a revolver design. Revolver rifles, carbines, and shotguns exist, but are rare. There is a small gap between the cylinder and the barrel, which tends to vent burning powder when fired, which makes revolvers with a fore grip unpleasant to use. That is to say, they’ll try to set your shirt or arm on fire.

Shotgun: This refers to a weapon designed to handle unusually large cartridges, holding multiple projectiles. These are frequently smooth-bore (see below), but rifled shotguns do exist. In modern combat, shotguns are more characterized by their ability to accept a wide variety of projectiles to accommodate different situations. Shotguns can be loaded with everything from water (disruptor shells), to grenades (FRAG-12s).

Smooth-Bore: A barrel without any rifling. Most common with shotguns. This favors projectiles that will somehow self stabilize (such as flechette darts, yes, it’s another shotgun shell variety), or fire multiple simultaneous projectiles (such as a shotgun).

Single Shot: This refers to a weapon that can be fired once, and then must be reloaded. This includes muskets and some shotguns.

Semi-Automatic: A non-revolver firearm that will fire a round with each pull of the trigger until the magazine is depleted. Critically, the weapon must do this automatically as a result of firing. If a weapon needs to be manually cycled, such as a bolt or lever action, it is a repeater, and not semi-automatic. In any case where “automatic” is paired with another word, it can be abbreviated as “auto.”
Automatic: A firearm that will fire multiple rounds with each pull of the trigger. Also sometimes referred to as Fully Automatic. Idiomatically, semi-automatic pistols are sometimes referred to as “Automatics.” This is incorrect on a technical level, but the actual meaning is, usually, understood.

Burst Fire: An automatic firearm that fires a specific number of rounds with each pull of the trigger and then stops. Three round burst settings are the most common, though two round burst weapons have proven popular in some circles.

Select Fire: An automatic firearm that can be switched between multiple fire configurations. Most often this allows switching the weapon between semi-auto and full auto, or semi-auto and a burst fire setting. Select fire almost always includes a semi-auto setting. It can include multiple other settings, including (rarely) both 2 and 3 round burst settings.

Single Action: A firearm where pulling the trigger will not cock the hammer. This is intermittently used as a safety feature on modern handguns. It is also somewhat common among sport revolvers, and antique revolvers.

Single Action firearms often have a much lighter trigger pull (the force needed to draw the trigger and fire the weapon). This allows for greater accuracy. It also allows automatics to be carried with a round in the chamber and the hammer down, without risk of the weapon firing as a result of an errant trigger pull. It’s still shouldn’t happen with safe weapon handling, but it is another safety feature.

Double Action: A firearm where pulling the trigger will cock the hammer. Almost all revolvers intended for practical use include this. It’s inclusion with semi-automatic pistols varies widely.

The complicated issue with single and double action handguns comes from semi-auto pistols. When the slide cycles, it will recock the hammer, this means a single action pistol can be fired repeatedly, without having to manually recock the hammer.

SAO/DAO: Single Action Only/Double Action Only. These terms get applied to pistols because there are pistols designed to switch between single and double action based on a variety of control parameters.

For example: pulling the slide back ~1/4″ on a Walther P99 will switch it from single to double action, and vise versa. Though it also exists in SAO and DAO variants that remove this feature and lock the action in one of the modes.

Bolt Action: A firearm where the bolt must be unlocked and manually cycled by the user. This allows for substantially heavier loads than any other style of firearm. Though it is a popular configuration for hunting and varmint rifles.

Lever Action: A firearm where the action is cycled by use of a lever, usually mounted under the handgrip. Originally these allowed for faster cycling than a bolt action weapon. These are fairly uncommon now.

Pump Action: A firearm that cycles the action by use of an articulated foregrip. This is normally seen on shotguns, though a few pump action rifle models probably exist.

Machine Gun: This refers to a fully automatic weapon. By itself the term is antiquated. Most often, when someone uses the term, they’re incorrectly referring to an Assault Rifle.

Assault Rifle: A select fire weapon chambered in an “intermediate” rifle round. Usually between 5mm and 6mm. Note: these do not always include full auto settings. The modern M16 variants can only be fired in semi-automatic or 3 round burst.

Battle Rifle: A select fire weapon chambered in a high power rifle round (roughly 7.6mm). This includes the M14 and AK47/AKM. Misidentifying a battle rifle as an assault rifle is… eh. It happens.

Carbine: A shortened rifle. Usually assigned for use in tight quarters, or vehicle crews. Historically these were also issued to cavalry. Sometimes issued to support personnel, depending on the military.

Light Machine Gun: Also sometimes referred to as a Squad Support Weapon is an unusually heavy automatic rifle intended for use in suppression. Sometimes abbreviated LMG.

Submachine Gun: An automatic weapon chambered to fire a pistol round. Sometimes abbreviated SMG.

Machine Pistol: A submachine gun that retains an overall pistol design. Informally, these terms can get mixed up pretty heavily.

Caliber: This is the imperial system of measuring bullet diameter. It’s expressed as a period with a two digit number. (EG: .45 or .38) This indicates the size of the cartridge in 100ths of an inch. So .50 is, roughly, half an inch in diameter. Additional digits beyond the first two denote differences in the cartridge, but not significant changes in the cartridge size. (EG: .308, .303, 30.06 are all .30 caliber rounds, roughly.)

Gauge: The imperial system for measuring the size of a shotgun shell. This one’s a little more idiosyncratic. It’s calculated based on the weight of a solid ball of lead, that barrel would accommodate. So 12 gauge will fit a single 1/12th pound ball of lead. This also means, as the gauge goes up, the size shrinks. 20 Gauge shells are significantly smaller than 12 gauge, for example. This is abbreviated as “ga”, so “410ga” would indicate a 410 shell.

Millimeter (mm): The metric system for measuring the size of a bullet. Usually expressed as a simple value. (EG: 9mm or 5.56mm). When multiple cartridges exist that are of similar sizes, other terms will be applied. (Technically, this also occurs with calibers. For example: .357 Magnum, and .357 SIG.) With metric measurements, the length is frequently added to distinguish two similar rounds, (for example: 9x19mm vs 9x18mm) or some other distinguishing characteristic. (for example: 9mm Parabellum vs 9mm Makarov). Usually you do not need to include both together. For example: 9x19mm Parabellum would be redundant, because 9mm Parabellum is a 9x19mm round.

Grain: The amount of powder loaded with a bullet. (Literally, an archaic unit of measurement.) Bullets in a specific caliber are usually available with multiple grain variants. For example: .45 ACP is commercially available anywhere from 185 grain to 230 grain.

Handload: The act of manufacturing your own bullets. Also a term for non-standard rounds produced this way.

Load: A term for the individual characteristics of a round that go beyond the size of the bullet. This includes the grain, and may include the kind of bullets (see below).

Magnum: A term denoting an unusually high grain load. Most commonly associated with the .357 Magnum and .44 Magnum rounds. Though other magnum rounds exist.

Ball: A bullet with a rounded tip. The most common kind of ammunition for handguns.

Hollowpoint: A bullet with a divotted tip. On impact, it causes the bullet to expand flattening. In a human body, this can sometimes sheer apart, and can cause catastrophic internal damage.
While illegal, an individual can add a small high explosive to the tip of a hollowpoint round, converting it into an improvised high explosive round. The most commonly available materials that would react appropriately are primers.

Wadcutter: A bullet with a flat tip. Usually employed in target shooting, to create clean holes in targets.

[Material] Jacketed: Frequently copper, though other soft metals are sometimes used. This is used to partially shield the user from the bullet’s lead, and the associated health risks.

[Material] Core: Most often, the material is steel, though spent uranium (in this case, spent is a nuclear term, not the firearms meaning), is an exotic variant. The core will push through materials that would stop normal bullets. Lead shields the core from the barrel. (Firing a steel slug from a firearm would shred the rifling, so the softer metal contacts the metal.)

Tracer: A pyrotechnic round that ignites on contact with air and shows the shooter exactly where the round went. These are also mildly incendiary, and can start fires if they connect with something flammable on the other end.

I’m not going to give a full list of what you can stick in a shotgun, because it’s a very long list. But, a few quick highlights.

Buckshot: Ball bearings, usually lead or steel.

Slug: A single, solid, bullet.

Flechette: A steel dart, usually with fins to stabilize it in flight. Fired with a plastic sabot system that falls away once the dart is in the air.

FRAG-12: A small, impact detonated grenade, designed to be fired from a 12 gauge shotgun.

Flares: Commercial flare guns fire a low power 12 gauge shotgun shell. While you cannot load normal shotgun shells into a flare gun (it’s not designed for that kind of power, and will explode), 12 gauge flare shells can be loaded into a shotgun and fired. If the shotgun is semi-automatic the flare will probably not provide enough force to cycle the action, so the user will need to do that manually.

Dragon’s Breath: A shell loaded with a mix of oxygen igniting metals. Metallic Sodium and Potassium are most common. This creates the effect of the shotgun blasting flames.

I feel like I’ve only scratched the surface, and I know I’ve missed a few things. I’ll try to remember to revisit this in the near future.

Hope this helps some of you get started.


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Baby Lemat 1868/69 Patent revolver

Manufactured in France or Belgium c.1860-70′s with a Liègeois shotgun barrel - serial number 129.
9mm centerfire none-round cylinder revolving around a 12mm centerfire shotgun barrel, single action, side-loading gate, the hammer can be flipped forward when cocked to fire the shotgun barrel.

He obviously didn’t think as much about what the gun would look like rather than how it would work for his patent drawings.

anonymous asked:

Goodness gracious, I'm not the anon who requested the first one but could you write a follow up drabble for that Deja Vu story with Reaper please? That destroyed me but I cant get enough of the angstttt. :')

Presque vu (noun, from French, meaning “almost seen”) is the intense feeling of being on the very brink of a powerful epiphany, insight, or revelation, without actually achieving the revelation. The feeling is often therefore associated with a frustrating, tantalizing sense of incompleteness or near-completeness.

“Who was that”, you asked, voice thick and heavy with confusion, bewilderment. Your evac from the Talon base had been swift, the information you had acquired only half what it should have been. But you couldn’t find it in you to focus on the failure of the mission. All your mind could seem to recall is that voice. Why did you know that voice? Why did that name sound so familiar?

“He iz nothing but a criminal”, Angela answered, trying to keep her tone steady, normal. But you could hear the underlying layer of agitation, the attempts to try and keep her clipped tone under control. There was a miniscule tick in her left eye, a tell that she wasn’t quite able to clamp down all the way on. She…was lying.

You had never questioned the woman, trusted her wholeheartedly and believed in her goodness and honesty. She had saved you, hadn’t she? Why would she lie to you? What purpose would that serve you. And why did you know what to look for? Your mind was quickly going through tells; signs someone was being disingenuous, a skill that Angela had not taught you.

Act natural.Make her believe that you believe her.

Your mind ordered and you listened, forcing the tension out of your shoulders, your brow relaxing as you nodded your head and actually smiled at her. You gently took Angela’s hands in your own, sighing softly in ‘relief’.

“Thank you Ang”, you said, tilting your head to the side in a sweet gesture. “He really really shook me up. I don’t know what I’d do without you here.”

You watched Angela’s face go soft as she squeezed your hands back and smiled, tension relaxing in her shoulders. She wasn’t worried anymore, pulling you into a tight hug and rubbing your back warmly. You kept your body relaxed, your arms squeezing her back a little harder than normal. Showing her your ‘true’ appreciation.

“Of course”, she said as she pulled away, looking you over with a smile. “I am happy to help. Why don’t you go back to your room and get some rest?”

You nodded your head with a smile and turned towards your room, your steps calm and collected until you entered your room. Your hand drifted to your head, running your fingers to your hair as you tried to calm yourself down. You chewed on the inside of your cheek as you sank down onto your bed, brows furrowed as you tried to figure out just what the hell all of that was. Fighting being familiar had been explained, it was muscle memory from before you lost your memory. But reading microexpressions, manipulating someone emotionally, that was new. But at the same time it wasn’t…Just like that man…

‘Te amo.’

‘Te Quiero Besar’

‘Mi reina’

‘Tu me vuelves loca!’



That deep, husky voice played in your mind like clockwork, making your chest ache painfully for reasons you didn’t understand. Your head didn’t punish you now when they thought back to those words but you had absolutely no idea what to do with those memories. There was still no face to put to that image other than the tall, monster of a man. The man who took the image of the barn owl, of Santa Muerte, of new beginnings and protection from evil. Your brow furrowed even tighter. How did you know all this?

You set a candle down at an altar, it was small and personal but yours. Santa Muerte shrouded, a skeleton face with long robes sat at the center. An apple. Coffee and caramel candies. A barn owl. The sickly sweet scent of tequila. A thick stack of bills. A single shotgun shell.

‘Protect him on his passage…’

Your shoulders jumped in surprise as tears that you hadn’t even known were there fell down your cheeks. Your fingers shook as they lifted, pushing them away only for more tears to replace them. A sob bubbled up from your chest, aching and painful but…relieved? Your arms wrapped tight around you as you tried to calm yourself down, your mind racing but always returning to one line of thought.

You knew the Reaper and he knew you. And you were going to find out how.

Reaper’s fingers flew across the keyboard, search after search coming to a dead end on Talon’s mainframe. His agitation was visible, plumes of smoke rolling off of his body as he slammed his hand down on the holo-keyboard only to have it dissipate.

You had died in Lagos last year. They had found a body. There was a fucking funeral. He had made sure your grave was always covered in flowers. He had listened to you prattle on and on about the language of flowers, watched you make floral arrangements just as easily as you could disassemble a gun or break through someone’s security. His place used to smell like a florist and he would complain with a smile only for you to stick a tiny blue forget-me-not into his curls. ‘True love’ you had told him it meant with a kiss, pressing your body into his and smiling up at him. You were his light in the hell that Blackwatch had thrown you into and that light had been snuffed out…until it wasn’t.

Gabriel growled; deep, low and monstrous sounding anger rippling through him. The death certificate had been signed by none other than Overwatch’s resident mad doctor, Angela Ziegler. The one who turned a boy into a cyborg monstrosity and then manipulated him into fighting until it thoroughly broke his spirit. The one who had played god and turned Gabriel Reyes into Reaper, and left him to fucking die when it seemed his body would not hold together. He was seething. He had mourned you, prayed to Santa Muerte for your journey and had reached out to you on Dia de los Muertos. And all this time, this witch had you.

And she had done something to you. Gabriel couldn’t erase the scared look that had been in your big brown eyes, couldn’t unsee you going completely blank when he said your name. Realization sparkled as you came to before something slammed down on those memories, pain flashing across your beautiful face before you became frantic to get away from him. His humanity had been stripped away in pieces when he had been brought back; the need to consume souls, the aching cool emptiness that would fill his core satiated by death and vengeance, the need to violently correct what had caused the fall of Overwatch and Blackwatch. But seeing you had set a fire off inside of him, reawakening a loving need that he didn’t know he still had. His mind tried to convince him that it was a trick, that this was a clone or an AI or something other than the dead woman that had been buried. But he knew that wasn’t true, he could see your soul, could see that this was his woman. He was more smoke than person as he seethed, moving away from the computer and beginning to formulate a plan in his mind.

“Voy a matar a esa bruja”


On this day in music history: July 19, 1969 - “What Does It Take (To Win Your Love)” by Jr. Walker & The All Stars hits #1 on the Billboard R&B singles chart for 2 weeks, also peaking at #4 on the Hot 100 on August 9, 1969. Written by Johnny Bristol, Harvey Fuqua and Vernon Bullock, it is the second R&B chart topper for the Motown singer and saxophonist. The track is recorded in late 1968 at Motown’s Studio A in Detroit with members of The Funk Brothers sitting in for members of Walker’s band. The Originals (“Baby I’m For Real”) and The Andantes, provide the background vocals. “What Does It Take” is initially passed over for release in one of Motown’s Quality Control meetings in favor of another Jr. Walker song titled “Home Cookin’” (#19 R&B, #42 Pop). When that single is only moderately successful, “What Does It Take” is immediately pulled from the vault and is released on April 25, 1969. “What Does It Take (To Win Your Love)” takes off faster than any of Walker’s singles since “Shotgun” four years before, becoming his second million seller.

I don’t ever want to wake up,
Lookin’ into someone else’s eyes
Another voice calling me baby
On the other end of the phone
A new girl puttin’ on her makeup
Before dinner on Friday night
No I don’t ever wanna know,
No other shotgun rider, beside me, singin’ to the radio
—  Tim McGraw

The Richardson Guerilla Shotgun,

Illif D. Richardson was certainly an interesting figure during World War II.  A radio expert and PT Boat crewman with the rank of ensign, Richardson was stationed in the Philippines when the Japanese attacked and invaded the islands.  When the Japanese took over the country, he fled into the jungles and became a guerilla fighter, joining the Philippine Resistance.  With his radio skills, Richardson was able to set up a secret communication network between all of the various Filipino resistance groups, and for three years he was responsible for coordinating the operations of the Philippine Resistance. In 1944 Gen. Douglas MacArthur awarded him for his exploits by assigning him to US Army Intelligence and awarding him the rank of Major. Interestingly, Richardson was the only US serviceman to hold officers commissions in both the US Army and US Navy simultaneously.

While working with the Filipino Resistance, Richardson took special interest in the homemade firearms produced and used by many Filipino people.  Often simple people with access to few resources, they were able to cobble together crude but working firearms built from scrap metal and cast away parts.  Such home gunsmithing had been a tradition in the Philippines dating back to when they revolted against the Spanish in the late 19th century, and continued during the Spanish American War and Philippine American War. Home gunsmithing is still common today. One of the most common firearm designs was the slamfire shotgun.   A single shot shotgun, it had a very curious action. The barrel consisted of two tubes, an inner tube shrouded by a larger out tube. To load the user would remove the outer tube and insert a shotgun shell into it. The inner tube was mounted with a fixed firing pin, and the user would then replace the outer tube. Finally, the user would slam the outer barrel back, banging the cartridge primer against the firing pin which discharged the shell. It was a very crude system, and not a very effective combat weapon, but the Filipinos were able to successfully ambush enemy soldiers with them, thus acquiring rifles, machine guns, and grenades.

When Richardson returned to the United States, he instantly became famous, writing his memoirs and touring the country. To cash in on his fame, Richardson attempted to go into the firearms business by making replicas of the slamfire shotguns that were used by Filipino fighters.  The Richardson Guerilla gun was also a slamfire shotgun, chambered in 12 gauge.  While it appears that it had a trigger, its actually a safety mechanism so that any bump or jolt does not cause the primer to make contact with the firing pin, causing an accidental discharge.  The trigger connected to a lever which held the barrel in place, so the use would have to hold the trigger, unlocking the barrel so that it could be “slam fired”.  The Richardson shotgun was cheap to produce, and was meant to simulate the crudeness of the Filipino design.  Even the stock was crudely cut and poorly finished.  The Richardson Guerilla gun was a commercial flop, and few wear produced.  While it was an interesting novelty, in the end it was a piece of junk, based on the designs of desperate people who threw away their slamfire guns when they acquired something better.