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@149panda149

WATCHING HORNBLOWER AND I LOVE HIM <3 50 tafelshrews in a trenchcoat rotating the bleebus circus like a rotisserie chicken avid participant in group meowing
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  • call me panda
  • current obssession: doctor who eu + hornblower & napoleonic war fiction
  • favourite doctors who: 8, 6, 7, 4
  • charley, fitz, father kreiner!
  • hornblower and bush my beloveds
  • napoleonic war sideblog that is mostly hornblower-> @ hms-ratfiish

PLEASE send me things and tag me in things. put doctor who gifs in my askbox.

𓅰 𓅬 𓅭 𓅮 𓅯

^ behold. my birds

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Idk man we were talking about how difficult hair care must be for sailors trying to keep a braid. Including Jack Goldilocks Aubrey himself ofc

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early sign of being aroace was when I was reading fic in my first fandom and getting vaguely irritated that every reader insert fic was inevitably mc x reader endgame and I could not understand why everyone wanted to date that man instead of idk doing plot shenanigans with all the juicy secrets you as the reader would know

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if we're mutuals i will like almost anything you post like oh you're moving house? YAY ❤️ oh fit check? YAY ❤️ oh fanart of a character i dont know? YAY ❤️ oh OC lore? YAY ❤️oh you went to the beach today? YAY ❤️oh your parents are being mean to you? NOT YAY ☹️ BUT I WILL LEAVE A HEART IN SOLIDARITY!!!!!!❤️

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he's so mouldy....pile of mulch looking creature

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soliloquy by an immortal cave painter.

pencil, ink, and ochre on paper

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[ID copied from alt:

  1. A pencil, ink, and chinese ochre paint comic in grayscale, the only visible color the red-orange of ochre, reserved only for one character and the use of ochre within the narrative. Page 1, panel 1: low angle shot of OP’s character Hopper, a young cavewoman in braids wrapped around the head in layers, fur pelt clothing, bone accessories and a hare foot necklace, her left hand holding a bowl of ochre paint, her right arm raised beyond the panel, a look of concentration on her face. Her entire body is ochre. Text: “I DIDN'T THINK…” Panel 2: back of Hopper, the raised hand revealed as applying paint to a drawing on a cave wall, a hare in motion. Other cave paints, some half-finished, are scattered around it. A cluster of hand prints is on the bottom right, a fire on the left. Text: “I WOULD BE ABLE TO KEEP DOING THIS” Panel 3: Mesopotamia, Assyria, the back of Hopper in a simple shawl, sitting before and working on a gypsum wall panel relief: return from the hunt. Men carry hare, bird, and nests, the hare being painted ochre by Hopper. Panel 4: Song Dynasty, China, Hopper is disguised as a man, sitting before a table with inksticks and inkstone, painting on a long rice paper as she is being instructed by a man in a Futou hat. The painting is likely a copy practice of Magpies and Hare by Cui Bai. The hare has been painted ochre. Panel 5: The back of Hopper sitting before a candle-lit desk, an inkwell and bible before her. She is in the dark drapery of a medieval nun, holding a quill and illustrating for a manuscript, of a small, ochre hare brandishing an axe. Text distributed throughout panels 3 to 5: “FOR ANOTHER/ TWENTY/ THOUSAND YEARS.” Panel 6: Hopper crouched on a white background, hands clutching her head in exhaustion or torment. The next four subsequent figures depict her rapidly abstracting, morphing into a small hare and then hopping away. The ochre color of her gradually fades as she shapeshifts.
  2. Page 2. Panel 1: The small hare sleeps, curled into herself. Panel 2: A hand holding a spray paint bottle labeled “ochre”, sparse paint coming out as it is pressed. Text: “AND YET, AND YET.” Panel 3: view of the interior of an abandoned railway tunnel, the vanishing point a faint glow far back, a broken gate half open in between. Two ragged train tracks run through the tunnel. All over the tunnel walls in ochre and black, are graffiti of various lifeforms of the earth: Bison, mammoth, boar, bat, whale, fish, jellyfish, hares, and more, all in the same style of archaic cave paintings. A lone ochre figure in a hoodie and jacket sits high up on a ladder before the hare section, shaking the bottle of spray paint. A duffel bag of more bottles sits at the foot of the ladder. A light attached to the highest point of the tunnel shines on the figure and wall. Last panel: close-up of the figure’s face, Hopper, unchanged through the eras, hair still in layers of crown braids, expression a concentrated defiance, aiming the spray bottle at the wall, or in this case, the viewer. Text: “I NEVER DID FIND A WAY OUT OF THE CAVE.” End ID]
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For reference, here's a full bibliography of bad* [tumblr]* posts which were incorporated into the above comment:

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Reblogged theseshoestheyfitperfectly
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I dislike the time war because it shouldn’t exist. It shouldn’t be guns and children and revising outcomes, it should be a war a ritual. It should be symbolic. The Enemy shouldn’t be the Daleks. Not even as a symbolic representation of the Enemy, or its agents, because the War should not in itself be the thing signified. It should be a metaphor. Sure, fighting in the streets could be a way of showing that, but importantly, it’s an imperfect metaphor. The conflict isn’t akin to violence and shouting, it’s internal and unsettling and that should manifest as the world being darker and less welcoming and colder, rather than loud and full of fire. The best depiction of the War is when Cass refuses to join the Doctor. It’s a rejection of his world, with fear and uncertainty, because she doesn’t know much but whatever’s happening, she knows it’s wrong. Fleets and commanders and starwars style dogfights distracts from all that, because as much as the War is on a cosmic, incomprehensible scale, a large but finite image makes it smaller. If Gallifrey must focus on the War, it should be smaller. People less open, more scared. Why? What’s wrong with the world? Why does everything go wrong, why can we no longer rely on luck and fate and chance? Why has the world turned against us? Why are we also afraid? We should only see the shadow of the War. If there’s fighting, it should be among themselves.