Boper9
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boper9.bsky.social
Boper9
@boper9.bsky.social
110 followers 69 following 220 posts
I'm 30 or 40 & tired of online pressure to state specific ages while that info is tied to security questions. I may post art, & have a separate ad*lt art SN. DMs are mutual only, but u can reply to any post to chat about whatever.

https://boper9.carrd.co/
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boper9.bsky.social
Figured that 1 out early. did take me a while to discover I could make a whole folder a 'lighthouse' reference 'layer', & have the clip-to-layer-below work on folders. Great for characters isolated from each other, but also grouped together & isolated from the background for coloring & effects.
January 16, 2026 at 7:37 PM
boper9.bsky.social
I wana get hyped about the new fallout season and maybe seeing my wonderful robo(y)t(oy) yesman but its just really tainted by the ads during the experience of watching it.
January 16, 2026 at 7:33 PM
boper9.bsky.social
gleeful and strictly pleasant tone of ads is understandable, but pisses me off to see in current economic situation and world wide issues (that could serve to enrich american businesses but at best will keep citizens just limping along enough to afford to drive to work).
January 16, 2026 at 7:33 PM
boper9.bsky.social
I can only suggest my current focus of Look Outside. only 10$ and its got a ton going on and easy/story mode has a save anywhere feature that lets you pick it up and put it down real quick. I'm kinda not invested in shows or movies right now because our prime downgraded to the ad version.
January 16, 2026 at 7:33 PM
boper9.bsky.social
Close ups of the individual panels of the Phillipe aquirement from the full page spread part 2 of 2.
Phillipe watches Dan and Joel playing Madwheels 97 with a consternated expression, climbing up the back of the couch with regrowing tendrils, and his small wings growing back in with lacey holes in them. And asterisk note adds 'Sam's on the roof right now but this ain't about him'
January 16, 2026 at 3:04 AM
boper9.bsky.social
Close ups of the individual panels of the Phillipe aquirement from the full page spread part 1 of 2. Graphic media warning is for slight amounts of illustrated blood.
Illustration of Sam kneeling near a wilted and decapitated Phillipe cranium. He is wearing the coat of arms, a rubber glove, work boots (my load-out at the time), and a sling backpack, and is missing his right arm. He is scratched up about the face and has a haunted expression. Illustration of Sam with a wilted and decapitated Phillipe cranium tied by its antennae fronds to his coat's belt. He is wearing the coat of arms, a rubber glove, work boots (my load-out at the time), and a sling backpack, and carries a rifle with a bloodied shoulder brace in his left hand. He is scratched up about the face and has a determined expression. Illustration of Sam sitting fold-legged on the floor of his appartment, cradling a decapitated Phillipe cranium. He is wearing a tank top and his regular sweatpants, and has slightly bloodied bandages over the stump of his right arm and over a spot on his left fore-arm. He is letting blood drip from his mouth (with a bloodied xacto blade nearby) into Phillipe's mouth, unseen by phillipe's eyes that are growing back in under a film of thin mold. Mold flakes decorate a throw pillow tucked into a Dutch oven pot next to him on the floor. Behind them is Sam's couch, and hiding behind its backing are Leigh, and Lyle (who she holds in place via his cloak), while he clutches at the back of the couch. The mutated rat child climbs under the couch towards them with a concerned expression, wearing a small but still oversized t-shirt. Two roaches check in on Sam and observe the scene. Sam holds a struggling Phillipe up in the crook of his left arm. The mutated rat child nips at Sam's standard sweater and sweat pants, and wears a denim vest themself, with their tail wagging. Sam also wears a beatific and doting smile, and his house slippers, and has his sweater tied off over his right arm stump. Phillipe wraps one antennae frond around Sam's neck and one around his hand, scrabble with teeth and claw around Sam's arm while wildly glaring down at the rat child. He sheds multiple mold flakes from his mantle and small proto-body.
January 16, 2026 at 3:04 AM
boper9.bsky.social
Congrats! First I'm hearing it, here
January 13, 2026 at 5:23 PM
boper9.bsky.social
Beautiful!!! 37 looks lovely on you 🥰😘😘😘
January 12, 2026 at 6:57 PM
boper9.bsky.social
Please let me know if i should clarify anything. I tried to use plain language to help machine translation. There is more information in the alt text for each image.
January 12, 2026 at 4:59 PM
boper9.bsky.social
Other ways are these two:
1.) Camera flash. Dosn't match how he uses it in a battle against you, but it does match his attacks when he battles by your side
2.) Square lens hood for the large format camera. Lense hoods are good for cutting out light polution. Important for night sky photos in a city.
A modular camera flash attachment from the lateral days of convenient standard film cameras. Usually rectangular or circular versus square A sprite from the game Look Outside, where Lyle is preparing to use the large glass square to take your photo as an attack in combat. In his left hand he holds a chemical flash, which is a powder that will quickly ignite and give off a ton of light and give off a plume of smoke and dust. A picture of a modern small format camera with a square lenses hood and some glass in between it and the lens as protection or a way to cut down on glare. A pixel illustration from the game Look Outside where the player character Sam is reflected in the lenses of a close up camera on Lyle's 'face'. This image shows a round lens inside a black square, matching up with the previously image of a square lens hood on a smaller format camera.
January 12, 2026 at 4:58 PM
boper9.bsky.social
I've been interpreting it multiple ways. Main way (matching with the bellows and his story about taking pictures of the night sky): the back 'ground glass protector' of a large format 'plate' camera. Odd that its facing inward, but it could be how it was turned when absorbed into his body.
Front view of a large format folding camera in use. There is no view finder, only the open back end of the bellows and a frame. You put a large plate with film on it at the back once you have the focus, aperture width, and position just right, and until that moment the film must be protected from light. Back view of a large format folding camera not yet in use. There is no view finder, only the open back end of the bellows, a frame, and a glass cover for the slot the film plate goes in. You put a large plate with film on it at the back once you have the focus, aperture width, and position just right, and until that moment the film must be protected from light. Ground glass protectors, the glass square, have specific functions in this process that you should look up in your native language. Side view of a large format folding camera, extended but not yet in use. There is no view finder, only the open back end of the bellows, a frame, and a glass cover for the slot the film plate goes in. You put a large plate with film on it at the back once you have the focus, aperture width, and position just right, and until that moment the film must be protected from light. Ground glass protectors, the glass square at the back, have specific functions in this process that you should look up in your native language. Side view of a very large format folding camera in use. There is no view finder, only the open back end of the bellows, a frame, and a glass cover for the slot the film plate goes in. You put a large plate with film on it at the back once you have the focus, aperture width, and position just right, and until that moment the film must be protected from light. Ground glass protectors, the glass square, have specific functions in this process that you should look up in your native language. This camera shows the potential scale of the captured image, where the film square at the back can be multiplied larger the same way a small square of strip-film in a standard camera can.
January 12, 2026 at 4:58 PM
boper9.bsky.social
Now I at least know what my next playthrough is going to focus on: Who knew Sam before the visitor's arrival, and how many of them have entrances to the meat world in their rooms. People have been good about lore spoilers so far so I'll have to play through again to find out these granular details.
A promotional image of Laura Palmer and Dale Cooper from the television show Twin Peaks. A screencap of Twin Peaks The Return, where events of good versus evil have wrapped up in the sherrifs office in a bizarre but tidy way, while Dale Cooper's face is overlaid transparently on the scene as he shifts through time and reality, where he will soon meet Laura Palmer on that fateful night on the way to her death (or maybe disappearance). It is a key moment in the finale/finale arc that plays with the previously introduced concept of who is the dreamer and who is the dream (from a quote from a dream Gordon Cole had earlier in Twin Peaks The Return) A promotional image of Dale Cooper interacting with Laura Palmer in the Red Room from the television show Twin Peaks A painted illustration of the Greek myth of Athena being born from an axe wound in Zeus's head, by Mihail Brunea
January 12, 2026 at 1:59 AM
boper9.bsky.social
But, I am primarily a shipping fic reader, mainly because I find mainstream romance lit unsettling or bland very easily. And someone had tagged a fic Sam/Sybil and I got to thinking 'why does that feel like... not a standard ship to me? Like, in terms of the dynamics. What do they remind me of?...'
January 12, 2026 at 1:59 AM