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call me dips! | she/her | DCMK brainrot (ep progress: 651!) more yapping and wips on Bluesky

[dipndops]

"There are better places to take a nap than on the ground ya' know!"

Made for the Heishin Mystery Challenge prompt: Fairytale/Magic AU!

Will be posting whatever else I got cooking for the event on AO3 as well. Go check out other works made for the event as the week goes on via the AO3 Collection and the tag #heishin mystery challenge 2026

Annnd~ 📢 GO GO TEAM HEIJI!!

[orange-artist]

Back to my Detco/DCMK roots

Well. after a fun trip to asia. I am once again neck deep in Detco brainrot again. Anyways I present to yall my BO!Heiji AU. Stemming from my idea of, what if all the Gosho boys had a secret identity? Where Heiji is a BO member named Baijiu (or Paichuu in Japanese). Since he isn't really, uh, part of any law enforcements, he's not technically a NOC. But yeah he is kinda undercover.

He's in makeup and a wig, plus contacts.

Apart from the fun shenanigans and higher stakes and everyone being in the same situation, also consider putting Bourbon and Baijiu in a room together.

Fun times!

(In this AU Hakuba's secret identity is that he's Pandora. Yeah the magic rock. It's a generation thing thats been passed down. Shrugs. So in this AU Hakuba also knows of the BO/MKO)

[dipndops]

Still playing Tomodachi Life - FuruKaza Edition

Part 1 | Part 2 | Part 3 (here)

Also, Akai's here.

But it's okay FuruKaza achieved mutual pining.

Akai breaks into Kazami's house.

Akai loses.

---

One week later:

Furuya gets distracted and almost fumbles his proposal.

But he successfully locks in.

Happy FuruKaza Mii Marriage Day

[seldomsee]

[screamofdespair-deactivated2025]

[screamofdespair-deactivated2025]

[screamofdespair-deactivated2025]

[screamofdespair-deactivated2025]

Detective Conan #264 - #265 : Courtroom Confrontation: Kisaki vs. Kogoro (TV Anime Original)

Screenplay : 金子裕 Yutaka Kaneko

Storyboard :小林孝嗣 Takatsugu Kobayashi (#264) - 三家本泰美Yasumi Mikamoto (#265)

Episode Director : 鈴木吉男 Yoshio Suzuki (#264) - 伊藤真朱 Mashu Itou (#265)

Animation Director : 青野厚司 Atsushi Aono (#264) - 平岡正幸 Masayuki Hiraoka (#265)

The Courtroom Confrontation Series is the best thing that ever happened to the Detective Conan anime. Each episode of this mini-series has its own unique atmosphere, distinct from the others. It's a shame there aren't more of this kind of mini-series.

In these two episodes, the artists clearly stand out from those the series usually relies on, especially the storyboarders. This isn’t the usual staff rotation, and it’s always refreshing to see new names making their mark. In terms of photography/cel compositing and animation, two approaches stand out : on one hand, a focus on 'realism', and on the other, an emphasis on showcasing the strengths of the color palette. For example, the striking contrast between the bright glowing yellow and Eri’s purple clothes, especially in enclosed spaces, creates a strong visual presence.

Another clever use of this same effect to intensify the drama this time : close up shots, dark backgrounds to make the face stand out, and the reflection of the light source on the glasses.

I really like how the night is depicted in the two episodes, with a sort of washed-out gray-blue palette that fits the ongoing story perfectly. It highlights the restaurants and signs, creating a calm and elegant atmosphere thanks to the soft light sources. It's neither too dark for the night nor too blue. It's more of a 'realistic night' than the usual flashy one.

Speaking of 'realism', I’m also referring to the drawings. Masayuki Hiraoka's corrections in #265 are much sharper and more defined compared to Aono's in #264, whose style is softer and rounder. though, his latest drawing style in Conan, there’s a bit less roundness compared to the earlier days. I would have loved to have Hiraoka as the Animation Director for both of these episodes instead of just one to strengthen what I mentioned earlier. Eri's drawings by Hiraoka are stunning, some of the finest in the anime. His shading style, (and the shape of Eri's hair strands, not always uniform like Aono's for exemple), made him suited for the 'realistic' style in Conan.

Eri by Atsushi Aono, the Animation Director in #264 and the comparison between him and Masayuki Hiraoka.

There are many interesting layouts. The artists put in a lot of effort and the attention to detail is remarkable. Eri's office interior for exemple, with the background art, effectively conveys the composition of the room without venturing into something overly "spacious."

Or the Mimasu restaurant interior :

Bonus :

[halondrus]

[cutecipher]

can you put that thing on a leash?

[halondrus]

ok

[flufflecat]

almost time

[blackrabbittttt]

participation submission for @yuriolympics main round 1 prompt "revival!"

[kawarikisaki]

A long one this time~

[potahun]

I mourned you. and where did that lead me? veryuki: revival (participation submission for Round 1 in the @yuriolympics)

[coai]

Coai Week 2026

Our annual celebration of the Conan x Ai | Shinichi x Shiho ship is starting from 25th to 31st of August this year ♡

Prompts :

Hanakotoba - Flower Language (ᴗ͈ˬᴗ͈)ꕤ.ﾟ

♡Day 1 - Lily of the Incas ☆ Indescribable Connection ♡Day 2 - Sunflower ☆ Respect & Radiance ♡Day 3 - Zinnia ☆ Loyalty ♡Day 4 - Yellow Camellia ☆ Longing ♡Day 5 - White Chrysanthemum ☆ Truth ♡Day 6 - Gardenia ☆ Secret Love ♡Day 7 - Free Choice

★ All prompts are open to personal interpretation ★

You can participate by posting or submitting any form of media such as (but not limited to) fanart, fanfiction, AMVs, Gifs, edits, headcanon lists, metas, fanmixes, cosplay, etc etc.

Please make sure to tag #coaiweek2026 so we can reblog your entry!

For more info and other Hanakotoba meanings please check our FAQ and RULES pages, drop us an ASK or join our Discord community (link in blog description) 

[screamofdespair-deactivated2025]

[screamofdespair-deactivated2025]

佐藤真人 Masato Sato is one of the veteran artists who worked on the Detective Conan anime from the very beginning, bringing a distinct directorial style that left a strong impression. He contributed to many important episodes of the series, several original episodes, and even worked on some Detective Conan movies. Although he served as the series director at one point in the production (333-504), various changes in the anime staff prevented him from going beyond what he was already accustomed to doing.

His prime lies in the early seasons of Detective Conan, and here’s a highlight of his work.

When it comes to Sato’s shot compositions, his episodes feature a significant number of wide, medium and perspective shots. Most of the time, he has a particular attachment to the central subject of his compositions (whether a single character or a group), deliberately framing them as if viewed through a slightly open door, drawing the spectator’s eye toward them while still allowing the entire shot to be taken in (The Megure's one for exemple).

Additionally, he also has a strong fondness for high-angle shots, using them frequently. Sato is an artist who plays extensively with the Art Direction.

Sato loves to play with the power of light souces, both outdoors and indoors. In his episodes, for example, you can often see a strong brightness in one corner of the frame, creating an interesting visual style.

He also likes to experiment with colors, often applying filters during moments of reflection or flashbacks to enhance the mood.

Sato and Animation Director Akio Kawamura worked together frequently in the early days, which naturally led to the "creation" of the Kawamura pose.

Sato is an artist who also reminds us how important an Episode's Direction by a single individual is and how much it varies depending on talented artists. For example, when an episode storyboarded by Sato is directed by someone like Yasuichiro Yamamoto, it doesn’t always feel the same as when Sato himself directs his own storyboard. A simple example is that during Conan’s moments of reflection, Yamamoto often likes to rotate the character, whereas Sato does not. Instead, he prefers to use the background to convey story elements by using a pan (left or right). Of course, artists like Yamamoto can make minor changes, but it's also important to remember that some artists create storyboards with the skill level of the Episode’s Director/Animators in mind. This allows them to incorporate more complex elements into the storyboard.

Left : Sato (Storyboard/Episode Direction by himself) and Righ : Yamamoto (Storyboard by Sato and Episode Direction by Yamamoto.)

When it comes to Episode Direction, it's worth noting that episodes directed by Sato (even if not storyboarded by himself) are often among the strongest in terms of artistic direction. Episode #196 is a perfect example of this. When he is solely responsible for the storyboard, his influence is so strong that the Episode Director naturally brings a similar energy.

Episode #196 Storyboard by Chika Ichimaru and Episode Direction by Sato :

Episodes #205 - #206 Storyboards by Sato and Episode Direction by Mashu Ito and Minoru Tozawa :

Sato experimented a lot in his early days, and many of his directional ideas were "abandoned" in favor of something more simpler. Various motifs used to emphasize expression. The use of bokeh in episode #42. Frequent allusions to the well-known direction of Osamu Dezaki. It should be remembered that, originally, Detective Conan was not intended to be a long-running series.

[nanoko857]