What Episode Does Chopper Appear

Late-night scavenging taught me to treat any weird radio blip in 'Fallout 4' like a breadcrumb — it's rarely pure mystery and usually has a practical cause. In-world, those 'mysterious' signals are almost always broadcasts coming from some kind of transmitter: pre-war automated beacons, a survivor or raider-operated rig, or even faction tech turned into a local repeater. The Commonwealth is full of old infrastructure and improvised gear, so an old emergency transmitter, a tinkered radio at a settlement, or a hidden synth-operated relay can all explain a lone, persistent broadcast. From a gameplay perspective, the signal often appears because the game spawns a quest-related radio source or enables an environmental transmitter when you enter a certain radius. Mods or a glitched script can also leave a phantom signal active after its source should be gone. I usually trace it by following the pip-boy marker or scanning with my radio until the signal gets stronger — ninety percent of the time it’s something tangible, and when it isn’t, it's just another quirky thing that makes wandering the ruins feel alive. I kind of love that mix of tech and mystery.

Flipping through those early black-and-white issues felt like discovering a secret map, and Baxter Stockman pops up pretty early on. In the original 'Teenage Mutant Ninja Turtles' comics from Mirage, he’s introduced as a human inventor — a scientist contracted by the Foot to build small, rodent-hunting robots called Mousers. He shows up as a morally dubious tech guy whose creations become a real threat to the Turtles and the sewers’ inhabitants. The cool part is how different media took that seed and ran with it. In the Mirage books he’s mostly a sleazy, brilliant human responsible for Mousers; later adaptations make him far weirder, like the comical yet tragic mutated fly in the 1987 cartoon or the darker, more corporate tech-villain versions in newer comics and series. I love seeing how a single concept — a scientist who weaponizes tech — gets reshaped depending on tone: grimy indie comic, Saturday-morning cartoon, or slick modern reboot. It’s a little reminder that origin moments can be simple but endlessly remixable, which I find endlessly fun.

Wow, the fanart scene around 'Fate' is absolutely crowded, and if you scroll Pixiv, Twitter, or Reddit for long enough you'll start to notice the same faces popping up in R-18 and mature-tagged work again and again. A mix of pure popularity, striking character design, and canon or in-game alternate outfits drives which servants get the most mature fan art. Characters who are both iconic across the franchise and who have a lot of official costume variants (seasonal swimsuits, festival outfits, alternate versions like 'Alter' forms) naturally show up more — artists love drawing different takes on a familiar silhouette, and the 'Fate' fandom gives them tons to play with. Top of the list, no surprise to me, is Artoria Pendragon (the Saber archetype) and her many variants: regular Saber, Saber Alter, and the various costume-swapped iterations. She's basically the flagship face of 'Fate/stay night', so she gets endless reinterpretations. Right behind her is Nero Claudius (especially the more flamboyant, flirtatious versions), and Jeanne d'Arc in both her saintly Ruler form and the darker 'Jeanne Alter' — Jalter is basically fan art fuel because she contrasts with the pure, iconic Jeanne. Tamamo no Mae and Ishtar (and the related goddesses like Ereshkigal) are massive because of their fox/goddess designs and seductive personalities, while Scathach and several lancer types get attention for that fierce, elegant look. Mash Kyrielight has exploded in popularity too; her shield/armor aesthetic combined with the soft, shy personality makes for a lot of tender or more mature reinterpretations. On the male side, Gilgamesh and EMIYA/Archer get their fair share, but female servants dominate mature art overall. There are a few other patterns I keep noticing: servants with swimsuit or summer event skins see a big spike in mature content right after those outfits release — game events basically hand artists a theme. Characters who already have a “dark” or “alter” version (Saber Alter, Jeanne Alter, others) are also heavily represented because the change in tone invites more risqué portrayals. Popularity in mobile meta matters too: the more you see a servant on your friend list or in banners, the more likely artists are to create content of them. Platforms drive trends as well — Pixiv has huge concentrated volumes, Twitter spreads pieces fast, and Tumblr/Reddit collections help older works circulate. Tags like R-18, mature, and explicit are where most of this lives, and many artists use stylized commissions to explore variants fans request. I love seeing how artists reinterpret these designs: a classic Saber portrait can turn into a high-fashion boudoir piece, while a summer Tamamo can become cheeky and playful or deeply sensual depending on the artist’s style. I also enjoy when artists blend canon personality with unexpected scenarios — stoic characters in intimate, vulnerable moments or jokey NPC skins drawn seriously. For me, the way the community keeps celebrating the same iconic servants but always inventing something new is what makes browsing fanart endlessly fun.

Back in the mid-1990s I got my first glimpse of what would become Sportacus—not on TV, but in a tiny Icelandic stage production. Magnús Scheving conceived the athletic, upbeat hero for the local musical 'Áfram Latibær' (which translates roughly to 'Go LazyTown'), and that theatrical incarnation debuted in the mid-'90s, around 1996. The character was refined over several live shows and community outreach efforts before being adapted into the television series 'LazyTown', which launched internationally in 2004 with Sportacus as the show’s physical, moral, and musical center. Fans’ reactions were a fun mix of genuine kid-level adoration and adult appreciation. Children loved the acrobatics, the bright costume, and the clear message about being active, while parents and educators praised the show for promoting healthy habits. Over time the fandom got lovingly creative—cosplay at conventions, YouTube covers of the songs, and handfuls of memes that turned Sportacus into a cheerful cultural icon. For me, seeing a locally born character grow into something worldwide and still make kids want to move around is unexpectedly heartwarming.

I tend to spot recurring crossword fills for the clue 'condemn' all over the grid, especially in short slots where constructors need a compact synonym. In my experience, three- and four-letter entries like PAN, DAMN, or DECRY pop up constantly in daily puzzles because they’re convenient and very cross-friendly. You’ll see the longer cousins — CENSURE, DENOUNCE, CASTIGATE, EXECRATE — more often in the Sunday-sized puzzles or themed venues where longer entries fit the symmetry. Beyond the grid itself, those recurring fills are easy to find in clue databases and solver sites. When I’m stuck I’ll search a database and immediately get a list of common entries that constructors favor. Publications also influence frequency: the mellow voice of some papers might prefer 'censure' while quick-news grids lean toward short, punchy verbs. I like tracking these patterns because it makes solving feel like learning a secret language, and spotting a likely fill from the clue 'condemn' is always satisfying to me.

Oddly enough, the history of cartoon fish is messier and more charming than you'd expect. I like to trace their roots back to the very birth of animation — the 1910s and 1920s — when film pioneers were doodling all kinds of creatures, including sea life, as part of experimental shorts. Early animated loops and novelty films often used fish and underwater scenes because they were visually playful and let animators stretch physics for gags. By the 1930s, studios like Disney and Fleischer were churning out theatrical shorts that featured anthropomorphic animals and occasional fish characters, giving those creations wider exposure in movie theaters. So pinning a single "first popular" fish is tricky: popularity came in waves. The medium matured through decades, and then later decades gave us unmistakable mainstream fish icons — my favorites being the bright, personality-driven characters from films like 'The Little Mermaid' and 'Finding Nemo'. Those later hits crystallized what a beloved cartoon fish could be, but the lineage goes back to those early silent-era experiments, and I find that long, winding evolution pretty delightful.

The moment the frame cuts to the underside of her tail in episode 5, something subtle but telling happens, and I felt it in my chest. At first glance it’s a visual tweak — a darker stripe, a faint shimmer, and the way the fur flattens like she’s bracing — but those little animation choices add up to a change in how she carries herself. I noticed the shoulders tilt, the eyes slip into guarded focus, and her movements become economical, almost like a predator shifting stance. That physical tightening reads as a psychological shift: she’s no longer playful, she’s calculating. Beyond the body language, the soundtrack drops to a low, resonant hum when the camera lingers under the tail. That audio cue, paired with the close-up, implies the reveal is important. For me it signaled a turning point in her arc — the tail area becomes a hiding place for secrets (scar, device, birthmark) and the way she shields it suggests vulnerability and a new determination. Watching it, I was excited and a little worried for her; it felt like the scene where a character stops pretending and starts acting, and I was hooked by how the show made that transition feel earned and intimate.

If you’re combing the map in 'Final Fantasy XVI' hunting for a neat little icon that screams 'Bahamut here!'—don’t be surprised when you come up empty. In my playthrough I learned pretty quickly that Bahamut isn’t a random overworld spawn or a world-map marker you can ping and fast-travel to. He’s a narrative, set-piece presence: a big, cinematic Eikon moment tied to the late-game story and certain boss encounters rather than a roamable world event. That said, if you want to re-fight or experience more Bahamut action after the credits, the game funnels most of the repeatable Eikon challenges into post-story content and dedicated boss arenas. So instead of looking for a dot on the map, focus on finishing the main story and unlocking those late/post-game areas — that’s where the real Bahamut face-offs happen. I loved the theatrical entrance; it felt earned and cinematic, even if it wasn’t the freedom I expected.