#I think having a frame of reference for if that's like...typical? might be helpful for me when talking to my allergist

[tj-crochets]

Hey y'all! Weird question time again, because I think I might've asked these questions before but can't remember what y'all said, and it occurred to me I could make it a poll. I know it sometimes means a different medication, but for the purposes of this poll Benadryl means diphenhydramine. Also, this is not medical advice in any way shape or form and please don't take it as such, I just suspect a lot of my health issues might be just allergies masquerading as something else By "helps with your migraines" I mean stops them, not just helping with the nausea

[marie-m-art]

Good Animated Omens - Behind the Scenes

Here's a behind-the-scenes look at the walk cycles I animated of Aziraphale and Crowley (original post here).

I'll reiterate that the character designs are @lookitsstevie's creation! I made builds in Toonboom Harmony based on their designs, and then animated the builds.

Long post under the cut, organized into four parts. Feel free to jump around or just click through the images and gifs to get an idea of the gist. (At least take a look at Part IV, where you'll see a version of Aziraphale without his jacket and a closeup of Crowley's torso!)

Hopefully this is interesting even if you don't know the first thing about animation. It's not a step-by-step-from-scratch tutorial, but it might give animators some ideas to think about when trying this software!

I'm happy to answer questions about what I cover here - comments, DM's, or ask-box questions are all fine by me. If you like any of the new gifs and want to reblog it on its own, I can make new posts for those upon request! (I'd prefer you don't reupload them, but if you do please at least credit me with a tag to my account - thank you!!)

Part I: The interface and some basics

Above is a screencap of the software interface.

In the centre is the Camera window, where all the drawing and animating is done. 

To the left, the Node View. It's a representation of how the pieces and layers that make the characters are grouped and connected to each other, which is what makes a character "build". Every piece in this window is called a node, and there are different types. Light blue "drawing nodes" contain the drawings themselves. Each drawing node usually has a green "peg" attached; the peg is used to move and rotate the drawing piece; you set a pivot point on each peg. Light grey nodes are groups that have more nodes within, and dark blue nodes are added effects (eg masks, the blur for the halo, etc).

Below, the Timeline - it's where keyframes are set and tweened. The red square dots indicate there is a new keyframe on a particular frame; the white dots indicate keyframes are on layers nested somewhere under the topmost visible layer. All the pieces of the characters can be found in the timeline and correspond to the pieces that exist in the Node View (and Camera). Typically you work with a collapsed view of the build layers in the timeline, which allows you to set keyframes on multiple layers at once.

To the right, a few tabs in this window - Tool Properties, Colour Palettes, and, shown on top here, the Library. The library is where you store your builds, so that you can bring in a fresh copy when animating a new scene. This library tab also has the Drawing Substitution window, which shows thumbnails of every drawing contained in a drawing node when that node is selected.

A second of animation is 24 frames long. Finished animation will often have keyframes on every second frame with the tweens removed, to help simulate the look and feel of traditional animation - this is known as animating "on twos", and saved time, money and paper in the old days. If you leave the tweens on, and/or have keyframes on every frame, the animation is "on ones".

My walks are on twos - it's the look I prefer.

When I say "tween" I'm specifically referring to the software feature that will automatically calculate and interpolate the path between two different poses/keys of a peg. An inbetween could be the result of using a tween, a new drawing, or both. On twos, an inbetween will look the same as any other keyframe on the timeline when you're finished - its relevance as a concept is during the process, not the end result.

Quality animation is achieved via a combination of moving/tweening pre-existing drawings using their pegs, and adding new drawings as hand-drawn inbetweens when needed. Toonboom Harmony also has nodes called "deformers": they offer a way to tween the shape of a drawing without needing to redraw inside the drawing node. (Part IV has the explanation for which pieces I used them for, and why.)

Part II: Navigating the builds

This is what their default poses with no animation look like.

Animation using builds is sometimes colloquially referred to as "puppet-style animation" because the way you can connect body parts to each other feels like making and handling a 2D digital puppet: you can connect a hand to a forearm so that they can move as a unit, and you can connect that unit to an upper arm to move the whole arm as a unit, and that arm gets connected to the torso, and so on.

When you want to connect two pieces, like a hand to a forearm, then you create another peg in the Node View and attach the two body parts together under that new peg. The screencaps below show the nodes that make up Aziraphale's and Crowley's entire builds inside their respective groups:

Things got a bit sloppy ... It looks extremely complicated, but once it's set up, you don't have to think about it too much when you're animating!

And I've zoomed in on the nodes that make their arms so you can see how there are pegs on top of pegs (all the green nodes), with wires connecting everything:

As I explained in Part I, new drawings are added and contained within a body part's drawing node (the light blue ones under the green ones), and the Drawing Substitution window is where you can see all the drawings that exist in a particular node. In the timeline, you set keyframes for moving the pegs, and you also choose which frame the new drawings will appear when applicable. You might have a lot of drawings stored in the nodes, but only what you set to appear in the timeline will be visible in the final animation.

You can select a body part in the camera view, and then find the corresponding layer in the Timeline or the Node View by pressing the "o" keyboard shortcut. If you select a body part by clicking on it, and then press the "b" keyboard shortcut, you will jump up to the next peg it's connected to. You can hide and unhide pieces using "d" and "a" respectively.

In the first capture above, I'm showing that the arm pieces can be moved separately or together, and you can see how the pegs in the Node View light up when I select them in the Camera window (hiding them turns them red). In the second capture, I pop down to the timeline to step back and forth between the poses - the light grey row (it appears between the rows of red dots) represents the hand's drawing node in the timeline.

Part III: Summary of animation process

In my head I imagined how their walks would differ from each other - Aziraphale bouncier but with very straight posture and limited arm movement, vs Crowley slinking and swaggering all over.

I also knew that I wanted the animation to look good for both a walking-on-the-spot version, and as a version walking across the screen (both versions are at the top of the post!).

Then I started doing some rough animation.

I set aside my finished builds for the roughs. For each character, I made a few drawing nodes and two pegs; a peg for the up-and-down upper body motion, which I tweened, and a peg for moving them across the screen. The legs and arms are drawing substitutions.

With these extremely rudimentary rough "builds", I worked out - how many frames long the walks would be, - how far the characters would move across the screen each step, - how much the upper bodies would move up and down, and - the key drawings of the legs and feet.

I didn't worry about animating clothing, hair, or Azi's arms in the rough stage. For those elements, the drawings would be spaced really close together and would be easier to figure out with tweens. (Note: this rudimentary setup would be sufficient if you want to clean up and inbetween characters by hand frame-by-frame instead of making full builds; my preference is build animation because the process is more fun for me)

Then I started working with the finished builds, using the roughs as a guide, and established the broadest motions first: the up-and-down motion in the upper bodies (I set a keyframe at the lowest point, a keyframe at the highest point, then tweened between them) and how far they'd travel across the screen. Then the feet were done.

I went back and forth between viewing them walking on the spot and walking across the screen to make sure that both versions worked. I also made sure they crossed the same amount of ground relative to each other.

After those crucial parts, I moved on to animating their arms, hair, torsos, clothing details, and finishing the legs, not necessarily in that order. I simulated twisting/rotating their torsos in 3d space by moving their waistcoats and lapels.

The first gif switches back and forth between versions (imagine a background scrolling by when they walk on the spot). The second gif is an example of bad "footslip" - they're moving at different speeds, and if you pay attention to their feet, Aziraphale appears to slip on ice while Crowley appears to slide forward on skates.

"You go too fast for me, Crowley!"

Part IV: Extras and details

Here is a version of Aziraphale's walk without his jacket, and a closeup of Crowley so you can see his swaying hips better:

One of the cool things about animating with builds is they lend themselves well to small modifications; the jacketless version took all of five minutes to make.

I'd be remiss not to include a close-up of Aziraphale's hair, the real star of the animation :) (Crowley's hair is also animated but I purposefully kept it understated since it's a much different texture.) And a closeup image of Crowley's snake tattoo:

The biggest unit for both of them are their upper bodies, which includes their pelvises. The up-and-down motion is only on one peg instead of on every single piece, which is handy because it means I can hide just that part of the animation when I want to work on the clothing details:

During the process of animation, I am often hiding then unhiding pieces like this so I can see what I'm doing.

Their clothing ended up being a lot of separate pieces, which I kept adding during animation rather than before, as it was hard to predict everything I needed. Their clothing also incorporates cutters (aka masks), and deformers (see explanation in Part I). In the next set of gifs the deformers show up as green outlines with handles and get turned on and off.

Aziraphale's torso functions as a mask for his clothing. The shape of his torso subtly changes via deformer. His lapels and waistcoat have V shapes that are masks/cutters (they cut a V shape out of those pieces); the same pieces that make the cutters also are used for the black lines of those V shapes via a special layering setup. The main shapes of his lapels are animated with deformers, and you can see how far beyond his torso shape they extend when I turn on the deformers in the second gif.

Deformers work best for shapes that change a little bit, and/or slowly. The minor shape changes in his and Crowley's clothes ended up being a great use case for deformers, because they pretty much tweened perfectly.

The reason I didn't use them on Aziraphale's legs was because those shapes change significantly between keys; I predicted I'd have to re-adjust every frame of a tweened deformer, so I drew the inbetweens by hand (halfway through, I realized I probably should have used them after all, but I was in too deep by then; hand drawing was fun though!). Deformers worked well on his bottom jacket:

Crowley's pelvis is layered above and below his thigh pieces and has a deformer. Also take a look at all the drawing substitutions for his hands:

And lastly the deformers on the hair:

Epilogue

I'm hoping the gifs all play at the same speed for everyone as they play for me. Hopefully the demo gifs are at least watchable, if not super clear... (I'll listen to feedback on the presentation of the information, for if I do similar posts in future!) Don't hesitate to ask questions about anything I covered, or about any details you noticed that I didn't elaborate on!

ko-fi.com/marieanimate

I'm shy about mentioning it, but I set up a Ko-fi account in case this post compels anyone to leave a small "tip" (but reblogging and sharing is just as good)!

Thanks for reading, and have a nice day!

[shirefantasies]

Marti it is Moss *does small dance* sending in a Hobbit imagine should it strike your fancy to answer. If not feel free to delete you come first and foremost! Your blog is always a delight and i read everything you post like its the morning newspaper.

Im wondering if you would write a hobbit headcanon for a reader who uses a mobility aid like forearm crutches!

I myself use forearm crutches (named Catcher and Holder a la Dwalin) for dizziness and weakness due to neurological issues, but there are many reasons for their use from joint pain to hypermobility. Sometimes people use them all the time and other times they are only used when they have flare ups (some have to have them available all the time in case of The Return tm)

Sometimes you use one and sometimes you use two. All depends on condition severity, needs,what youre doing, and preference

Even when you have a flare up you may not prefer to use them for short distances ie in your house some people choose not to. I use mine on the steps unless im doing something hazardous and dont want to risk a fall (and be able to walk in general)which ive become prone to over the last two years.

You still live your life and do what you do sometimes its a bit different other times its not. Sometimes you have a stick or two.

You can make a lot of fun decorations and functional tools like cupholders and pouches for your crutches and stickers make them unique and customizable. Honestly the biggest challenge for me is mugs and stairs+ other two handed tasks 😩 let me see someone smack a warg protecting their bestie and then lament not planning their cuppa retrieval rofl.

Im wondering how our lads would have a time with this- not acceptance wise as i know Dwarves are very accepting. More along lines of shenanigans wholesome fun bonding the good daily stuff that you write so beautifully and capture each one of them so well!

Thank you so much and if you have any questions please feel free to reach out

🌿🏹moss🏹🌿

Hello Moss 🥰💚 OMG Catcher and Holder that's perfectttt! Sorry this post is so fuckin long in the making but hopefully you enjoy it and this captures it well! I confess I don't personally use a mobility aid at this time so I may not have the greatest frame of reference 😅 but yeah I hope you like these little moments! *does small exit dance in return*

Warnings: canon typical violence in some

Thorin's Company + Reader With Mobility Aids

Balin

“Might I ask who built that?” Polite as ever, Balin motioned to the chair upon which you had affixed a pair of wheels. “I did,” you answered, “I was the only person in my little village who needed something like this.” “Well, you are quite the craftsman. Would that you had no ties to your hometown and the Lonely Mountain could snap you up! You could see those skills built up tenfold.” “R-really? I came here to Laketown for something just like that! But I’ll confess I think you will be a far better teacher.” Winking, you gave Balin a smile he mirrored. “You’re resilient. Smart as a whip, too! It would be my honor.” “And after all,” you added, “If anyone would know how to mount a crossbow on the arms, it would be dwarves!” At that, even as polite a dwarf as Balin could hardly help bursting into a wicked grin.

Dwalin

“Nice axes.” “Forged them myself,” Dwalin answered with a nod, “Grasper and Keeper. One grasps your soul, the other keeps it.” “How funny,” you remarked, raising your forearm crutches, “I call these Catcher and Holder. Same idea only with the body. Suppose that isn’t nearly as impressive, though.” “Impressive?” Dwalin burst out. “We’ve all got our battle scars. Our wounds. Never be ashamed of that. The fact that you’re still up ‘n’ going? Be proud. I can show you plenty o’ scars myself!” At that last bit, Dwalin began lifting up his tunic to reveal toned skin paled in some places and darkened in others by all manner of scars and at that, you couldn’t help shyly laughing. Proud indeed.

Thorin

Yes, the king had not denied you entry into his company when Gandalf had recommended you, but he had raised and furrowed his regal brow in the skeptical look all but branded into your mind. He’d asked Gandalf if he was certain, and from then on the fire in your heart blazed. Certainly Thorin treated you as an equal, giving you the tasks he gave all others, but he had been yet to see you in battle and you knew that was where your proof would solidify. In fact, the first time wargs closed in upon you, you were one of the first to run back at them. Hearing the way Thorin called your name, but thoroughly ignoring it in favor of landing a solid crack upon the nearest adversary's skull. Luckily your body was having a better day anyway despite all the walking, because you spun and smashed your way through the orc pack, especially once you saw the way one bowled Bofur and Dori over. Fire took over your heart and eyes as you swung your mace until you could swing no more, all but deaf to the cracking of heads and the clattering of your allies’ blades through that pounding adrenaline. At the end of it all, Thorin approached you, his expression surprisingly mild. Then it broke into a smile. “The wizard was right about you,” he told you, clapping a hand to your shoulder, “Invaluable in all respects indeed.”

Oin

“Oh, that’s clever, that is!” “My eyes are up here,” you quipped, crossing your arms and smiling sardonically down at the dwarf bent over peering at your wheels. At that, Oin tilted his head up to look back at you, giving a raucous heh heh heh of laughter. “Never seen anything like this lot before,” he commented, shaking his head and running a hand over the frame of your chair, “You’d think dwarves’d be the first to make ‘em! ‘S beautiful.” Your lips parted wordlessly for a few moments before you spoke, head still slightly tilted. “Beautiful?” “Course!” Oin replied, smiling widely as he rose to his feet again. “A real beauty for sure. A marvel, actually. It is quite the privilege to get to see it in action!” “No one has ever told me that before,” you replied quietly, a smile spreading across your lips.

Gloin

Orcs rushed you from every side, sending you scrambling as fast as your crutches could support you. Carrying a sword aside it all was about as unwieldy as one imagined, but you knew no different. In fact, your best strike that fight had nearly taken a whole arm off. Catching sight of you, though, the nearest of your blood-spattered adversaries grinned and gave a savage kick, sending your crutches flying from beneath you. Teetering, you pitched forward, trying to catch yourself with one arm and steady your sword with the other as the shout rang out. “You think you’re so clever, you great filthy buzzard? I don’t think so!” With a savage growl of his own, Gloin flew into the fray, and with a violent swing of his axe the orc’s head was sent unceremoniously tumbling to the dirt. “Serves ‘m right, eh?” Gloin asked with a smug look as he extended a hand, helping you up, handing you your crutches, and even gently dusting you off.

Bifur

You had seen the way he glanced your way. How his eyes traced the lines of the crutches extending from your forearms, the extensions of steel that made walking less painless. And running more painless if you were a charging warg on the receiving end of a bash to the face. Bifur had seen the way you slid your arms free to motion and sign to him, indicating the interesting things seen along the road. If you had a tendency to go nonverbal, he would aid you in removing your crutches when you needed to sign. Such things had been floating in your mind when you sat by his side, asked him if he understood in a way. You certainly felt understood in his presence, after all. Bifur glanced away with haste, but still you caught notice of tears in his dark eyes, just for a moment. A moment before the smile spread across his face and he leaned in, gently resting his forehead against yours- carefully, of course, so you barely felt the brush of the axe against your joined skin.

Bofur

“Bofur!” Uncaring how earsplitting your scream may have been, you charged forward, heaving one leg before the other as fast as you could while still keeping a hand on your walker. Which was faster than even you realized, sped by adrenaline and rage and urgency all pounding through your ears. Loading your crossbow again and again, you fired three successive shots into the assailant’s side, shoulder, and finally with the last you struck his ugly head and knocked him down onto his ass. For good. Sighing heavily, you leaned for just a moment on your walker frame before making your way to Bofur’s side, this time at a less painful pace, and turned it around to take a seat. Leaning down, you reached for his hand. “Bofur, are you alright?” “I am thanks to you,” he chuckled, his hazel eyes fixed upon you fondly, “Maybe I need to get myself one of those. Seems to aid the aim, having something to lean on.” Grinning and blinking back tears, you procured a cloth and a strip of bandage and started to dab away the blood on his shoulder.

Bombur

“Hope this isn’t rude…” You were surprised by the sound of Bombur's soft voice coming from your side, turning from the journal you wrote in and setting your implements aside. A part of you wanted to roll your eyes, well aware of all the 'not rude' inquiries you'd received over the years as to why you carried crutches, especially if some days you did not. However, knowing this one came from sweet Bombur softened you. He actually meant it. "...But what's the hardest part of having those?" You couldn't resist a snicker at the thought that immediately rose to your mind. "You'd really like to know?" "Yes," he nodded, "If I may." With another little snort, you smiled and told him, "Mugs." "Mugs?" "Mugs and stairs. Can't tell you the number of times I've spilled on my way up. Anything that takes two hands, really." "I see!" The conversation ended with Bombur's eyes lighting up. At least you thought it had ended... Several days later, he came shuffling up to you with that same sweetly eager glint and his hands behind his back. "I've made you something," he told you, pulling out an open cylinder of steel and unfolding another little piece from it, "Hope it works. It's a little mug holder. Go on, let's see if it fits." Snapping the little unfolding piece to your crutch, Bombur watched your face break into a grin as it remained in place. "This is the sweetest thing anyone has done for me, Bombur. Thank you." "You deserve it," he replied, smiling fondly at you.

Dori

“I wouldn’t exactly mind having one of those.” “A cane?” You arched a brow. “I’ve always thought it made you look distinguished,” he admitted with a smile. “Now that is a new one,” you commented wryly, “All for use of my leg.” “Nothing wrong with it,” Dori shrugged, “We all do what we must. Seems a shame you’ve such a plain one, though.” At that, your proverbial ears perked up. “As opposed to what?” “Well,” he shrugged, “I don’t know. Haven’t you seen all the nice silver tips and things they put on canes?” “Ah,” you nodded, “I see what you mean! It is a bit of a shame I haven’t anything to decorate mine with, isn’t it?” “Haven’t anything? What do you call this?” With that emphasized last word, Dori reached behind into his pack and procured a little silver charm, one carved richly with dwarven runes and even centered with a little green stone. Fiddling at his back more, the dwarf also found a section of string and hastily tied it to your cane’s handle. “Now what do you call that?” He asked, waving a hand over the charm. “I have a bit of luster dust if you’d like something more.” Needless to say, it was the most fun night you’d had in those endless weeks of trekking.

Nori

Raising one eyebrow at Nori, you stared in skepticism as he held a hand out and repeated his request. “Your cane, please?” “How do I know you won’t just run off with it?” You shot back. “You’re sitting,” he pointed out, “Not like you really need it. Besides, do you really think I’d be so incorrigible a scoundrel as to make off with someone’s means of walkin’ for no reason?” Nori’s gaze slid upward from your carven wood cane back to your eyes, which remained as they were. “Second thought, don’t answer that. Just trust me, hm? You won’t regret it. Dwarf’s honor.” At the invoking of honor, an action infrequently taken by Nori, your brow lowered to form a more neutral, though inquisitive, expression as you handed your cane over. You were quickly distracted by conversation from Dori as you sat, folding your hands in both complacency and content and shivering a bit in the snow. The conversation continued for some time until an ‘A-ha!’ rang out and Nori came running back up, triumphantly hoisting your cane, to which he had crudely affixed one of his many knives. “And what,” you asked, “Is this?” Nodding beyond your night’s campground, Nori indicated the ice extending across the ground. “Aid in your trek! Can’t have you slipping, can you? Not that I won’t catch ya.” He winked.

Ori

“Your sticks!” Ori gasped, brown eyes wide with horror. “Where are they?” “My crutches?” Eyebrows sliding upward in amusement, you made your way toward the young dwarf, who was stitching a sock a handful of feet away. At that, he simply nodded, repairs completely abandoned upon his lap. "Oh, I simply had no need for them today," you answered with a small shrug of your shoulders. At that, Ori gave a curious little frown. “So you can walk some days?” “It isn’t only a matter of walking,” you chuckled, “Moreso that some days my pain and balance are worse.” “Like when Gloin’s leg bothers him?” Ori asked, face turning to childlike eagerness. “Or how Bifur doesn't talk some days?" A little smile spread across your face and your chest expanded with warmth. "Yes," you agreed, "Just like that, Ori."

Fili

Mind drifting off in tandem with the pulsing ache of your limbs, you gazed at the flicker of the fire, faintly drifting smoke curling into the air from pipes and the kindling itself. Your hands idly wrung your cane until the sensation of warmth brushing your leg drew you from your empty focus spiral. Shifting your gaze, you were met with the sight of Fili sitting at your side. "Think I might need one of those after today." Following his gaze, your eyes fell back down to your hands, more specifically the cane held there. "Your own mobility aid or the other?" At your last words, Fili quirked up a golden brow. "The other?" He repeated. Smirking proudly, you slid the end off your cane, revealing a sword hidden within. “The other,” you repeated once more with emphasis, “Guess you weren’t paying attention to how I heaved so many goblins off that bridge.” “You’re right,” Fili agreed, blue eyes lighting up in the fireglow, “I do want that. How long has that been there?” “Whole time.” “Just waiting for the right moment, eh?” “Of course,” you bantered back, “Gotta make a show.”

Kili

“Can I try?” Kili smiled up at you as you blinked at him, face blank with thought. Reaching down, he pantomimed using your crutches for a step, swinging his arms back and forth. "You want to give my crutches a go?" Your eyebrows shot up, a smile building upon your face. Memories flooded your mind, deep knowledge of the struggle that nearly always comes with those first steps and even far beyond. Loosening the grip you had upon your aids, you handed them off to Kili as you took Oin's hand and allowed him to help walk and lower you onto a makeshift camp seat. Hooking his arms in, Kili stood up, adjusting his posture after several moments. He took a step, then swung them. "Wait, that doesn't make sense. Hold on." You giggled from your seat at Oin's side as Kili raised one leg, thought, brought the crutches down again and wobbled such that you were tempted to extend hands that could catch him.

Bilbo

“I was scared first, but trust me: you’ll be grateful in the end once you get on these fellows,” Bilbo told you, looking down at you as he patted the pony he sat upon. “It isn’t that,” you answered, gaze dropping from the hobbit’s, “It’s…well, it is a bit embarrassing, to be honest.” The dwarves had been sweet enough to fortify the feet of your forearm crutches, though they still could not understand why you didn’t ride. The answer, quite frankly, rose a bit of a flush to your cheeks. Bilbo must have caught this. “You shouldn’t be ashamed. Nothing of it is your fault. You can tell me. Probably better me than all those dwarves, right? I won’t tell a soul.” His voice dropped to a playful whisper for that last sentence, which though it didn’t help the heat radiating beneath your skin did open your heart and your mouth. “If I were to get lightheaded or a shock of pain riding a pony I could fall off. And...And I would need someone to hold onto me.” “Ah,” the hobbit replied, this time taking his turn to shyly gaze away, “Well, if you ever change your mind, I would be more than happy to hold you.”

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[fantasy-anatomy-analyst]

Not too sure how strange of an ask this is, but have any ideas on how to make a winged being with "legwings" similar to sharovipteryx, but is capable of flight? Thank you in advance!

in the process of looking up images to remind myself what a sharovipteryx is and how it moves, i found this tumblr post redesigning the pokemon Latios and Latias as a pair of sharovipteryx and it's amazing, I love this, shoutout to @alphynix

anyway. so what you're asking is how to make a creature with those back-leg membrane wings but in a way that allows for powered flight instead of just gliding? powered flight requires some method of flapping, so as long as the muscles and joints are able to move that way, it should work out. for reference, here's an image of the sharovipteryx (artist: Dmitry Bognadov)

(image description: artistic depiction of two prehistoric flying lizards, seen from below. they have long skinny tails, short forelegs, and very long back legs with a triangular membrane over them, including a membrane between the knees and belly. end description)

their shape reminds me of a paper airplane.

hmmmm let's start by talking about how arm wings flap for powered flight, comparing their shape to these leg wings.

(image description: simple sketches of a bat wing, labeled "arm", and a sharovipteryx wing, labeled "leg". end description.)

going for the bat wing because they've also got a membrane. when bats fly, a lot of the motion is in the elbow (excluding the fingers for the sake of comparison here). each flap brings the wing to a full horizontal spread, and then it's drawn closer to the body and lifted at the elbow to bring it back upwards, more or less. not every flap folds all the way in! once a bat is in the air, it can usually flap in smaller motions to maintain its lift. this also depends on wing shape and size, as smaller wings require more frequent and deeper flapping while bigger wings are typically better for soaring and require less and more shallow flapping after takeoff.

the back leg wing is easy enough to spread out and flap downward, but i think the struggle comes from bending the knee for an upstroke. in this case, I believe a more flexible hip joint would allow for a better upstroke. or it would have to move more forward and then spread out. as a result, it may not have the same range of big flaps as a bat or bird, and i think it might resemble the way frogs kick their legs when they swim.

(animation description: very simplified sketch frames of a leg wing and an arm wing flapping. the arm wing goes all the way up and down for each flap, while the leg wing only comes in line with the body before it extends for a downstroke. end description.)

I do not dabble in animation very often and trying to do foreshortening on flapping wings is hard, so forgive the quality haha. but I couldn't figure out how else to illustrate what I was thinking of for the movement on the leg wings. may not be as efficient as arm wings when it comes to agile powered flight, but it would perhaps be enough to provide lift so the creature isn't just gliding.

hope that helps!

[cafecourage]

Idk if requests are open; if they're not, please feel free to ignore this!!!

Okay so uh, I know that the post I'm gonna reference is more than a year old, but I just discovered your blog and I went on a binge and, well...

The Dragon Au Part 2? The one with Sky (along with the other boys, but I'm focusing on Sky)? Where you said that Sky would probably never tell his S/O about him being a dragon despite the trust he has in his S/O?

It's just...so sad! 😭 So, if I may, could I request a fic where Reader (who is, or wants to be, Sky's S/O) finds out that Sky's a dragon?

Maybe he accidentally shifted during battle, or maybe one of the other Links accidentally let slip that all of the Chain (and, therefore, Sky) are dragons? I'm not quite sure about how Reader would find out, but they do; cue them crying to another Link (probably Time, bc he's The Dad™) or even Sun, and Reader admits that they feel like they're a terrible person bc surely they did something to make Sky not trust them, right...? And Reader asks for advice on what they can do to make up for whatever Bad Thing they did, and how to be a better friend to Sky, etc. etc.

I don't like angst if it doesn't have a happy ending, so idk how to end it on a happy note; maybe Sky talks to Reader about it all & they "kiss & make up" (either figuratively or literally lol)?

(Again, feel free to ignore this if requests aren't open!!!)

IVE BEEN WANTING TO WRITE THIS EVER SINCE I TOLD PINKY ABOUT IT.

Typically you were stay away from battles if anything you were learning how to fight. In this battle though your back was towards a cliff and the monsters were blocking your way into the forest which is where you normally hide. Well… This was a particularly bad situation to be in. You duck and tried to weave through but each time you tried to you almost get hit. Luckily Sky was staying by your side for a bit to fight the monsters off. Though the chain was truly outnumbered.

Not to be a downer but you think they might need a miracle.

Then it happened.

A Lizalfos got a fairly lucky shot at you right in the shoulder. The impact knocked you back off your feet and stumble back.

Right.

Off.

The cliff.

It was weird. You didn’t scream. But something did. It was loud and it felt like the air was full of electricity. In a blink of an eye a black plop swooped down heading towards you. When the blur finally crashes into you whatever it was brought you into its arms and pulled up. “Keep your eyes close.” You hear Sky whisper in your ear, you didn’t even know that your eyes had been closed the whole time. It’s not like you’re going to open them now. Especially with a warning like that.

There was a lot of screaming not just from the boys but monsters as well. A few crashes of lightning made you flinch and hold onto Sky tighter. Slowly your curiosity had peaked and you open your eyes and glanced up at Sky.

Sky who was typically the softest person in the world looked monstrous. His eyes were sharper more snake like and Night Sky-esque scales framed his features. Giving his once soft face a fiercer look to it. It could also be the death glare he had on his face. Behind him were two bat like wings and long serpents tail that matched his scales. It would have been breathtaking if you weren’t loosing blood.

Your glaze was met with his now electric blue eyes, “put me down?” You asked as you had to force yourself to look at the others but as soon as you moved the arrow that was lodged into your shoulder made its move. A curses leave your mouth as you slump back in his arms.

Sky was about to speak but Hyrule beat him, “We should find and get camp set up. For now Let me see what I can do.” The team’s medic was in charge now as the battle had been over for a bit now. “Rancher, Champion can you scout out a better, safer place?” He leads Sky with you in his arms to be seated. When settled with you in Sky’s lap and Hyrule helping you through the process of being stitched up.

You had so many questions to ask but you honestly doubt you would get answers too. “I have a question.”

“Yes Darling?” Sky’s voice was a bit more gravely than normal.

“Are you guys…” You had not idea what to say about this situation as you would assume dragons.

“Yes.” Time said before you could find the words.

A beat passes you look up at the token father, “all-“

“All of us yes.”

“Ok…” You lean into Sky’s chest. Before something bothers you again, looking up at Time again you go to ask him something.

He just sighs “yes. I’ll explain later about how our magic work. Just focus on healing.”

[lendeah]

After the Weave 2.

series masterlist

Summary: Astarion x OFC!Tav, past Gale x OFC!Tav

Pairing: Astarion x Fem!Tav, past Gale x Fem!Tav

Tags: Angst, Drinking to Cope, References to Depression, Eventual Fluff, Eventual Smut, Emotional Baggage, Unresolved Emotional Tension, Post-Break Up, Tav finds herself again with Astarion, Post-Traumatic Stress Disorder - PTSD.

Word count: 4.5k

Also on AO3

"Well, it is not as bad as I remembered" I tell Astarion, while entering the enormous stone arch of the entrance to the Crimson Palace. "It is so much worse. "

Astarion just laughed. "Always the optimist, aren't you?" His words were frosted with his typical humor, his voice smooth as velvet. "Would you prefer to return to your melancholic musing instead?"

I shot him a glare, but he ignored me as we stepped into the place that brought me so many bad memories. While it still looked like it did back in the day we came to beat Cazador. The ominous decoration that used to be dark, with crimson rugs and dark wooden floors, is now a bit more lively; vibrant paintings decorating the halls, flowers in every vase, and shelves full of books in every corner. The rugs are also changed to ones with different patterns of lively colors, like purple and orange. Overall, it feels like the house has become alive with Astarion's influence.

He takes me around, showing me every nook, even though I have been here before. As he moves ahead of me, I can't help but observe his changed appearance - his hair now falls just above his broad shoulders and his once sturdy frame now seems leaner, a result of the lack of physical activity we were subjected to in the past.

"This is the Kitchen, not that we use it a lot anyway" he continues, lively. As we come across the next hallway, a tall figure is already there, speaking to a servant. When she turns to face them, her face seems familiar. Then she remembers: she is one of Astarion's sisters, the one they met at the flophouse along with his brother. She stands tall, almost as tall as Astarion himself, with long, flowing blonde hair and the same bright red eyes. Her features are sharp, with high cheekbones and a pointed chin, giving her a regal and intimidating presence.

"Dalyria" Astarion greets her.

"Brother," She replies warmly, though she doesn't bother to hide the slight frown on her face. "You look exhausted as usual. Is everything alright? You know I can prepare you a replenishing potion should you be in need of one"

"That can wait" He replies nonchalantly. Then he turns to me. "Remember my dear friend, Elara?"

"Oh, I do recall. You freed us from Cazador." She replies, in a tone that's hard to place. There's genuine interest there - maybe a touch of amusement. There's also a degree of suspicion in the way she holds my gaze, though it seems less like she thinks I'm an enemy and more like she's studying me.

I smile. "That was me indeed."

"Then consider my thanks to you," she bows her head slightly, her expression still unreadable. "My brother has said much about you these past few weeks."

I turn to him in surprise, raising my eyebrows slightly "I wonder what my dear companion here has been talking behind my back" I retort.

Before Astarion can reply, Dalyria continues "There is indeed a great deal you might say about such a remarkable mage. My brother speaks only the highest praise of you, in fact." She gives me an appraising glance up and down before turning her attention back towards her brother." By the way, I have made some progress with the investigation, but it seems every time I find something new things get more complicated" she adds.

Astarion nods, serious for once. It must be something important then.

"I will come to your office when I finish with her " Astarion turns back to me, his smirk still in place. "Shall we continue our tour then? I believe you have yet to see her bedchamber." He offers his arm, gesturing towards the large double doors at the end of the hall. As he leads me ahead, I smile at her and add "It was nice to meet you again, Dalyria"

Dalyria nods politely in response before continuing down the hall. As we walk, I glance back at Astarion.

"So you've been speaking highly of me."

He laughs, the sound light and musical.

"Don't let it go to your head. I may have mentioned your name in passing once or twice."

"Uh-huh," I reply, unconvinced. "I thought all your siblings had gone to the Underdark to guide the vampire spawn."

"In fairness, most of them have" He replies as we reach a wooden door. At that, Astarion's expression grows serious, his playful demeanor fading. "Dalyria has proven herself invaluable in tracking down various threats and conspiracies against me. She is also investigating a private matter."

My fingers twitch nervously as I debate whether or not to pry further. Astarion's demeanor has shifted, becoming more open and approachable than the last time I saw him. "Have you... resolved your issues? With your siblings, I mean."

Astarion's expression darkens slightly at my question, and I immediately regret asking. But to my surprise, he answers nonetheless.

"Not entirely," he says with a sigh. "But we have come to an understanding of sorts. They still see me as a traitor, but they know that I am the reason they are free from Cazador."

I nod solemnly, understanding the weight of his words. As we continue walking down the hall, Astarion suddenly opens a set of carved wooden doors and gestures for me to enter. I step inside and find myself in a grand bedroom, with floor-to-ceiling shelves stacked with leatherbound books. The plush chairs and polished tables give off an air of elegance, while the fancy rugs and huge fireplace add a touch of warmth to the space. But what catches my eye is the enormous bed lying in the center of it all.

"Here's where you'll be staying," Astarion announces, waving his hand across the room. His voice is casual, but I notice an underlying tone of nervousness. Was he worried about my reaction? "I hope it's to your liking."

I stand in awe at the grandeur of the room, taking in every detail. "This is...amazingly excessive," I say, turning to look at Astarion with a smile.

That brings a smirk back to his face, and he shrugs languidly. "I've been told my tastes veer towards the extravagant. Feel free to make any changes you like."

I chuckle at that and then turn my attention towards the room once more. It is a beautiful space, with the kind of splendor I'd only ever seen in royal chambers. The walls are adorned with rich tapestries depicting various scenes from myths and legends. There are large windows draped with velvet curtains, closed to protect the inside from the morning sunlight.

Turning around, I approach a large painting hanging above the fireplace. It depicts a grand feast filled with all sorts of creatures - humans, elves, tieflings, orcs, and what looked like demons? A strange choice for decoration but it was beautifully painted nonetheless.

"So, what's next?" I ask curiously.

Astarion pushed himself off the doorframe "Take your time to cool off, darling. We can meet for lunch later, and I'll fill you in on the juicy details then."

I nod and turn again. This feels like way too much, but I guess that's how it always is with Astarion. I decide to go to the on-suite bathroom first and take a moment to freshen up. The bathroom holds a mirror that spans one entire wall and a sunken tub, already filled with hot water, steaming gently. I shed my used clothes, leaving them in a messy pile on the marble floor as I step into the warm bath. The heat envelopes me, soothing my tired muscles.

I lean back against the edge of the bath, closing my eyes and letting out a quiet sigh. This life here is far from the humid and dirty basement I was living in. All the luxuries make me feel out of place. But then again, perhaps this is Astarion's world now – a world of elegance and intrigue where I was merely a guest.

After what feels like hours, I rise from the bath, wrapping myself in one of the plush towels. As I open the closet, my mouth falls open. It's full to the brim with fancy expensive clothing. My hand reaches to trail along the vests, and I decide to settle for a green soft dress, light to the touch. I retouch my hair, placing the crazy black strands in a long high braid. Then I get out, crossing different halls to reach the dining room. The table has been set, and a lavish spread of mouth-watering dishes sits before me. It smells divine, the aroma wafting in the air enough to make my stomach growl.

From across the room, I spot Astarion leaning casually against a pillar, dressed in a scarlet silk shirt that matches his eyes and a pair of fitted black trousers. His shiny white hair falls in elegant curls around his face and he looks absolutely captivating.

"Enjoy your bath?" he asks as I approach, his eyes twinkling with amusement. He still has his usual smug confidence, it seems.

I give a slight nod and shrug nonchalantly, "It was nice, thank you," I admit trying to match his tone. He grins at me before taking a seat at the head of the table and gesturing to the one right next to him.

"Please, help yourself," Astarion says with a wave of his hand, gesturing towards the food.

There's a variety of dishes laid out before us – a hearty-lookingfreshly beef stew, roasted vegetables, a platter of assorted cheeses, and fresh baked bread. I wonder why he brought so much food when I am the only one able to enjoy it.

Astarion pours out two glasses; one of dark red wine for me and what I assume is blood for him.

As I eat, I decide to break the comfortable silence we've settled into "So, what was this urgent matter with the spawn that led you to seek my help".

Astarion smiles, sipping on his wine before answering "Well, as it turns out, taking care of 7000 spawn lurking in the Underdark and city sewers is not an easy task. Less so when they absolutely despise you for being the reason they are there in the first place" He smiles, but it's strained, the lines of his face terse "That's the short of it."

"And what's the long version?" I ask.

"So, it seems the city has become quite the popular destination for disappearances. And how fortunate for us, some have turned up deceased with bite marks adorning their bodies. My intuition leads me to believe they may be the work of a recently escaped group of spawns. They've always had a particular appetite for the finer things in life, so perhaps now they've developed an appetite for humans. Can you blame them? After being cooped up for so long, I'm sure they're craving something new and exciting." He rolls his eyes. "Also, providing for them has been proven not only difficult but also incredibly expensive. Even with Cazador's fortune at our disposition." he adds "And the spawn themselves are no help. They're like petulant children, and I mean that quite literally. With Cazador dead and a thousand-plus years of confinement gone to waste, they are utterly lost. Most of them are refusing to eat at all. Others are gorging themselves into an animalistic state. It's like I'm trying to corral feral cats, only the cats all have sharp teeth, claws, and a deep hatred of me"

I nod, processing the words "And how do you think I could help you solve all of this?"

"Well, I'm not asking you to solve it. I'm asking you to help me manage it" He replies, leaning forward.

I raise an eyebrow, "And why come to me for help? Surely there are others who are more experienced in dealing with such creatures."

Astarion smirks, "Because my dear, you have a unique set of skills that I believe could be quite useful in this situation. And besides, I trust you. You've proven yourself to be quite resourceful and adaptable during our time together. Your ability to handle conflicts with diplomacy has always been evident. People listen to you, follow you, even to deathly war battles." he takes a long sip of his wine "I believe that you can use that charisma to our advantage. So many of Cazador's old allies have been fleeing our side, with his recent death and my new situation as a vampire spawn no longer being so... secretive. If we could show we still had allies of importance on our side, I believe it would turn our whole situation around. We could win their respect enough to earn their aid once again."

"So you want me to manipulate them so they will give us more money to waste on some wild murderous spawn living in the Underdark?" I raise a skeptical eyebrow.

"That is precisely what I'm asking you to do." His lips curl up into a mocking smirk as he continues, "But don't worry, darling, I'm not suggesting that you outright lie to them. No, no, just use your considerable charm and cunning to sway them our way." He shrugs nonchalantly. "And as for the 'wild murderous spawn', well, some of them are actually quite decent. They're just experiencing the same struggles we are. It's a shame really."

I sigh "Yeah, I kind of get that," I whisper, more to myself than him.

"That's all I ask," Astarion purrs, his crimson eyes glinting mischievously. "Just a few measly balls, charming the pants off of every noble in attendance, you know, basically your expertise. Just..." He pauses, exhaling dramatically before locking eyes with me again. "I need to make sure I do things right for them this time. It's the least they deserve, after what I did."

My heart swells with emotion at this unexpected change in him. His demeanor is so... different. So strikingly mature and selfless. It's a stark contrast to the old Astarion, who only ever had eyes for his selfish desires.

I take a moment to compose myself before responding, "Astarion, it wasn't your fault. You didn't know Cazador was keeping them alive." I say, reaching to touch his arm, his skin as cold as I remembered, "and you were going through a lot of pain too." I whisper softly.

Astarion freezes as my hand touches his arm, his eyes drifting away from mine and towards the bottle of wine. He looks back up at me for a moment, his mouth twitching slightly. "I was a tool of Cazador, yes," Astarion continues. "But I also...I had my own part in it." His voice is barely a whisper now, tinged with regret. "I condemned them to an eternal darkness, gave them false hope, and then took it away from them."

"But you're trying to change that now," I tell him, my voice soft but determined. "You're doing what you can to help them. That's worth something. And we will help them. Together."

Astarion's expression softens, and for a moment, I see a glimpse of vulnerability in his eyes before he quickly masks it with a smirk. "Oh, darling, you always know just what to say." He leans back in his chair, his fingers absentmindedly tracing the rim of his wine glass."Well..." he continues, as if he had never just gotten so close to breaking down as he did "it sounds like we have a lot of work to do, don't we?" He leans over to refill my glass, a smile on his lips. "You know, in hindsight, it might have been a mistake to call you here for a job offer. You are looking exceptionally... inviting in that outfit. Very seductive, if I may be so bold" He adds, giving me a sly smirk.

I roll my eyes, taking my hand off him. "Keep dreaming, bloodsucker."

Astarion lounges in his chair, a devilish twinkle dancing in his eyes. "But my dear, let's not forget all those indulgent moments we shared together when you let me feed from you? I know you really enjoyed those" He leans closer, voice dripping with honeyed seduction. "Perhaps we should revisit those blissful days, hm?"

I chuckle, shaking my head. "No chance in hell, Astarion." I take a sip of wine to hide the slight tremor in my hand at his words. Memories of our past together flood my mind, and I can feel his fangs piercing my skin, the pain quickly giving way to a pleasure unlike any other. His hands, surprisingly gentle for someone with such sharp teeth, traced every curve of my body with a tenderness that both thrilled and terrified me.

"Oh, my sweet, you must be craving for some excitement after all these dull months without that wizard's touch." He purrs, his fingers brushing against the back of my hand.

The mention of Gale sends a pang through my heart, but I quickly push it aside and retrieve my arm. "You know very well that's not what I'm here for," I respond firmly.

He chuckles, placing his hand over his heart mockingly. "My apologies, my dear," he says with a hint of sarcasm. "I'll try not to let old feelings get in the way."

I take a deep breath and rise from my seat "Now if you'll excuse me," I say as I stretch languidly, "I am going to get acquaintance with my bed."

I turn to leave, but not before I feel his cool hand on my wrist again. "Wait..." he says, not meeting my eyes. "Thank you. For everything. For listening and for agreeing to help. I...I appreciate it."

His words catch me off guard, but I manage a small smile. "It's what friends do, Astarion. We help each other out."

His grip on my wrist tightens for a moment before he releases it. "Yes...friends, of course..." he murmurs, looking up at me with an unreadable expression before I turn away.

Walking down the long carpeted hallway towards my quarters, I think about what Astarion said. About the spawn, their situation, and how he wants me to help. It's a lot to take in. But then again, what part of my life isn't overwhelming these days?

"I don't want to dance" I whine "I hate dancing. Is it truly necessary?" I say while Astarion leads me to the ballroom.

The past few weeks had been a whirlwind of preparation for the next ball, which happened to be the next day. Astarion had taken it upon himself to teach me every name and position of every attendee possible, filling my head with endless information. He had also taught me protocol and manners, deeming my behavior akin to that of a "savage in elegant attire." My days had been consumed with a routine of endless studying and fancy dinners with the vampire. It was a welcome distraction from the haunting nightmares that plagued my sleep again. Also, living with him hadn't been as bad as I had anticipated, as he seemed more relaxed and mature than all those months ago- in fact, it was quite nice having someone to talk to and spend time with after so much time.

Adjusting my sleeping schedule from night to day had also been strange. However, my tired body and mind gratefully embraced the break from the unrelenting cycle of stress and sleepless nights. To my surprise, I didn't find myself constantly thinking about ale like I thought I would, as my mind was preoccupied with endless details and plans instead.

Despite the improvements, I had been absolutely dreading the moment I had to learn how to dance, as I was well aware of my terrible lack of skill in that area. I had tried to convince Astarion out of it for weeks but to no avail.

"Yes, it's absolutely necessary," the vampire answers without missing a beat. "You're not going to convince anyone of anything if you're standing around like a wallflower." He grins at me with that infuriatingly charming smirk of his. "Besides, you might enjoy it. Dancing is a lot like battle. There's strategy involved, lots of footwork, and the right partner can make all the difference." he ends with a wink.

I huff in response. "I'd rather fight a horde of goblins than dance in front of snotty aristocrats," I grumble under my breath. But I know there's no point in arguing. Astarion has made up his mind, and he's as stubborn as they come.

The empty ballroom is splendid, bathed in the warm glow of numerous chandeliers that cast prismatic rainbows across the polished marble floor.

"You can't be serious, Astarion," I say, turning to face him with pleading eyes. "I have two left feet. There's no way I can possibly learn how to dance in one night."

He simply raises an eyebrow at me before gesturing towards an empty corner of the room.

"Luckily for you, my dear," he says with a smirk, "I happen to be quite skilled in dancing."

Before I can protest any further, he takes my hand and leads me over to the center, as soft ballroom music starts playing. Astarion moves me through the steps slowly at first. We stand close together, his hand finding mine while the other rests on my waist. I swallow nervously as he guides me through steps I can hardly remember.

"Relax," he murmurs, his voice soothing. "You're thinking too much."

"You're stepping on my feet too much," I retort.

"The key is to let the music guide you," he says as we begin to move. "Feel the rhythm in every part of your being. Imagine you are fighting – you must anticipate their next move."

His smile widens, and he squeezes my hand, moving us into a gentle twirl. "You're looking majorly exquisite tonight." He whispers in my ear, his low voice sending tingles up and down my spine. I gulp, he always knew how to make me nervous. I try to distract myself by centering my attention on the task at hand.

The dance is simple enough: a few simple steps across the floor, then a twirl, then stepping back to begin another turn. At first, I struggle to follow his rhythm, but Astarion guides me with ease, our bodies moving in unison. I soon begin to relax, letting him lead me as we glide across the floor.

"I must admit, there are few things that you are skilled at. But dancing certainly isn't one of them." Astarion adds, his tone playful.

I raise an eyebrow at him but don't bother responding. Instead, I focus on moving more smoothly across the floor as he leads. I slowly begin to learn the pattern of the dance, and I find I am enjoying myself more and more as we move together. I smile slightly despite myself, and as we twirl once more, I notice how close we are. Our bodies are almost touching, dancing slowly and rhythmically together. It has been months since I have been this close to someone, and it makes me feel a little guilty to think about Gale like I am betraying him somehow.

Astarion doesn't seem to notice my discomfort, or perhaps he's purposefully ignoring it. He leads me through a few more steps, this time slightly faster and more complex, but I'm able to follow his rhythm easily. "Have you had many partners on the dance floor?" he asks after a few moments, his voice low and soothing.

I smile slightly out of breath "Well, you know Gale wasn't keen on dancing, so no. You have the honor of being my first"

Astarion pauses in the middle of a step, glancing up at me with a sly grin. "Oh really? I didn't realize I had such a special privilege" He twirls me around so I'm facing away from him, and then pulls me back in so our bodies are almost touching again. "It seems I should be thanking you instead of the other way around"

I roll my eyes "Well, I haven't thanked you, actually."

He smirks at me, his eyes glinting in the candlelight. "No, I suppose you haven't." He leans in close, his voice low and quiet, "Maybe you should fix that."

, his voice soft against my skin causing a shiver to crawl down my spine. I look up at him, our faces inches apart. My breath catches and my pulse quickens slightly. His eyes hold a certain level of mischief that has me both exhilarated and scared all at once. It's a feeling I have associated with Astarion since the day we met.

"Maybe I should," I murmur back in response, trying to sound as nonchalant as possible. But I can see the glimmer in his eyes that tells me he knows just how much he's affecting me. And of course, he wouldn't be Astarion if he didn't take advantage of the situation.

His hand slides down from my waist to the small of my back, pulling me closer. His thumb brushes against the exposed skin there, sending waves of goosebumps along my body. He leans in even closer until our noses are almost touching.

"But then again," he whispers, his breath warm against my lips."What would Gale think of this? He wouldn't be thankful for me touching you like this, would he?"

His words hit me like a bucket of icy water, pulling me back to reality. I pull back abruptly, stumbling slightly as I detach myself from Astarion's grasp.

"I—I don't know," I stutter, my cheeks hot. His words have stirred a pot of emotions within me, his charm ensnaring me in a moment that felt too intimate, too personal. Memories of Gale flood my consciousness, his soft voice, the way he looked at me with his big brown eyes. He asked me to marry him, to wait for him. Suddenly, dancing with Astarion feels so wrong.

His eyes narrow slightly as he studies me, not saying a word as he waits for me to gather my thoughts. "Look Astarion," I finally say, my voice barely above a whisper. "If you want this deal to work, you have to stop that. It is enough for me to get over my breakup, I can't deal with you play flirting around me all day."

Astarion raises an eyebrow at my response, a devious smirk playing on his lips. He leans back against the edge of a table casually, crossing his arms. It is as if we were simply discussing the weather.

"I'll keep that in mind. But don't worry, I won't push my luck again." He lifts his hand in surrender, trying to lighten the mood. I can feel that he's not done yet. My fear is not in his attempts, but in my own weakness to resist him again. Can I keep saying no?

Despite the situation, I can't help but smile at his casual demeanor. There's something about Astarion's wit that reminds me of my old self.

"In that case," I say after a moment of contemplation, "Thank you, Astarion. For the dance and your...guidance."

"There it is," he smiles "Good girl. I knew you would make it."

Our playful banter is abruptly halted by a servant, who clears his throat discreetly as they cross the opulent room.

"Mr. Ancunín," he addresses Astarion with a slight bow, "I have been instructed to deliver a missive intended for our esteemed guest."

Astarion motions for the man to approach and looks at me, with an unreadable expression in his eyes. But I am unable to tear my gaze away from the piece of parchment paper in his hands. As he draws closer, I can see the familiar handwriting scrawled across it, causing my breath to catch in my throat.

It is Gale's handwriting.

[kisu-doodles]

You draw Logan and Scott ‘s physiques so well! Do you use references for drawing muscular physiques or what did you study to get good and make it stylized?

I’ve never found great references to study from but I’m really curious how you practiced and got so good at it?

OMG im so flattered! fr im definitely still learning and im not super confident with my art yet but i'll do my best to answer and maybe it will be helpful!

To answer the first part i always ALWAYS use reference but maybe not in the typical way. Usually i'll try and do the sketch from my mind but im the type who frequently forgets how to draw so i'll usually end up using reference. Typically i have multiple reference categories because 1. it helps avoid just copying others stuff 2. you learn more deeply i find

Here are my typical reference categories

Poses: i tend not to look for poses that look like the character because i think you can get bogged down trying to copy it exactly so for example i'll use a pic with a woman when drawing a man. I also highly recommend using videos if possible you can find alot of great stuff on youtube so for example if im looking for acting reference i'll often watch an always sunny clip (because the i find that the actors have really great hand acting) or for let's say a fight scene ill look up something from an action movie i like, I do this alot because im working on alot of storyboards and animation rn so seeing things frame by frame is very important. In addition i've been studying alot of x men comics because they have some really great fight scenes specifically all new x men. Further note, I usually try to draw the pose by eyeballing it but if im struggling then ill trace over the pic breaking down the forms and then draw it again using the breakdown as a reference (also u dont have to do this but my goodness it helps, is to draw the pose again from memory without looking at the reference I do this alot especially when animating because i want to build a visual library)

STYLE: One of the things which i think is a big hurdle if you're trying to learn anatomy or more specifically how to draw it in a way you find both easy and appealing is just going from irl pics. This is where studying from other artists is essential for me at least because im naked and afraid 99% of the time when it comes to art. So what i'll do is usually breakdown an artist's work that i like down trying to get into their mindset usually; How are they simplfying the form; what shapes are they using and why. I think it's good to micro focus at first so let's say you're finding forearms tricky then just breakdown how the artist draws forearms then draw your version and COMPARE seeing what's different between your version and the artist. Then i might get some irl pics of the subject and im like ok im x artist and i try my best to draw the part in their style, you know kinda imagining how the artist you like distills the same info. I reference a great deal of artists because they all have a great deal of knowledge but also you dont just want to copy one.

ANATOMY: Im the type that usually wants to apply anatomy immediately to what im working on rather than just doing endless drills because it's one thing to draw an arm for example as u usually see in reference which is by the side and completely different when the arm is actually doing something. There are a ton of great resources out there for anatomy but for me at least i think it's important to find references that simplify because again i think building a visual library is best. So for me usually i'll whip out the anatomy reference when im stuck on something and cant remember how to draw it

THE CHARACTER: with some characters like scott i usually dont need a reference but with logan and his silly hair it is essential. since with these two there are so many comics there is a ton of great reference

Further thoughts:

One of the things which i think is super essential at least for me is to try and force yourself to draw from imagination because it's very easy to get stuck in a learning cycle if that makes sense. A nice way to ease yourself into it is to start modifying your pose from the reference so let's say you've drawn the character sitting on a chair now draw it so they're leaning forward or to the side whatever you want! you can also try drawing from a more exaggerated perspective or from a completely different angle! Finally i think it's a great way to loosen up to just doodle poses with no reference just whatever tickles your fancy for this it helps to have a shorthand that you feel you can draw at any angle so even stick figures can work nicely!

i found especially for drawing muscular characters it is best to try cartoony simplification because the anatomy can be quite overwhelming. When i first started to draw logan i used his character sheet from x men evolution and would doodle random poses and then using the model sheet as reference try to put him on model (basically the mindset was what would the animators on the show do) it was really fun and because i had these simple but clear logans adding more detailed anatomy was super easy!

So to elaborate id find lets say a reference of someone eating a salad and then id draw logan in the style of x men evolution eating a salad.

Sorry if this was super rambly i hope it helps!!! i could elaborate if ye require it

[sonkitty]

The Sideburns Scheme Post #40

(For reference: The Sideburns Scheme)

Crowley, Good Omens 2, Episode 3, I Know Where I'm Going, gravity

...

Sideburns Check

The sideburns are long. I would even go so far as to say they can go in the longest-length category. That's typical for being in Gabriel's presence without humans around.

Gabriel is the supernatural presence that affects the sideburns in such a way for most of the story.

...

Brighter Red Streak Check

The streak can be found. It might even expand a bit when Crowley is talking about his Operation Lovebirds plan by the window. Still, the streak is usually visible when Crowley's around Gabriel, just like the sideburns are usually long when Crowley's around Gabriel.

...

Hairstyle Changes

The hair is more wavy on the right side of Crowley's head. The hair near his part and above his left eye indents in a little further to Crowley's right. It curves slightly upward in its overall tilt to the right.

...

Earthly Objects

(For reference: Earthly Objects | Earthly Objects Study - Windows Part 1)

Gabriel is repeatedly dropping a book. Touches probably count for when he picks the book back up. Crowley is touching a stack of books has walks down the stairs.

Gabriel places his hands on his hips briefly while Crowley is talking to him. He has a question with, "Why?"

Crowley probably gets points for touches on the rugs.

Crowley and Gabriel share a complex window scene looking at Nina. With the window look touch active, they both do self-touches.

My latest guess, which I reached while drafting this post, is that there are two sets this pair do. Because they were looking at the fly together, they are in a context to allow a shared window look.

Crowley starts the first set with the name, "Operation Lovebirds." That's point #1.

Both he and Gabriel are not physically touching any earthly objects as they start their shared window look. That's the lookers looking as Step 1.

The camera shows Nina and part of the window frame visible. That's the window seeing as Step 2.

The camera cuts back to the pair behind the window. That's the lookers being seen clearly behind the window pane with at least some of its window frame visible, which is Step 3. They have earned their shared point as point #2 of this set.

Crowley earns them their third point with smacking his hands together while Gabriel maintains the look on the window. That's point #3.

During the previous set, Gabriel was implied to touch his coat. The camera confirms it as this next set starts. That's point #1.

Gabriel asks, "Vavoom?" That's a question to earn point #2.

Crowley has an implied pocket touch, but I think he's obscuring it enough to not earn a point. Instead, he earns the last point with a self-mouth-touch after saying, "That's the plan, yeah," and before saying, "I haven't done weather in ages."

He concludes the scene with ensuring that he is looking out the window. Instead of a physical object being physically touched, the window look is maintained so long as the characters occasionally look to show they are still using the window.

...

As a reminder, all of this window stuff is, at least in my experience, to help an audience player find and solve The Window Trick in Round 1 of the Threshold Tricks.

...

Time to pay attention to the pockets...

Crowley has manifested his clothes differently. He has no jacket and no vest. That means I'm off to examine the tie strands since they have no lapel edges to strike for retying or whatever other mischief they might do as the Tied Hands.

Okay, the first thing I notice is that a clasp hits an edge along the line of the outer shirt near the end of the scene.

That means I'll look for retying signs as well as whatever else they do.

With Crowley carrying the books, the tie strands are mostly covered at first. After he throws the books, the tie strands are not fully visible yet. His right hand is in front of them. The space between his thumb joints is what lines up with the lower part of the clasp furthest to Crowley's right and slightly higher than the hidden ones for the other tie strand below it. As Crowley's right hand lowers, that lower part hides briefly. The upper part of the left-most tie strand becomes visible and aligned with the right hand CMC thumb joint. Then the right hand covers the clasps.

Both arms are making pockets with his body.

Given what's going to happen, what I think the scene is trying to show is a confirmation that the tie strands are indeed Tied Hands, even with the different attire. Because of how this display happens, they're also going to have to be retied. The tie strand closer to Crowley's right eventually switches to be closer to Crowley's left. Then in Crowley's movement, it will match with movement of Crowley's left hand.

Crowley steps forward, and both his arms move while the tie strands swing. His legs end up making a pocket with the bottom of the screen. His watch's face still can't be seen, but it's exposed enough for its metallic shine to be found while the bookshop clock's face is also visible and to Crowley's right. Crowley's left thumb tip lines up to the edge of the tassel that is probably the one closest to Crowley's left. That's the one connected to the right hand at that moment.

Then the left thumb tip covers the other tassel for the tie strand closer to Crowley's right, which is the one it's theoretically tied to. Crowley keeps stepping forward, and the tie strands switch with his movement. The shorter tie strand ends up closer to his left side. When it swings slightly to Crowley's right, Crowley's left hand is in sync with its movement. His left arm is making a pocket with his torso. The tie has skin contact with both sides of Crowley's neck.

Then this display is done, and now it's time to start retying. The watch is known to be on Crowley but will not be seen again. However, the bookshop clock's face is on screen when Crowley and Gabriel watch the fly going up. Gabriel's index finger makes a point. As the pair make their way toward the window, the tie strands push off the shirt 3 times.

Crowley's pinky finger is extended when Crowley smacks his hands together as he says, "vavoom." The thumb is also extended. The index finger is blurred but has more lighting on it than the middle and ring fingers. The hands are crossed in the process.

Gabriel's right thumb CMC joint is touching his pocket when next to Crowley as Crowley implies his own pants pocket touch.

When Crowley says, "That's the plan, yeah," is when a clasp finally hits the shirt inner edge.

My guess then is that's the end of retying this time.

Well, playing this part was interesting. I'm going to have to think on it for awhile to see if it has value to other parts of the game and if it has more value than what I've found so far here. The main place I'll consider first is the Single in The Pocket Trick. I'm already so lost there as it is.

Now maybe I should go back and look at any other pockets or pocket-related things I missed with the whole studying the Tied Hands part.

The stair lamp is visible again, and it is found above and to the left of Crowley's ear at times. Well, since it's there, I'm going with guessing Crowley gets to reuse it as an Overhead Light. The logic isn't clear to me for why reusing is allowed, if that is the case.

Gabriel does something interesting where his right hand has his index finger and middle finger spread to make a "2" that is touching the desk. Meanwhile, his left index finger is touching the desk on the other side to make a "1". A Rule of Three is met with the fingertips touching the desk. He places his hands on his sweater and makes pockets with his arms. When stroking his left index finger to his cheek to ask, "Why?" there is a brief pocket between the finger and his shoulder. Later in the window part with Crowley, he places his hands on his coat and makes pockets with his arms.

Crowley ends up visually pocketed between Gabriel and the window during parts of the retying.

There are at least two humans using pockets for the part showing what the window sees.

The Belt Head is sometimes visible and a potential clue that the Overhead Light is active as an Overhead Light when Crowley and Gabriel are watching the fly. There are a few smaller lights, including one above the stair railing that can act as an Overhead Light for the Belt Head if necessary.

Crowley is wearing sleeve garters, but the only thing I could find that they might do is lighting assistance. They have more shine at parts where the arms and hands are moving to show that the tie strands are still Tied Hands.

...

For my tangential reading in my desperate attempt to improve my play, I finished The Sandman last Saturday. I don't think I'm in a ready mindset to go over my notes, but I do have some notes from when I finished and before returning the graphic novels to the library.

In my Discworld reading, I recently finished Reaper Man and just started on Witches Abroad.

...

Story Commentary

This scene shows Crowley in a more relaxed mood around Gabriel. Gabriel doesn't even ask, but Crowley offers the information on gravity. In the general hint that Crowley has been in a similar situation to Gabriel, it's like he knows that Gabriel is dropping the book to figure out gravity exists because he's done it.

He also admits to not remembering the logic of why gravity is what it is but was part of the team that worked on making it happen.

The conversation overall happens on friendly terms, and there's no acknowledgment from Crowley that there's a threat to be concerned with by having Gabriel in the bookshop. Instead, he's openly sharing his Operation Lovebirds plan with a willing listener.

The throwing of the books is unsettling. Crowley, no! I've admitted I'm not much of a reader, but I'm enough of a reader that seeing such a thing is more alarming than it is funny. Besides whatever absurdity he's doing with the Tied Hands, why?

I don't think there is a good, other reason, but I would love to be wrong about this one.

Crowley finally sees the fly but doesn't have much of a reaction to it. He comments, "Well observed," and moves onto the next part of the scene.

If one takes the time to look, Crowley's sunglasses can be found on the desk. He's opened himself up enough to leave them off while around Gabriel and no one else. Overall, he is acting more at home within the space while borrowing it from Aziraphale.

When Crowley and Gabriel make their way to the window, the cardboard box Gabriel arrived with can be seen in the background. Not only that, Crowley's plants are near that box so are also visible during this scene. They end up briefly pocketed between Gabriel and Crowley.

The scene leaves me with the impression that these two characters were friends before Crowley's fall and are friends again here, or at least on friendly terms, in at least this part of the story.

...

That's it for this post. Sometimes I edit my posts, FYI.

...

Main post:

The Sideburns Scheme

[archietransdrews]

literally talking to the walls of my room like. riverdale's internal logic relies on the explanatory power of one's origins to an absurd degree, framing the actions of the protagonists as prescribed by their generational predecessors to such an extreme that the town's founding years not only provide meaning, context, and motive to current events as is typical in an archetypal place-based narrative but futhermore exert a horrifying control over the characters, compelling them to repeat or rebel against the actions of long-dead townspeople to whom they are only distantly related. these scenes from the past, when included in the show, are filmed using the same actors as the present-day scenes, producing the past as not only reminiscent of but in some aspects identical to the present. blood and bloodlines are used by various characters as explanatory schemas for the behavior of different characters throughout; riverdale is a place overdetermined by its own origins to the point that our protagonists spend years trying and usually failing to escape the combined generational curses of an entire town whose entire history consists in the repetition of its own genesis ad nauseum. does this seeming over-reliance on origins exaggerate the process to the point of effective parody, or does it merely & more straight-forwardly reinforce the [genetic] origin as privileged locus of [fictional] meaning?

a potentially conflictual reading of riverdale's historical "origins" is that they are invented or produced through the act of jughead's narration of riverdale as text; this reading posits that there is no "before" the pilot of riverdale, save what jughead invents to give additional meaning to the events which make up his plots. riverdale is his puppet show; everything in the text has been filtered through his point of view, which is to say that everything acquires the exact same level of (un)reality, whether it's a comic book character come to life or the sins of one's ancestors. in this framing, the true origin, and the key to whatever meaning might be made of this text, is the moment jughead's narration begins in the pilot with "our story is about a town.." in foregrounding jughead's ongoing acts of authorship and creation which function to continually produce the narrative & all it contains, riverdale destabilizes epigenetic origin as a locus of meaning by framing it as in some way artificial, invented, unreal; however, it does this by substituting another, no less authoritative, specifically authorial origin in its place.

and there is still a THIRD possible genealogy through which we can read riverdale as understanding itself, namely the genealogy of the cinematic canon. we well know that riverdale is constantly referring back to earlier moments in the history of film, from 70s noirs to 80s coming of age movies to 90s thrillers to etc. etc., not so much situating itself within this history as aiming to encompass all of the various stages of the medium's development. this argument could be broadened to include the histories of other prominent cultural forms, namely the novel and the comic strip; the meaning in riverdale might be said to be primarily derived from comic conventions, the principles of character creation and economy of image that have governed strips for decades and which now cause riverdale characters to wear outfits that have no in-world meaning except to refer back to their original iconic wardrobes, e.g. archie and jughead's S and R t-shirts.

which of these frames has the most explanatory power? which best helps us to understand or analyze why events in riverdale play out the way they do? i think in most cases one needs some combination of the three to be able to even begin getting at what's going on, which suggests that at least part of riverdale's project is the destabilization of the genealogical narrative via the introduction of several distinct, at times competing, narrative origins. riverdale is a story whose meaning is located simultaneously in the past, the act of narration, and the development of cinema and comics as mediums. while this structure does not necessarily step outside of the dominant symbolic framework that looks to origins in order to generate the meaning of a text, it is in typical riverdale fashion that the show wants to do everything at once, meaning in this case that rather than privileging one frame through which we are meant to make sense of the show's content, we are given to several possible readings which are all compelling in their own ways & when taken together succeed in troubling the final authority of any one interpretation.

[codecicle]

hi ash, could i utilise your mega autism for a moment? would it be possible for you to provide me with some good reference images for drawing Charlie's face ie front and side profiles ect? plus any tips on details you think are important? No pressure ofc! Just thought this might be something you had a lot of thoughts about anyway, if not then please don't go out of your way I am indeed capable of using google, it just takes longer and is less fun than talking to a cool guy XD

YES. YES ALWAYS AND FOREVER. GLADLY. ABSOLUTELY. Here's references + notes under the cut!

First of all, go -> here <- for a guide by razberypuck, which is perfect and explains everything better than I ever could.

Second of all, he has some pretty distinct features of both his face and his body that are important to keep in mind, which is mainly what I'll be talking about :-)

Third of all, not all these features need to be kept, especially when you consider styles and the tendency to drop certain parts of the body or face once you've learned the rules enough to break them. Im just listing them all so people know what features work well with their style and what features don't ^_^

His hair is very messy and fluffy, kinda like cowlicks for his entire head. His front hair typically comes down into bangs that curve towards the right, while the rest goes in every direction possible. (This is also true going back years ago. He just combed it a certain way, so you'd only see the fluffy cowlicks in the back of his head)

Another thing I wanna point out is his Adam's apple, which is very prominent ! I kept ted in the photo to show the difference ^_^

Also! No matter what era you're drawing from, his eyebrows shape a LOT of his face. They're really thick!

3/4ths views to show it more clearly, his jawline is relatively soft! And his old frames are clunky. He has a really pretty hooked nose which curves down towards the tip of it. Otherwise, it's pretty much a triangle! If you're drawing him from the side, keeping the little triangle dip on the side of his nose can help you find the general shape easier.

Also! The above images are really good examples of his mouth. I don't have many notes on this, but if you're going for anything 1 to 1 of him, I'd recommend keeping the curve of his cheeks downward when his mouth is closed, and the curve upward when he's smiling. He has visible cheekbones that make the area around his mouth appear very round

^ this is a great reference that shows everything I've been talking about. 1: triangle on the side of his nose to show the curve from the front 2: thick eyebrows 3: visible cheekbones and small curves around his mouth 4: cowlick hair

Also, he's very buff! Chulked out 2 the max. Some of these images came from me being a major hater over art of him, before remembering people can do whatever they want forever. But I can use it now! Charlie has wide shoulders, natural tummy, and gigantic tits.

He's visibly wider than Tommy and Ranboo, with a frame closer to Sneeg and James in build. He's strong!! He's really really strong!! I feel like people forget Just How Strong This Guy Is.

Also heres an image from and older post of mine, which I designed while trying to explain why he doesn't look That Different without the glasses (2 me). It's pretty much everything I said above, but summarized in a photo!

source: bro trust me and also source: the final 2 images i could fit on mobile which are 2 random face studies I have of him nearby. I have better one's but i can't find them right now so take these okay bye bye

+ I'm so sorry if this made 0 sense I'm very tired ^_^

[divineerdrick]

Homestuck: Beyond Canon Upd8 for 612 2024

This is long overdue, but it's been a bit of a rough week. Most of my activity on Tumblr this week has been from doctor's offices. Nothing really new or important to report there, just lots of doctor stuff.

While long overdue, I've mostly somehow been able to avoid spoilers. The only thing I've been spoiled on is what I kind of new was coming. Oh! And the plush! I know about the plush. Somehow in all the chaos though, my brain kinda didn't connect celebrating 612 with the idea there would be an upd8. Tells you how scatterbrained I've been.

So let's start with that news post.

Oh! James is going to be doing a stream? Cool! I hadn't heard of this. I wonder who with. I'll have to look that up next. James also goes into detail about revenue from the plush. From what I understand, this kind of deal is pretty common for when you supply a design/book/print but someone else does all the production work. Some never go beyond 10% unless you're doing a lot of business.

Looks like we've got apparel coming too! I bought a ton of shirts for 612 from one of the old retailers back in 2015. They are very beat up now. It would be nice to get some new ones.

It doesn't sound like the comic is self sustaining for this size team. I'm pretty sure James wouldn't carry through with his threat to actually put adds in Homestuck, but people deserve to be paid for the work they do.

Finally, this will be the first of two upd8s. Let's see what they have for us!

I think this is the first time we've seen the wings actually poof like that. Before, it was just outfit switches from God Robes to teen duds. We get a little reminder here of the increased age gap, as John has to stretch out the dad bod a bit.

Apparently, Immortals do still have to worry about aging and body degradation. Pretty lousy immortality . . .

Vriska ain't got time for that.

And I'm pretty sure Sollux doesn't have time for it either.

Nope! XD

Things still a bit awkward between John and Roxy. Can't expect things to be stable there yet. They may have had their heart to heart, but the war isn't giving them any time to reconnect. John is also trying to bury what he's feeling by just involving himself in another adventure. Hopefully Roxy will keep him from just getting caught up too much in Vriska's orbit. But I'm pretty sure Vriska won't be satisfied until all of the Candy Timeline revolves around her.

Suitably awesome with a frame break and everything.

So there's no chance this doesn't cross some kind of Universal barrier. The question is, what? The hour glass shape has a lot of people speculating that it's a time machine of some kind. But anything that allows you to cross from one Universe to another would inherently have built in time travel, since from your frame of reference one point in time is much the same as any. The question is, can this escape Calliope's black hole? I can't help but feel like that looks like a singularity there too.

Let me try and compile what I know about this thing.

It's called The Plot Point. Since Homestuck has always been about narrative manipulation, a device that directly impacts the narrative isn't just possible but already has precedence. In a story a Plot Point is something that greatly impacts the narrative. In a normal three act structure, plot points can be used to start or end acts, or in the middle of acts to mix things up or increase tension. They can even be used to change how the intended audience sees the story and its characters. There's basically no limit to what this thing might be intended to do and possibly no limit to what it can do.

This is supposedly the reason why everything got so extreme in the Candy Timeline, the reason why John and Vriska both feel this version of the Universe is fake, why a near full cast has congregated here, why Jane went from being a typical rich neo liberal to being an outright fascist, why Dave ended up fully ascending under such hilariously crazy circumstances. Whatever this thing can do, it's supposedly already doing something just sitting there.

3. While obviously this isn't the same device, it shares some traits with the device from Hiveswap. But they're obviously not the same. The previous device looks a little more ramshackle, more steam punk, where as this one looks more streamlined. In Hiveswap's device, the colors on the serpents are clear references to Calliope and Caliborn, who have dominion over the four Universes in Homestuck.

The colors on these serpents are different. They don't even share a color between their spirals. What they remind me of more are God Robes. Specifically, Roxy and Jade's robes. I think these represent . . .

Oh hell! I think a fan theory might have just been proven right!

Follow me here . . .

I think both of these serpent represent Calliope. The Black and White serpent represents Dead Tier Calliope. As Muse of Space, they have black and white for their God Robes. Additionally, they have been influencing the Meat Timeline through Jade's body. While Dirk may be trying to take full control of that narrative, it's technically Calliope's jurisdiction as now both Muse and Lord of the Alpha Timeline.

But why does the other serpent have Roxy's colors? Because our Calliope, our dear, sweet, fanfic writing Calliope, has been creating the stories of the Candy Timeline from Void. Somehow, through their deep connection with Roxy, Calliope has been manifesting their own narrative in the Candy Timeline. It may not even be this Calliope! It might actually be the Calliope in the Meat Timeline who stayed together with Roxy and grew closer to them. That Calliope is the one that was described as writing and drawing stories on their walls!

So what does this thing do? I think it can create any narrative Plot Point you want it to. I think it can steal the Void attribute of any idea, any character, any McGuffin you need it to! Need Gamzee back in the narrative? Bam! Gamzee's back! Want to bring Jane's dad back? Bam! Done! Need another life ring for dead trolls, or just a story that will eventually result in all the Homestuck trolls coming back to life in full? You got it! Want to write a peaceful resolution and dénouement to the war? Easy peasy!

Who the fuck's idea was it to put Vriska in the same room as that thing!

[extra-v1rgin]

Posting this late sowwy I worked </3

☆.。.:・°☆.。.:・°☆.。.:・°☆.。.:・°☆

Kyojuro has always appreciated Tengen’s large hands. They’re huge all the way around, thick fingers sporting thick callouses. It’s a sign of a strong man. The way they wrap around his weapons during a fight is beautiful.

Right now Rengoku is getting to know the hands (and their owner) much more intimately. The glide over his muscles easily and soothe aches he didn’t even know existed.

When Tengen first approached him with the idea the younger man had been… hesitant. The whole process seemed unusual and unnecessary. Rengoku had occasional pain but that was typical for a demon slayer. It certainly had not given the young man any issues. It was only after some gentle coaxing that he agreed to try it out.

Now he isn’t sure if he can go back to normal life. Tengen’s hands are magical. They’re warm and sturdy and turn the blonde into a puddle. It only took five minutes of gentle movement until Kyojuro was limp and panting into the cushion propping up his face.

Uzui had been oddly quiet the entire time. Normally he would be quick to comment on his superior thinking or tease his friend. Instead he had barely spoken once Rengoku was sat in place. He seemed intently focused on the movement of his hands and the feeling of the younger man’s muscles. Starting at the neck he worked carefully downwards, barely halfway through. Kyojuro could feel the intense stare as Tengen worked over each of his fingers individually.

Afterwards the hands move away and onto his legs. “Am I going hard enough?” They grip into the muscles of his shapely calves.

Kyojuro hums in approval, trying hard not to drool as his relaxes into the pillow.

As hands work upwards unconsciously Rengoku raises his hips to meet the sweeping motions that glide up to his thighs. He doesn’t even realize his actions until Uzui carefully pushes him back onto the bed. A deep delicious laugh is the only admonishment he gets.

Maybe it’s because it’s Uzui, who’s strong and funny, or maybe it’s just a response to the warm skin on his but either way it’s not surprise when Kyojuro gets hard. Somewhere in the back of his mind the slayer is aware of how shameful the action is.

He expects Tengen’s hands to skip over his ass- his glutes, but they don’t. Rengoku doesn’t have any frame of reference for how a massage was supposed to go but this felt more like groping. It still relaxed his muscles however so the man kept his mouth closed.

Partially he was also terrified about what noise he might make if he attempted to speak. Now his body was relaxed, but his mind had regained its ability to think. He wonders if it’s appropriate to let Uzui continue, when Kyojuro knows this exact scenario will be replaying in his mind later tonight.

“Are you ok? You’ve gotten all tense again.”

It takes everything in the man not to shake and beg to be touched more. “Ha, F-fine!” Is he being too loud or too quiet?

“Oh come one why don’t you be honest?” Tengen has gone from an innocent question to smart seduction.

“Wh-What?”

A hand ghosts over his cock. It’s not even a proper touch but the brief warmth is enough to make Kyojuro whimper.

“Should I help you out?” The words are dripping with Uzui’s signature teasing tone. Rengoku can barely nod, he almost decides to run away (cowardly!), but somehow he manages the motion.

Tengen jerks his friend’s cock a few times just to satisfy him for a brief moment. Then suddenly the younger slayer is scooped up into strong arms and flipped over. With his face up the situation is much more humiliating. Kyojuro’s eyes are half-lidded but the blurry outline of Uzui is still too much.

Maybe the man really is a God of some sort because a hand envelope his dick and grip it tightly. It takes only a few quick pumps for nothing to matter anymore besides the pleasure given to him. The oil and warm hands are like silk over his cock. He really might be drooling now. Tengen is still talking. Words are beyond Kyojuro’s grasp but he recognizes the soft murmur bouncing off his ears.

Suddenly he’s being kissed. Uzui might’ve been saying something about that. The younger man has never been kissed before and he gives in helplessly to the rough movements. A thick tongue invades the cavity of his mouth and plunges down his throat. One of his hands reaches up to tug at the white hair. He wants whatever Tengen will give him.

“Pleh-Please.” Kyojuro doesn’t know why he hasn’t come yet. He needs just a little bit more but his entire body was already on fire.

One hand moves underneath Rengoku. It cradles his ass and grips the fat. A thick finger traces its way upwards to his asshole.

It doesn’t even enter, but the pressure and slight burn finally pushes the man over the edge. He moans into Uzui’s mouth and lets his hips continue to thrust into his hand.

“You’re so beautiful.” The second Kyojuro tries to relax Tengen pushes another kiss onto him. “Don’t think we’re done yet.”

[meowmeow-motherfucker]

The Fox & The Squirrel- Chapter 1

Hey gang! If you've read this series before or over on AO3, you're not seeing double! I decided to make some changes to the story going forward and will be re-releasing chapters on a weekly basis starting next Wednesday!

Summary: Chasing yet another demon in a long line of hunts, the Winchesters get help from an unlikely source. But their new recruit isn’t exactly who she says she is. Savannah is used to looking over her shoulder. Life in hiding doesn’t leave much room for enjoyment, but traveling with the Winchesters just may give her a new lease on life.

Pairing: Dean Winchester/OFC Savannah Hart

Trigger warnings: elements of horror and witchcraft, references to past torture/trauma, Crowley is a dick, lies and deception, mutual pining, flirting, sex, typical Winchester shenanigans.

Word count: 1.1k

Read it on AO3 here: https://archiveofourown.org/works/16242644/chapters/37972217

Decorah, Iowa

“I hope they have pie.” Dean grumbled as the pair climbed out of the Impala.

The brothers were seated almost immediately and made themselves comfortable in the booth as they waited for their server. Sam immediately buried his nose in the menu, scowling at Dean when a straw wrapper pelted him in the face.

“What?” Dean asked innocently.

“What are you, five?”

“Maybe. Come on, it was a good shot. It was a good shot, right?” Dean asked the server as he heard them step up to the table.

“I couldn’t say, to be honest. I didn’t see any shooting going on.” The server replied coolly. Dean glanced up, shock lancing through him at how beautiful the woman was. Light blonde hair, pale blueish gray eyes hidden behind dark framed glasses…pale skin, wine colored lipstick and gorgeous curves.

“Ignore him, he’s a child.” Sam said apologetically.

“I can see that,” The server offered a tight-lipped smile at the older Winchester’s expense, ignoring his protest without batting an eye. “Have you had enough time to look at the menu? I know it’s a lot; I can give you more time if need be.”

“No, it’s fine. I think I’m gonna have the California salad and he’ll…well he’ll probably get something that’ll kill him.” Sam replied. The server gave another tight smile as she scribbled Sam’s order on her pad. “Do you have poppyseed dressing?”

“Sure do,” the server scribbled a note on her pad and looked over at Dean. “What can I get for you?”

A thousand filthy responses flitted through Dean’s brain, but all that came out was an order for the bacon cheeseburger.

“Good choice,” the server gave another tight smile as she scribbled away. “We’re actually famous for the bacon cheeseburger.”

“That’s what I like to hear.”

“Would you like French fries or onion rings?”

“Definitely fries, and is there any chance you have pie?”

“We have several kinds of pie. Any flavor in particular?”

“Cherry?” Dean asked hopefully. The server pursed her lips in thought, clicking her pen repeatedly.

“We might still have some, but last I knew we were down to our last slice and Mr. Reynolds always orders cherry. I’ll check for you.”

“Steal it from him if you have to.” Dean joked.

“You want me to shake down an old man for pie?” the server snorted. “You’re cute, but not that cute.” She tucked their menus under her arm and turned on her heel, disappearing from their view as she returned to the hostess stand.

The server returned to refill their drinks and again to deliver their food.

“Hey, what’s your name?” Dean asked as she placed her bacon cheeseburger in front of him.

“Oh, you don’t know? I figured you would have seen my nametag while you were staring at my chest.” Sam choked on his salad, quickly swallowing his food so he could laugh at his brother.

“Right. I deserve that.” Dean blushed, offering an apology when the server raised a judgmental brow at him.

“Yes, you do. Can I bring you anything else?” she asked Sam as a bell started dinging from the kitchen.

“No, thank you, um…do you need to get that?” Sam asked as the dinging intensified. The server clenched her jaw, her eyes glued to the ceiling as she exhaled.

“I’m gonna kill him if he keeps dinging that fucking bell at me.” She muttered angrily.

“The cook?” Sam asked.

“Yeah. He thinks he’s being funny but really, he’s just being an ass.”

“Maybe you should stab him.” Dean suggested.

“Oh, don’t tempt me.” The server grumbled as a Hispanic man emerged from the kitchen.

“Savannah! Window!”

“For fucks sake,” Savannah hissed, stepping away from their table. “It’s not mine, pendejo. I just picked up the food for my only table.”

“Think she’s who we’re after?” Dean looked across the table at his brother as he picked up his burger.

“I don’t think so,” Sam shook his head. “Yeah she’s got anger issues, but she seems well adjusted.”

“Alright, so we’ll just stay put, keep our eyes peeled.”

“Yeah, I mean...everyone seems on edge around here.”

“Maybe whatever it is is affecting the whole town?”

Savannah came back ten minutes later to check on them, and to drop off the coveted cherry pie for Dean, topped with a mountain of whipped cream.

“Cherry?” Dean asked in awe.

“Cherry,” Savannah nodded. “Freshly stolen from a defenseless old man.” She grinned. She was lying, of course. They’d ended up having a back up cherry pie, so both Mr. Reynolds and the hottie in booth 19 got a piece.

“You’re too good to me.”

“Remember that when you cash out.��� Savannah teased, her eyes darting up to connect with his as she refilled his coffee.

Savannah did her best to keep her distance from people. Being a succubus tended to instantly exclude her from most circles, and she’d learned to be okay with that. She didn’t want to accidentally enthrall someone, so solitude was her best bet. Never mind that she’d been around for well over a hundred years now and had learned early on how to control her powers of persuasion.

Savannah didn’t have friends. Sure, she existed in the social orbit of some of the folks in town, but that was as close to friendship as she dared get. She’d only gotten this job when her funds got low. Succubae had bills too.

But dating? Out of the question. Completely off limits. While it was true that her kind needed sexual energy to survive, there was no rule it had to be derived from intercourse. Savannah had learned to survive on what energy she could derive from milder interactions, like flirting and occasional makeouts. She never went further. She had no desire to turn someone into her slave. She didn’t really miss sex that much anyway.

That’s what she tried to tell herself when Hottie smiled at her. God, his eyes were so green. He thought she was pretty, too. Gorgeous, in fact. Sometimes being able to read minds came in handy.

~~~~

In the wee hours of the morning when he should have been sleeping, Dean lay wide awake, unable to get the server from the diner off his mind. Something about her just...drew him in. Almost like...he didn’t know what.

~~~~

Across town, Savannah was restless. She knew Hottie was still awake and thinking of her. It was driving her up the wall, to feel the sense of yearning she could feel in him. Had she accidentally enthralled him?

Savannah’s stomach dropped. No. No. She was so careful! She’d barely flirted! She hadn’t even felt the urge- no, this was something else. Could this be nothing more than a crush?

[detailtilted]

Hi there! I've belatedly seen your question about coloring, and I'm someone who likes to tweak color, so in case it helps, I thought I'd write up some things I might do. I don't know if you have the same tools I have, but I saw you use Color Balance, so I've used that for an example below. I usually start by adjusting lighting levels so that the lightest and darkest points are where I hope them to end up. Then I'd adjust color hues which in your case was using the Color Balance tool. I might also adjust the saturation or vibrance because too much can cause colors to get extreme quickly. Here are some quick settings I did in Photoshop.

Levels: dark point=19, mid point=1.37, light point=249, output levels=18 to 255

Color Balance: shadows red+13, green+5, blue-4; midtones red-8, green-9, blue+3; highlights red-60, green-28, blue-25

Saturation: reds-8, master-4

Here's the result:

I know it can be hard to translate setting between different apps, so I wonder if this will be helpful at all, but feel free to ask me questions if you're so inclined 😊

~ Dani

WOW, your results are incredible! Thank you so much for taking the time to play with this and to offer some tips! Adjusting lighting before trying to adjust colors hadn't occurred to me at all.

I'm using Adobe Premiere for the video editing, so same software company at least, but I couldn't find any lighting level settings like what you described. Through Googling, it looks like a setting called "Lumetri Color" is typically used for lighting corrections and it's broken out differently.

I have to go to work pretty soon, so I haven't had sufficient time to really dig into it and play with it, but I did mess around with it a tiny bit. I'll play more this weekend and see if I can get closer to what you were able to accomplish.

For reference, my original adjusted version (which I can see now looks soooo horribly orangey compared to yours!):

As a starting point, I just clicked the friendly "Auto" button on the Lumetri Color tab to see what it would do. A little better, still pretty orangey.

Then I tried to make some of the color adjustments that worked for you. It looked like your adjustments had been based on my adjusted version, so I'm not sure if my attempt at making it a direct mathematical adjustment was the right way to go, but I tried to add your adjustment #'s on top of my adjustments. So for example, I'd had Shadow Red set to -10 and since you said you added 13, I changed it to 3. When I changed all 9 settings it didn't improve too much, definitely nothing like yours:

But while applying those changes, I noticed that before I applied the last two (highlight green and blue), it looked closer to what you had. Still not there yet, but closer.

Once I have time, I'll play with some of the Lumetri sliders and stuff a bit more. It may also help just to have your beautiful image as a reference point. Thanks so much!

Addendum: Additional Efforts

I spent some more time playing with this. I present two versions for your judgment.

The first version isn't exactly like yours, but it looked pretty close to my eyes. So I was happy for a minute or two. Then when I started watching the video instead of just staring at the still frame, I felt like it looked a little too green. Maybe that's because I've spent so many hours staring at my previous orangey version that my idea of what looks normal is skewed.

So in version two I adjusted the Tint setting. I feel like this looks a little better, especially when I watch the video, but I don't trust my judgment at all. My color judgment was bad before, and now I think my eyes are permanently warped from staring at different shades for so long.

I'm including both versions below. For each version I'm including a side-by-side comparison with your example vs mine. I wanted to include a video clip for both, but it looks like tumblr limits it to 1 video, so I only included the video for version 2.

Please don't be afraid to tell me they both look horrible! I feel sort of like the proverbial monkey hitting a bunch of random keys and hoping I might hit upon Shakespeare by pure random chance. 😅

Version 1

Version 2

[notnights]

Random fun acetate ribbun fact? Good fic!!!!

As in this is your fun fact, or you're asking me for a fun fact? (Either way thanks hehe.)

Uh lets see fun fact. I mentioned this the other day but deleted it because I don't like giving away too much about a story though it's technically not spoilers either but like people to figure out the beats themselves. But ehh uhhh:

Its about Kinger and Queenie being the original hanahaki case in the in the story. I dropped a few hints about it, but I don't know how well it came across. It's hard to know what a reader's view might be compared to yours when you know all the twist and turns you put in ya know?

Since we know nothing about those two yet, I kind of threw them under the narrative bus in the sense I used them in whatever way I wanted to help with the story lol. One day we're gonna find out what their deal was, and my fic will be outdated as it possibly depicts them as completely inaccurate. (Imagine they're divorced.)

I was originally going to leave just a single hint in chapter one as a solo; Kinger mentioning he was vomiting up affection. As well as him explaining how yellow camellias symbolize longing; fitting for them in the Digital Circus. They long for an escape; it's their default flower. And then him gifting camellias to Queenie, was meant to imply he was also vomiting up those same flowers.

I however ended up adding more hints in chapter 3 and 4 though. I'll leave those as a surprise to reread for unless folks can't find them and want me to point them out.

This was meant to be evident to the audience, but not to the characters. As every time the couple come up I also have Gangle look at them as a frame of reference. She admires this love they had, that she never saw herself. How nice it must have been compared to this horrible love story she's experiencing now. But she is blissfully ignorant that Kinger and Queenie also had a rough start.

Admittedly NOT as rough of a start as Gangle and Jax did of course. I like to imagine Caine gave them the same prescription but, Queenie was neutral about Kinger before then, unlike Gangle who already resented Jax. And Kinger was kind to Queenie prior to his illness unlike Jax who's been nothing by terrible to Gangle even after falling for her.

So we can assume our King and Queen chess piece had a more typical hanahaki story. A bit reluctant at first, but ultimately became a loving couple. That the second Digital Circus hanahaki couple puts on a pedestal to compare themselves to, without even knowing they also suffered from similar (but less intense) problems.

I also like to think Kinger forgot the details of this event himself. He remembers being sick, Queenie nursing him back to health, him being very affectionate, namely in giving her a lot of flowers. But he doesn't specifically remember the case itself. Maybe doesn't even remember these being connected.

He has vague recallings, such as Caine taping up the door, Gangle showing him rare colored flowers then mentioning Jax is sick, but sadly it's not enough to bring the memory back in full. Just thoughts of "huh this seems familiar..."

Likewise, if Caine forgot, you know poor Kinger did, as I imagine Caine's memory is a lot sturdier than Kinger's. My excuse for Caine forgetting is that, if he's an AI, he still has limitations due to the computer he's attached to. Could be fantasy digital with endless memory and infinite terabytes, but for this lets say he only has so much memory to work with.

So finer unneeded details get deleted to ensure he continues to have space for new ones. Recognizes what hanahaki is, but doesn't have the specific name or exact reference for it until he looks it up again. Doesn't remember who was involved in the original case, or how exactly it was resolved. Just that "we had this before; this fixed it! Somehow!" He didn't delete the memory completely because, what if this happened again! Needs to hold onto a piece of it just in case.

So uh anyways there's the implied and hidden Kinger and Queenie lore in my fic.

And you also may be wondering how exactly was Kinger capable of throwing up you may be wondering? ???? ????

????? ?????? ?? ?? ???

[tiredassmage]

It's that time again - update rambles time kdfnalsdfnsd. The short version is, overall, I'm really pleased with this update, but there's... at least one thing missing that did sort of derail me in the end and I'll still need to go back and play it pubside on my Trooper, which I think I might enjoy slightly more for... cohesion of a story's sake, but that's. a) getting a bit into the actual ramble and b) getting my personal blorbo feelings involved which is absolutely what I do here but, let me do it in the right place, lmao.

Mechanically, this was. a really sweet update to me. There's lots of doing in progressing through the story part. The fights are engaging, the action is selling. It doesn't play like a bunch of run to checkpoint x, do y, hand in z, which is very nice. There's. actually a few things to consider. Comparing to 7.2 in Showdown, the action isn't just in the cutscenes this time - it's definitely there, too, I have plenty of nice action shots to add to the blasters out collection, lol - but it's also in the gameplay, at least from my take, so! I've really no complaints from a gameplay perspective thus far.

I haven't worked on any of the dailies or done the little follow up with Lane or whatnot yet because I sort of had my fill with the story for the day and I wanted to check out some of the lighting changes in other parts of the game, hehe! So, might run into other things later, but we'll see.

I also love seeing locations from earlier in the game making a comeback. The little hints here and there are enough to be exciting for me - though I see some people saying missed opportunity to do things with Jorgan and Corso and I will more than likely agree with that. I'd always be a sucker for more references.

Petra's really cool. I love her. Loved meeting her and working with her. As a local Imperial Agent enjoyer, I think it's only natural to say I do love the sneak and spy elements of this update, lol.

I got a lot of what I could've ever hoped to ask for out of this update. I'm just... missing the saboteur options? Which... really threw me at the end. There's at least a place or two that it felt exactly where those sort of options should've come up, but there's at least no directly labeled sight of them around, which is... jarring given Tyr's extensive history as a double agent for the Republic.

It's... a really tricky situation to deal with on Ord though, so that's. how I'm choosing to sort of interpret that one. There are some areas that felt a little too tight on strictly Imperial loyalty for how I typically play him, so it's. It's jarring, in short. One of my disappointment areas, I have to admit. I haven't done any of the dailies, but it looks like it'll end up being interpreted as Imperial support either way - which, fair, I'm playing an impside character, I know, but the lines were very clear on Ossus for where that saboteur option was involved and they even appeared on Manaan. I'm still hoping to see that storyline go somewhere even though there feels like there's a lot of moving parts on the board at the moment.

SO. With that said, onto my giggles and other miscellaneous references because it seems the last several story updates have thematically been reflective and reference-pockmarked for me, lol.

I cannot tell you the way I squealed with excitement to see these two in frame and actually doing something like cooperating.

And also the way I am, once again, haunted by being an Imperial Agent girlie. Because all I can think of in this is Double agent. Triple agent. Do you even know whose lies you're telling anymore?

Primarily, of course, my own feelings about blorbo who's been in the spy business for literally about half his lifetime and a double agent for maybe half of that - now he's going to balance being a double for the Republic with working with Sa'har? Ough. Tyr, babe. I hope you know what you're doing.

He wants to help her. He's wanted to from the start. Sa'har's I'm not sure I -want- to leave, speaking to that I'm not sure I can leave a job unfinished that Tyr is so, so painfully familiar with experiencing. Maybe he's got fleece over his eyes because of his own complicated feelings about working in unseen ways, but he does believe her.

ALSO THIS GIRL. NEARLY GIVIN ME A HEART ATTACK. GIRL I LIKED YOU DON'T SCARE ME LIKE THAT. Anyway. I love her. I love. Again, one of the most hilarious dialogue wheels you could give this man is I'm no traitor (lie, you've been once since you were in your late twenties, and you're like, what 46ish? It's been a long time since Hutta, agent) / I don't work with traitors (another lie, you're still kissing Theron Shan [Tyr. argues that doesn't count which is the only reason this is the option I went with] / and [Attack]

And then I won't be normal about him taking option 2 and dropping "I'd like to believe I've always been fighting for something greater."

I'm fine. I'm sure I'm fine. [Girl who is constantly plagued by the emotional agonies of maining a double agent.]

ANYWAY. Or perhaps also on that note. Krovos getting a little sharp about his misplaced priorities. Nothing comes of it. Yet. But it's enough to keep my brain stew going and bubbling about the weight of it all.

And it's just. so very Tyr to throw himself in the line of fire trying to keep people he meant to keep out of overcomplicating situations safe.

And I am, overall, just a sucker for the way this update brings it back to... I guess grass roots, you could say. Grounding the story in what's actually happening to places like Ord Mantell, brushing with some of the consequences on people in general - the Hidden Chain stealing supplies, possibly moving people, even, or at least their allies might be - sells the big story in the end, I think. Otherwise, the big, vague prophetic 'the fate of the galaxy sets on your shoulder' doesn't really settle as much. This might be what you're fighting for, or it might be what you're costing along the way. And I just like having that connective tissue that is 'they're here for supplies;' they're rebuilding and moving forward with plans after Ruhnuk, and Malgus's threat that all things will still unfold according to a plan is still lingering around.

[Also, Rass people. The flirts. wtf I love it. They're adorable.]

And I really am just. Such a hopeless sucker for scenes like this. A little slice of just being people in between all the galactic turmoil and heroics.

So, I've still got a fair amount of things to be chewing on! Once I'm through this last week of finals stuff, I'll expect I'll hop on TrooperTyr and go. redamage my emotions further and play it pubside and have a whole other whirlwind of emotions about how he handles it too dlfknsadlkf;sld. For now, time to pop some screenshots into the queue! ^.^

OH. ALSO. Kessing's Landing is fucking beautiful.