#This is the only double page spread illustration in the book and there are only four one page illustrations

[nobodysuspectsthebutterfly]

The Folio Society presents an illustrated collector’s edition of Fire & Blood

George R. R. Martin’s Fire and Blood, the prequel to A Game of Thrones, joins the Folio series. Explore the Targaryen dynasty with beautiful illustrations, detailed maps, sigils and family trees. A must-have for Westeros fans. ​ Coming 28 January 2025. What’s that in the distance? Is it the brush of dragon’s wings against the clouds? Queen Daenerys’s family tree is a rich one, filled with over 300 years-worth of rulers of the seven kingdoms. In Fire and Blood, George R.R. Martin dissects the Targaryen family’s history through the eyes of Archmaester Gyldayn. ​ This is the ultimate book for fans of the original series; it provides rich context of the family responsible for the world of Westeros as we know it. Plus, there are dragons, and lots of them! Artist Audrey Benjaminsen has captured the Targaryen family like no one else. Her illustrations jump from the page – the absentness in Area’s eyes upon returning with Balerion, the madness in Rhaenyra as she sits on the Iron Throne. This is the definitive edition of a definitive story, one that would surely sit in the library of the Citadel for centuries to come.  ​ PRODUCTION DETAILS Bound in three-quarter blocked cloth with a printed and blocked cloth front board ​ Set in Vendetta with Esmeralda as display ​ 616 pages  ​ 4 full-page and 1 double-page spread colour illustrations ​ Prints 2 colour throughout in black and gold with illustrated chapter openings ​ Printed endpapers ​ Coloured tops ​ Blocked and printed slipcase ​ Additional colour illustration inside slipcase ​ Sized at 10˝ x 6¾˝  ​ Printed in Italy​ UK £110, US/Canada $150, elsewhere £125

[weirwould]

Nettles and Sheepstealer by Audrey Benjaminsen for a new edition of Fire and Blood.

[dont-diy-zine]

"Don't Repeat This at Home" Zine is a fan project born out of love for Chinese novels and dramas. We brought more than 100 artists and writers together to create our magnum opus and now YOU ARE WELCOME TO JOIN US! The fandom: ➜ "The Scum Villain's [Self-Saving] System" Mo Xiang Tong Xiu ➜ "Grandmaster of Demonic Cultivation" Mo Xiang Tong Xiu ➜ "Heaven Official's Blessing" Mo Xiang Tong Xiu ➜ "Thousand Autumns" Meng Xi Shi ➜ "The Husky and His White Cat Shizun" / "Erha" Rou Bao Bu Chi Rou (Meatbun) ➜ "Faraway Wanderers" Priest ("Word of Honour" is canon too)

The key theme: 百感交集 (bǎi gǎn jiāo jí) — all sorts of feelings well up in one's heart — fluff, drama, humour and beyond ❗ 18+. No minors, please Some arts and texts may make you cry, beware, triggers may be found (or not) The book: ➜ ~300 pages ➜ 106 double-page spreads with arts including: • 12 comic strips • 13 illustrated poems ➜ 8 fanfiction stories with • cover arts • internal b/w illustrations

[All 6 fandoms in one book] ❗ All texts are in Russian

➜ Physical copy (hard-back) — 3 200 roubles (it's around 37.4$ or 34.7€) ➜ Digital copy (.pdf) — 700 roubles (it's around 8.2$ or 7.6€)

The merch: ➜ 6 fandoms ➜ 3 sets for EACH fandom: • Aperitif — very small (1 postcard, 1 sticker pack, 1 key fob) — 1 500 roubles (it's around 17.5$ or 16.3€) • Half Portion — small (Aperitif + 1 acrylic stand with the main pairing, 1 plastic bookmark, 2 more postcards, 1 mini card) — 2 600 roubles (it's around 30.4$ or 28.2€) • Portion — large (Half Portion + 1 acrylic stand with secondary characters, 2 acrylic earrings, 1 more sticker pack, 1 bank card sticker, 1 round plastic badge, 1 more postcard) — 4 000 roubles (it's around 46.8$ or 43.4€)

[1 set = 1 fandom] ❗ You can get the merch only as the sets and only WITH the book (physical OR digital copy)

• Full 6 fandoms set — 22 000 roubles (it's around 257,3$ or 238,4€)

The plan: ➜ Right now till September 7, 2024 we collect funds ➜ September — production and manufacturing ➜ October — shipping starts ❗ We send digital copies AFTER shipping the physical ones We ship from Saint-Petersburg, Russia International shipping is available, but you can pre-check it via postcrossing.com/postal-monitor/RU

How to get the book or merch: ➜ go to Google Forms and follow the instructions: forms.gle/CdTis5wdYPmg2U6p8 ❗ We collect funds via Boosty; all prices are in Russian Roubles and include the comission of the platform You can use the currency of your country for the purchase, Boosty automatically converts it Shipping is charged separately

The project is not for profit [just for lulz] All money we make will go to production and manufacturing If we hit a breakeven, the authors are going to receive a free book. Any surplus funds will then be used to make extra merch FOR YOU

English is a foreign language for us, so sorry for inaccurate wording, we tried. We tried hard. We keep trying

More info: vk.com/dont_diy (in Russian)

[liveontelevision]

MY FAVE POOKIE.... BY ANY CHANCE CAN.. CAN YOU WRITE FOR A VAMPIRE LUCI?? <3 I FEEL LIKE YOU'D CAPTURE HIM PERFECTLY

YOU'RE ONTO SOMETHING HERE BBG

(You're drawing of vamp Luci is literal eye candy and I'M IN A SUGAR COMAAA) I got way into the lore here I literally did nothing but write and edit this today - THAT BEING SAID this may need a 2nd part but lmk what y'all think

CW: He's a vamp, so.. blood in suggestive situations obvi

♡♡♡

Bite Me | Vamp Lucifer x Reader

"Isn't it just amazing?" You hold a book, opened to a certain illustration, far too close to your friend's eyes. They push the book back a bit just to get a peak, considering their nose was essentially in the pages. The paper reeked of dust and mildew. They subsided a sound of disgust to inspect the illustration you were so eager to show off.

"Oh! This is that weird mansion on the other side of town, but.. it looks..." 

"Stunning? This was what it looked like when it was first built and look-" You excitedly point out a certain tower, it was so thin and far back, that not even the pencil of the original artist could capture its true detail.

"Wait,  that's not there anymore, is it? Weird." Your friend shrugged it off, clearly not as invested as you. You scoff, pulling the book to your chest.

"Well.. not in the daytime, at least." You muttered. This was your hometown's rumor that's been spread for centuries. On the highest hill, past the overcrowded forest, sits the darkest and most foreboding manor anyone has seen. Even the oldest living relatives of those who have seen it, never recall what it looked like in its glory days. No one's quite sure when it was first built. It's as if it had always been there.

No one would really talk, only the seniors and the more.. eccentric.. People would even mention it. A tower that exceeded the height of the full moon, which was the only time it was visible to the naked eye. You've seen it yourself. But you were too inspired, too invested, to be satisfied with a little rumor and a single sighting.

You did your research. You scowered the forest, only to get lost for hours. You managed to find the manor, but in its close proximity, there was no sign of that tower. You found a book, shoved away under some shelf in your public library, depicting poorly written journal entries and illustrations. From what you could decipher, it was older than the town.. it must belong to its original tenants.

The handwriting was almost entirely illegible, which was disappointing, but the pictures inside.. they were crafted beautifully. Scenic drawings of the forest, animals, and a few of a stunning woman were scattered throughout. Every historian you tried to contact left your messages unopened. Any townspeople you'd show the pictures to, to see if they’d recognize the woman at least, looked at you like you were crazy.

Well.. crazy or not, there's only one real way to settle this.

You mark your calendar, circling every full moon for the rest of the year. And it nearly took that long to finally spot the tower, again. After all this time, restless nights where you'd fall asleep with the book in hand, strained sessions of trying to decipher the wording, yet it all got you nowhere. You'd lost friends because of this. You've skipped dates. All because of this damned tower. 

But finally, here it is! Ready to throw yourself from your bedroom window, you take the bag that had been packed for months in case of this very instant, but decide it best to leave through the front door.

You had memorized the path to the manor at this point. What could possibly be drawing you in so deeply? What history could this place possibly hold? Who was the woman drawn in this book.. and who was the artist? You stood in awe, finally seeing the tower up close. The manor itself seemed to be made of an entirely different stone. You jot down your notes and the differences you're seeing in a small book.

You nearly squeal at the sound of the creaking double doors, as you step inside. It wasn't your first time here, you reach into your bag to obtain the little map you had drawn out a few weeks back. Were you going insane? Who's to say? You traced your finger across a path you had drawn, then with determination, went towards the corridor that should lead you to whatever you were looking for.

You stopped and took pictures on occasion, observing things you have seen countless times over the past few months. It still managed to take your breath away. You turned around, stepping backward, to observe the intricate detailing of the high ceilings, letting out little ooh's and aah's you'd assume no one would hear. But you couldn't be sure.

You nearly stumble, turning to face the corridor head-on. A crumbling noise had sent a shock of fear and curiosity into your heart. Was this place ready to cave in? Did something else cause the destruction?

As you continue on, you decide it best to place headphones over your ears. With one ear still slightly free, you do your best to distract your fears and keep exploring. As you hum along, occasionally breaking out into song, your eyes are drawn to a small doorway that definitely was not there during your previous visits. It's made of a different wood than the other doors. It looks.. newer. The handle seems used as If the oils of a hand had worn down its clean coating. This has to be it. Your hand is shaking as you reach for the door, and your heart drops for a moment. It’s warm underneath your touch. With a final breath, you open the door.

It’s.. not exactly what you were expecting. The door led to an impossibly long spiral staircase, you weren't sure if you could make it to the top before daylight. It's too late to go back now, though. You dredge on. As you start your climb, the music from your headset turns to static. And what you expected to be a mile-long staircase ended in mere seconds. Confused by the distortion of the building, you pull out your little journal to document your new discovery as you continue on. 

The steps lead into the tower, you were sure of it. The bricks of the walls and the wood of the doors, it was all different than the manor below. It opened into a short hallway, with a few doors on either side. Opposite to you was a window. It wasn’t shattered or cracked, or even dusty. You press your hands against it and lean forward to see the view of your town. In a stereotypical, I can see my house from here! moment, you pull out your phone to take yet another picture, but.. it's dead. After being fully charged before your arrival. Of course. It's a magical tower that only appears on a full moon and has disappearing staircases, you weren't too shocked by sorcery after what you've exposed yourself to.

As you take in the terrifying height of the structure from the window, something happens that officially startles you for the first time tonight. You hear a gruesome cackling from behind a nearby doorway.

You quickly find its source, pressing your ear to the wooden door. You couldn't make out any specific words, but there was a voice. It was a man's voice. He seemed to laughing, then groaning and complaining about something, then talking some more.. quite a blabbermouth for someone who seems to be alone, you don't hear any other voices.

You have a weapon in your bag. It's nothing fancy, just a little switchblade, but you assumed it'd be enough to ward off at least a single person. Just in case. You decide to go in.

"Oh, who am I kidding, this sucks!" An exacerbated groan, and the sound of something crashing, can be heard as you crack the door open a bit. You peek inside.

A pacing man is surrounded by trinkets, books and tools in some kind of workshop. He looks human.. almost. You notice his skin is nearly paper white. It has a beautiful glow to it, that contrasts against his mostly black wardrobe. You clock his clothes as almost Victorian, a puffed blouse that cinches in at his waist with the assistance of a red-laced vest. His heels seem a bit tall for the time period, but even then, he's actually rather.. short. Despite that, his hair was slicked back but seemed to be coming undone. You watch him pace around for a while longer, finally capturing his arms running through his hair. They're tapered black, as if his hands were dipped in soot. How odd. You want a picture. You want to talk to him, to ask him questions.

You're too engrossed in the view you were spying on to notice he had stopped his jabbering and was now frozen in place at the sight of you. An awkward amount of time passes before either of you make a decision on what to do next.

You decide it best to just forget about this random encounter. This was obviously just another dream. It wasn't, but this wouldn't even be the strangest one you've had. You finally break eye contact, pulling the door shut behind you.

You lean your entire body against it, desperate to keep him contained until you can get your thoughts straightened out. Maybe he's nice! Maybe he's not an insane, inhuman, tinkerer who talks to himself. Before you can think a moment longer, the door opens and thoroughly knocks you to the floor. You scuff your knees and palms against the stone floor, hissing at the wounds before turning on your back to face your attacker.

Okay, it wasn't an attack, exactly. He just opened the door you were standing in front of. You were a little shocked, considering you were putting your full weight on it and he swung it open like nothing was there at all.

your widened eyes were met with his yet again. They seemed different than before. His irises were suddenly glowing a crimson red, staring down at you with a look of disgust. Your heart rate quickens as you finally catch more of his features. The glow of his eyes and the moonlight from the window show off a set of demonic horns, twisting and turning from his temples, and pointed ears. Then finally, you spot his frown- then his fangs.

You slowly crawl backward, making as much distance as you can before your back hits the cold stone of the wall. Your breathing rapidly as he kneels down, continuing to observe your tense body language from such a close distance.

"What is this- how did you get in? I made a whole fancy labyrinth for you little humans and you still manage to pester me." He seems curious now, still annoyed by the interruption, but curious. He catches the sight of your blade, taking it from underneath your hand.

"And you thought this could kill me?" He scoffs, tossing it to the side. "I thought the ones smart enough to get in would put more effort into their weapon of choice." He finally stands, crossing his arms over his chest and looking down at you. His piercing red irises had you staring for an inappropriately long time. He looks around, then behind him, in disbelief that you'd be this lost in his eyes. He clears his throat to get your attention.

"N-no! I don't want to kill you, I swear! I just.. I wanted to..." Why were you here again? To find what's inside the haunted tower? To explore a rumor and find the truth? You'd hate to consider it.. but could you have been wasting all this time after finally being faced with the anticlimactic answer? Your silence doesn't seem to amuse the stranger.

"What, you just stumbled upon my hidden tower? That doesn't sound right. Well, I'll tell you now, I'm not some genie or wizard- I won't grant you wishes or anything stupid like that." He starts to head back to his office. "I have nothing to offer you, so just pretend this is a nightmare or something and go home." You see a little flame puff from his lips as he speaks, clearly irritated by your presence. 

"Wait- wait! I forgot!" You stumble to your feet, wincing at the pain in your scraped knees, but still going on to fumble through your bag. You find your tattered book. The relic that started this all.

"Is this yours?" He takes the book from your hand, skimming through the pages then glaring back up to meet your eyes. 

"Did you steal this?" You shake your head with haste, watching him continue to examine the book. "Then.. yes. This is mine. I'm surprised it's still in one piece." He stops at one of the drawings of the woman. He brushes his hand across the illustration with a dreamy sigh.

"She's beautiful." Your voice breaks his concentration and you see his pale skin turn ever so slightly pink. 

"She is, isn't she?" With a warm smile, you almost forget his threatening nature.

"Who was she?" He looks away from you, letting the book shut.

"It's not important. You need to leave." He leads you to the door. You try to keep up with his strides, only to fumble, your knees weak and bruised from the previous fall. He spots the bleeding scuffs and groans.

"Good lord, you humans are so fragile." You hear him grumble before he's turned on his heels and is dragging you back towards that workshop you intruded on. He grabs you by your arms and guides you to sit down at a little table he had set up. You examined the room after he had walked away. You saw his workbench. It held numerous little springs and gears, paints, and brushes. Looking to the side, you see a shattered figurine, probably what he had thrown during his little tantrum you spied on.

Seeing him standing above you stops your wandering eyes. He kneels down, already wrapping your wounded knees in gauze. You watched him silently. You were surprised at how comfortable the space seemed, considering a man with a demonic presence was currently tending to you like a nurse.

"So.. what are you exactly?" You finally blurted out. You had so many questions, but this was a good place to start.

"Oh. Um.. I think I hear humans referring to me as a vampire." Your blood runs cold and you squeeze the edge of your seat on either side. You feel his hand tremor for a moment, letting his eyes linger on your legs before finishing up one knee with a neat tie. He moves on to the next.

"So you're immortal and drink blood and all that?" He scoffs at your questioning shaking his head. You sound like a curious child.

"That’s.. Mostly correct. Actually, your human literature seemed to accurately portray a lot of my abilities. I'm almost impressed."

"Should I be scared?" You ask with an almost teasing tone, as if that weren't possible.

"Why? Do you think I'm scary?" He looks up for a moment, meeting your eyes. Its subtle, but you see them glowing just slightly. And it almost makes you nervous. Enraptured in an emotion you have to assume is fear, you watch his hands trail around and calf to bring your leg a bit closer. He sticks out his tongue. It's similar to a serpents’. Your eyes follow his tongue to your knee, where he licks the entirety of the wound.

In a state of shock, all you do is tense in your seat, wincing from his action. His tongue reels back, stained with the blood from your own wound. He lets out a breathy hum, before realizing his place.

"E-excuse me, I uh.. have healing properties..?" You cock your head to the side, the confusion in your mind quickly replaced with curiosity.

"Woah, really?" He finishes off your other knee.

".. No. Okay, all patched up. You have to leave." He said hurriedly before the realization could set in. He was embarrassed by his actions sure, but the sunrise softly lighting the room seemed to make him anxious.

"Wait- no! I have so many questions! Why do I have to go? How does this place just vanish in the daytime? Why are you here all alone?" You start to ramble as he manages to move you with ease. "A-at least tell me your name!" You say quickly, breaking from his grasp just before he can shove you out the door. He stops and lets out a sigh.

"Fine. Here." He reaches into his shirt and pulls out a small golden crystal attached to a necklace. Forcing your eyes down to his dipped neckline made you a bit red in the cheeks. With a quick motion, he swings it over your neck.

"This is an Asmodean crystal. You'll be able to see and enter my tower on any night now. You.. you're welcome to return when you see fit." You stare at the small gem in amazement.

"And.. you're just trusting me with this?"

He shrugs, smiling at you for the first time tonight. "You haven't given me a reason not to. You're definitely not a threat." You hum in response, despite his obvious condescending nature. giving the gem one last examination, you tuck it away into your own shirt.

".. And it's Lucifer."

You can't help but grin. “Okay! Time to go! The sun’s almost up!” He rushes you.

"Hm! I'll be back, then, I promise! I'll see you, Lucifer!" You excitedly wave and head back down the stairs. Lucifer.. Your mind was running with possibilities as you left. You turned to the door before leaving, but by the time you looked back, it was simply.. bricked over. You felt almost disappointed. But feeling for the necklace and twirling it between your fingers reminds you that this was all real. He's real.

Lucifer said you could visit. And so you did. While you passed out almost immediately once you returned home, you waited eagerly for the sun to set the next night. You check your window, again. With the crystal squeezed tightly in your fist, you see the familiar tower yet again, despite the full moon being nowhere in sight.

Unfortunately, you are human. You do have a life to live. It took you a few days before you could visit, again, but eventually you did. And it was perfect. Looking down upon in your hometown, it was refreshing to have a new friend. You told him about your own life, giving him some brief history lessons on things he might not know, and bringing him the stereotypical vampire merchandise from current media. He deemed it offensive.

You got him to talk about his past after some pushing. He was one of many brothers, all of them were bloodsuckers of their own accord.

"Wow.. so you came from a whole family of vampires? I mean.. if you don't mind me asking, why aren't you there? What brings you to my glamorous little town?" You say your last question with an eye roll. You were seated at a little bench, a comfortable nook that was set at the window in his workshop, as you watched him working on some sort of mechanical toy. You notice a slight frown tugging at his lips in response to your question.

"Hm. My brothers aren't exactly a fan of me. And you speak sarcastically, but it is actually quite nice here. The air is clearer, and there's much less fire." You look out the window as he's talking.

"Wait.. less fire than where?" He slipped up. You've noticed over these past few visits that he's not too keen on disclosing certain parts of his past. You see him stop what he's doing and curse under his breath.

"I.. I'm from a different realm, of sorts. It's dingy and dark and everyone there cares for nothing but bloodlust." He explains carefully.

"Damn, that sounds like Hell." You pull your knees to your chest, just attempting to sympathize with him by your words.

"You have no idea." He chuckles in response, seeming disarmed enough to continue his tinkering.

"Do you ever go back there? You have to see your family sometimes, right?" He's groaning quietly at your questions.

"Well, yes and no. I'm always here in my tower. And I put a lot of work into making it my own. I'd keep it here forever if I could, but it takes quite a bit of energy from me to keep it in good shape in this realm, so when the sun is out-"

"You return to your own realm! Wow.." you wished you had your book on you to write all this down. But it seemed unnecessary to bring a survival kit here. You felt so safe. 

"How about that lady? In your book? Is she someone from that realm? A family member, maybe?" You bombard him with questions yet again. You do that a lot. He looked over at you with an unenthused glare. You laugh nervously and wave your hands. "N-Nevermind, sorry."

He's made it clear that he doesn't appreciate all these questions. But when he does open up, you can't help but appreciate his fantastical stories.

Looking for a change in topic, you approach his bench, looking over whatever he was working on. With one final screw being turned in, he looks up to you and shows you the small trinket silently. You take it, a bit nervous of its delicacy, and examine it.

"It's fine, it won't break." He rolls his eyes at your nerves. "Like this." He places a hand below yours to steady your grasp and lifts the top of the little round structure to reveal a little sculpted scene. It’s of a pond, with some fish and ducks visible on the pond. It looked so real, despite its size. He smirks at your enthralled expression, reaching for a small key on the back and turning it. It releases a gentle tune, the ducks suddenly spinning and dancing across the pond.

"A music box..?" You question. You look towards him and notice his reaction. He looks almost nervous like he was expecting some harsh critique.

"It's beautiful, Lucifer! Did you use magic or something? This is so cool!" Your outburst leaves him slightly surprised, and just a bit blushed.

"Y-Yes, it is pretty, isn't it?" He says softly, looking away with a smile. By the time he's looking back to you, still enjoying the little trinket, the sun is just peaking from the hills. He should rush to get you out of there. Humans don't belong in his realm, definitely not this one.. but he doesn't want this to end. He wants to show you more, while he listens to you rant about something useless. He shakes his head to reality. He can't have these feelings. Not again.

"It's morning. I'm afraid you have to go, dear." You look just as disappointed as he does, but follow him to the exit either way.

"Wait, here-" You hold the intricate music box back out to him, but he closes his hands around yours, encasing it in your grasp.

"Keep it." His hands are cold. You notice that his skin is always cold, no matter the weather. You wonder if he thinks about the warmth of your hands just as much. Your hands are held together for a bit too long, but the sight of your face in the golden light of the sunrise has him frozen in place.

"What happens if I stay?" Your hasty question snaps him away, quickly tucking his hands behind his back.

"Absolutely not." He says sternly, reaching around and opening his door. "Sorry.. I just.. It’s not safe. You’ll be back though, right?." He smiles, and it always disarms you. Briefly disappointed, you nod and give him a quick wave. You head back to your regular vampire-free life for the time being.

You find yourself back in his workshop, a few months later. The visits were becoming more frequent and neither of you seemed to complain about it.

Since then, the room has been decorated with pillows or blankets you've brought. On occasion, you'd go to see him just to sleep uncomfortably on the small cushioned nook near the window. He never seemed to mind. He'd wake you up carefully before the sun rose.

Other times, you'd bring him tools or gifts from your hometown that he might like, and occasionally you'd get him to eat actual food.

One night you set out one of your blankets on the ground and forced him to sit with you, after seeing him get flustered with whatever he was working on.

"Can you actually eat? Does it do anything for you?" He shrugs in response to your question, popping a little chocolate confection into his mouth.

"Not really. It's more for enjoyment than anything. And these are definitely enjoyable." As he hums at the sweets, he moves to lie down across the blanket, resting his head in your lap. "Where are they from?"

You look down at the little heart-shaped box you've both been taking the treats from and cringe.

"A.. uh.. person. It was a gift. Someone tried to take me out for Valentine's Day, but I wasn't interested." You say quietly.

"Right.. it’s Valentine’s Day… Well, what was wrong with them? Were they rude to you? Ugly?" He asks between bites. You laugh and take a chocolate for yourself.

"No, nothing like that.. they just..." They weren't you. "N-not my type is all." You stammer, quickly shoving the chocolate into your mouth. What are you thinking? He's laughing at you now.

"So you'd rather spend your Valentine's Day with an old crone?" He was joking, but he was right.

"Yeah.. I think I would, actually. I love visiting you." You said calmly, trying your best to keep the compliments.. platonic. Peeking down at him for a second, you notice his tense posture and pink cheeks.

"I-I just- it's not that big a deal, I mean, I've never really celebrated Valentine's Day anyway, so.." You start to fidget with your crystal necklace, picking at the thread and running your thumb along its smooth surface.

"Well..! Then... I'm glad you're enjoying my company, I suppose." He tries to de-escalate the brief tension. You change the subject matter.

"Well, if we're getting on my social life, then I have a question." You finally say. He seems nervous for a moment but is playing it cool to the best of his ability.

"Shoot."

"So, you stay in your tower all day, don't see your family, I don't even hear you talk about that woman from your drawings.. Have you just been alone this whole time?"

He freezes for a moment, before putting a chocolate back into the box and clearing his throat.

"No.. not the whole time." He sighs, standing and going to fetch something. He returns to sit across from you and you’re a little disappointed he didn’t return his head to rest in your lap. It was a journal, it had a similar binding to the one you had found over a year ago.

"Her name is Lillith." He starts, flipping the pages and stopping at one of her drawings. "She's from my realm, and.. we fell in love." For some reason, your heart ached at his words. "I decided to show her this place many years ago, and she wanted to see a nearby village, so.. we went down there together. It was disgusting. People were treating each other so foul, it was loud and dirty, and there was no sign of intelligence." His voice goes dark for a moment, allowing you to flip through the book. "But Lillith loved them. She saw their potential and.. wanted to stay with them. So we made a deal. She'd explore the village when the full moon was out and then return to me the rest of the time."

You look up from the book, seeing that her drawings had stopped about halfway through. The rest of the book was empty.

"So is she.." you mutter, letting the book drop to see his pained expression.

"I haven't seen her in years. Might be decades at this point, but.. it's hard to keep track. I have no idea where she could be, but if she ever returns then-"

"You're waiting for her?" You interrupt, your voice has a hint of irritation to it.

"Hm. I guess I am. I've given up trying to find her, but I still keep this place standing. Just in case." His face reads dejected as he speaks.

"Do you still love her?" You ask. Of course, he does. He's a romantic, waiting for his long-lost love to return. But he looks at you, with a worried expression. Like he wanted to reassure you that wasn't the case.

"I..I do." He says softly. You feel your chest aching still, and you clench the blanket in your fists on either side of you. "I think so? I-I'm not sure." He groans, running his hands through his hair. "Is that terrible of me?" 

You think for a moment. You have to tread lightly. If he truly loves her, it might be best for you to keep your distance to avoid any.. confusion. You let out a defeated sigh, placing your hand on his shoulder to bring his panicked attention back to you.

"Not at all. It's.. nice. That you can love someone that much, especially after all this time." He smiles in return, placing a hand over top of yours.

"How long has it been, do you think?"

"Hmm.. From what I remember.. when were hot air balloons invented?" He genuinely questioned.

"Good lord."

(The answer is over 300 years ago)

You stopped visiting him for a while. After that night, you needed to step away and consider what you were really doing. He's not just an immortal vampire, he's an immortal vampire still holding out hope for a woman he hasn't seen in centuries. And you're just a human. That kind of relationship only works in movies. The sleep schedule you've created has nearly destroyed your social life and you barely have energy in the daytime anymore. Maybe it was for the best to keep your distance. But you have to tell him that. You can't just disappear, he doesn't deserve to feel that pain, again.

You enter his tower as usual, bringing an empty bag to escort some of your belongings back home. To your apartment, your awful tiny apartment. You avoid comparing it to the elegant manor, it's only making you want to back out. You go through the hall, swinging his workshop door open.

"Luciferrr! Sorry to be away for so long, but I think we should talk." You look around to realize you are speaking to an empty room. You look back to the hall. You've never been through any of the other rooms, but he had to be somewhere. And he wasn't responding to your calls.

You open each door carefully, seeing mostly empty storage and cobwebs. One of the rooms was filled to the brim with clothing from all decades. You make a mental note to tease him for playing dress up, later.

You knock at each door, finally opening one that greets you with the warmth of a bedroom. And by warmth, you mean it. You take any coat you were wearing off, finally spotting Lucifer lying in the elegant bed in the center of the room.

"Huh.. I thought you said vampires don't need sleep." You call out, letting your eyes scan the room as you approach the bedside. He's curled up and unresponsive. His sudden panting briefly eased your nerves, at least he’s breathing.

"Sorry, I didn't mean to just barge in, but.. Lucifer? Are you okay?" You reach out and place your hand to his shoulder. He's hot to the touch. You move his body so that he's lying on his back, and he seems even more distressed.

"L-Lucifer..? Lucifer!" You try to speak quietly, but his actions are making you nervous. He finally shoots upward, gripping his bare chest in an attempt to calm his rapid breathing. He does a double take, not believing that you were at his side. Not to mention your scared expression, which is only causing him more concern.

"I-I'm alright! I'm okay.." He lets out a sigh, brushing his hair back. He scans the room, peering out the window. "Ah, nighttime already? I'm sorry, darling, I didn't mean to worry you." He turns back to you, seeing your still-shaken expression. "I slept in! It's okay!" He reassures, patting the side of his bed. You hesitate, but sit down either way.

"I thought.. You didn’t need sleep." You say softly, looking to calm yourself.

"I don't, but it is relaxing sometimes."

"That didn't look relaxing at all."

"Well.. I did say only sometimes." You let out a quiet chuckle and it brings a smile to his face.

"I rest when I'm feeling a bit weak, usually a quick nap helps. But.. sometimes I get nightmares and they're-" You interrupt him.

"Weak? Why are you feeling weak? Did something happen?" You lean in, still feeling uneasy.

"... Just a bit. Don't get me wrong, I am quite powerful-” He loves to gloat about his abilities, your usual reactions of amazement never got old. “-but.. this tower takes its toll on me sometimes. It takes a lot of energy to set up illusions and tricks to keep humans out. I just needed a quick pick me up, that's all." That seemed to calm you a bit, but it did bring up another concern.

"Lucifer.. why do you keep coming back here? Is it worth the trouble? Is.. she worth the trouble?" You ask timidly. His eyes are soft, looking in your direction. It turns you a bit red, you hope you can blame it on the heat of the room if he asks.

"I don’t know.. I’ve been thinking. I-If Lillith has any plans on returning, I'd think she would've done so by now." You feel hopeful, but you attempt to not let it show. "But, I've been here for centuries and I've grown rather fond of... the atmosphere." He tries to reason. He pulls your chin forward, greeting you with a sweet smile. "I'm alright, I promise."

You can't help but return the smile, but you miss his touch once he pulls away. At this point, you're finally taking in his appearance. He's covered in sweat, the bags under his eyes are tremendous and his lips are trembling a bit to keep up a smile.

"Are you sure? You still seem.." You reach your hand out, as if you were about to touch his face, but you see him reel back.

"Clearly, I didn't get a good night's rest.. maybe you should head home, dear, I'm not much fun to be around when I'm like this.." He sulks, making it a point to avoid looking at you. With just the sight of you, he might as you to stay.

"No!" His wide-eyed expression shows that you've clearly just embarrassed yourself. "No, I mean- I don't want to leave. Can I help? Can you.. drink my blood or something? Would that do anything?" He's immediately blushing at your suggestion, right to the tips of his ears. He quickly declines.

"No. Nonono.. That is not happening." He crosses his arms over his still bare chest, which neither of you has mentioned yet. That’s not to say you haven't been staring.

"Would it help?" You ask. He sighs and nods. "Would it kill me?" He shakes his head. "Not if I'm careful.."

"Will it turn me into a vampire or something?" He shakes his head, again.

"Then do it. I want to help you! It's the least I can do since you’ve been so sweet to me." You say sternly, beginning to move the strap of your shirt, revealing a bare shoulder.

"Woah woah, okay. Fine.. I’ll just take a little. Since you're so insistent." He moves your strap back up your shoulder carefully. "And there's no need for that, dear, don't get too excited." He teases. He looks like he’s on the brink of death, yet he still manages to make fun of you.

"I-I'm not excited! Shut up.." you stammer, as you feel him pull your hand towards him, keeping a grip just below your wrist.

"Whatever you say." His smirk has you blushing, again." you ready?" You nod your head, attempting to keep a straight face despite the reality of the situation.

He leans forward to face you, and you move closer to be more comfortable. With his clawed hands still holding your arm delicately, he brings your palm to his lips. You feel his hot breath against your skin and instinctively flex your hand. He stops abruptly and looks at you.

"I-I'm fine, just do it already!" He rolls his eyes and positions his fangs right at the pulse point on your wrist. With a deep breath from both of you, he sinks his teeth into your flesh. The skin is thin there, so it wasn't as painful as you thought it would be.

It's awkward for a moment, you don't feel any different at first. But looking towards Lucifer, you see his eyes turning that glowing crimson red that had startled you when you first met. Sure, it still startled you now, but it was Lucifer. He's not as scary as he looks, you tell yourself. You feel a breath of hot air from his nostrils, realizing he had been holding his breath this whole time. His eyes fluttered shut, and that's when you felt it.

It felt like getting your blood drawn, but his fangs were less painful than the needles somehow. You'd only notice your hand start to fall asleep after a while. But his expression stopped you from saying anything. His heavy breaths against your skin, as he occasionally pulled away to lick the wound clean, only to sink his teeth back in the same spot. You placed your free hand over your mouth to prevent any noises from escaping your lips. He pulled off for a moment, then sunk his teeth in another spot, feverishly placing multiple bite marks across the entirety of your wrist. You attempt to speak up through your hand.

"L-Lucifer.. I-I'm..!" He stops almost immediately, sitting up straight and blinking his eyes back to their usual hue. He looks down to your wrist, a mess of bite marks, all still leaking your crimson blood. Your hand had fallen slack.

"Sorry! Sorry-" He runs his tongue across the wounds, it seemed to stop the blood for now. "How do you feel?" Your eyes are dazed a bit, and when you go to prop yourself up on your previously ravished wrist you fall forward. He catches you by your arms, before you can fall away from the bed. You shake your head, finally looking at him through half-lidded eyes.

"I'm okay.." you say weakly. He's nervously trying to keep your head up, and brushing hair away from your face. He moves to the other side of the bed, and brings you along to lie down beside him. He sits on his knees to examine you, keeping a hand cupping your cheek. It's cool to the touch again, a relief for you. You shakily place your hand on top of his, then look towards him. "You look amazing, Lucifer~" You say with a dizzy smile. Despite the wording, you were right. His skin had brightened up, and he instantly lost the bags from his eyes.

"I might've done too much.." He mumbled, tracing his free hand across your wrist. "You're starting to sound crazy."

"No..! I mean it, you're just.. beautiful.. quite a sight." You're delirious. He starts to worry, suppressing his excitement for the oncoming compliments. He'll have to let you rest, no matter how disappointed that made him. He'd missed your company these past few days.

"Whatever you say, darling. Go ahead and rest, I'll get you some water." And he does just that.

You had left some water bottles and snacks here a few months ago, so he hastily took those and brought them back to you. He set everything on the nightstand and went over to open the glass doors to the balcony of his room, bringing in a fresh night breeze. He put an actual shirt on, finally, on the way to look over you from the side of the bed. 

You were just sitting up, leaning against the headboard as you took a very needed gulp of water.

"So? How did I taste?" You tease, stretching your hand now that you’re regaining feeling.

"Delicious." He sounds flirtatious but almost serious. It has you blushing.

Lucifer had gone off to work on something after you insisted you'd be fine and just needed a few more minutes of rest. That didn't go how you expected. You came here to set some boundaries and here you are in his bed, covered in bite marks. The implications alone made you groan from embarrassment.  And slightly in disbelief. You huff and attempt to stand, it’s not too bad, then move to the balcony and lean against the railing. The breeze ran through your hair and across your heated face, you let out a sigh of relief.

"Feeling better, dear?" His voice has you turning your head a bit, and you greet him with a smile. You nod your head before returning your eyes to the town below.

“I’m glad. Thank you, for.. Letting me do that.” He says, sounding a bit shy. He joins you, leaning against the railing by your side. You both stand in silence for a moment.

"I think I'm in love with you, Lucifer." Maybe it was the blood loss or the sheer exhaustion, but something just forced those words from you. You keep your eyes away from him. If this could be the last time you see him, bringing this dream to an end, then you might as well let it out.

"O-Oh..! Hm! Well, that's uh.." He hoots, and you see his hands flexing against the railing. He can't even form a real response.

"It's stupid, I know. I'm a human, and you're this crazy immortal being. Plus, you just drank my blood. Maybe I'm still delirious.." You continue to toy with your gifted necklace, still keeping your eyes low. You don't know how you would react if you could see his expression right now.

"So.. you would... you want to be with me?" That's what he asks? That's his response?

"I-I mean.. yeah. You're my best friend, you're handsome and smart, and you're inventive and... I just love being around you. I want to.. I want to make you happy, but I just don't know if that's something I can do." Your gaze is finally brought to his when his claws gently guide your chin towards him. His expression is that of pure infatuation. You'd never expect to see him look like this, not when looking at you.

"You make me plenty happy, darling." Your eyes go wide.

"You're bright and fun, and you're adorably curious- I just worry as well. I'll outlive you. I've been locked up here for so long, I don't know how much I can offer you.. but it's definitely less than you deserve." His words send a pain to your chest. You both know, based on fact alone, it just wouldn't work.

"I only want you to be happy as well, love." His words force a nervous sigh from you. This seems like a night for bold decisions, so you decide to make another. You turn to face him, bring him in by his collar, and press your lips against his in one fell swoop. Giving him no time to comprehend the situation, he lets out a muffled exclamation into your lips. It felt like hours before you feel his hands on your waist, and his lips desperately ravishing yours. He pulls you closer to him, his hands now reaching your hips and gripping you tighter. You pull his lower lip down with your thumb, keeping a hand on his jaw as you do so, and begin to explore his mouth with your tongue feverishly. A small yelp at the boldness comes from Lucifer before his forked tongue is dancing with yours. You can still taste your own blood on his lips.

He turns the both of you, having your back pressed against the railing of the balcony, giving him the chance to corner you into being as close as possible. He leans his chest into yours, moving in even more. You're leaning over the railing just slightly, but one of his hands is firmly planted against your back, giving you a sense of security. The other is still gripping at your hips, occasionally slipping upwards to brush the bare skin beneath your top, his cool touch acting as a reminder that this is really happening. He props his knee between your legs, having to force them apart gently to do so.

You pull away with a deep exhale after realizing you've been anxiously holding your breath this whole time. Even leaning away from him, your mind was running rapidly with thoughts of his body. You trace your thumb over his lips, parting them just slightly to examine his fangs. He's turning red with the close inspection.

"W-What are you doing..?" You understand what he's trying to say, but his words are still muffled by your hold on him. He sees your eyes ponder for a moment before you look back to him.

"Bite me." You say sternly. Your hand slips away from his mouth and you start speckling small kisses across his forehead and cheeks, lifting his head slightly with a kiss to his jaw.

"Excuse me?? You want-" You hush his stammering by pulling back, to look into his eyes one more time.

"I want you to bite me.. my neck, I mean." You clearly weren't budging. He still seems hesitant but proceeds to move any hair away from your shoulder

"What, does someone enjoy being bitten?” He asks in a teasing tone, looking at you with a smirk. With a deadpan expression, your eyes brimming with lust, you take a hold of his collar again and pull him into a messy kiss. When you pull back, you see a dazed Lucifer, struggling to keep eye contact.

“Yes.”

He huffs, completely enthralled in your enthusiasm, but still seeming nervous. He pulls the strap to your shirt to the side, examining your collarbone and neck. You hear him gulp, as he runs his hand upward until it’s cradling the back of your head.

“I tend to lose myself a little. You saw what happened before, are you sure-"

"I'm sure. I'll tell you if you have to stop." Still very adamant about it, Lucifer pulls your head to one side as you keep your grip on his shirt, balling the fabric in your fists with anticipation.

He places a small kiss first, the action causing you to flinch slightly. You feel him smile on your neck, clearly enjoying your reaction. He kisses every inch of you, each one becoming sloppier than the last.

After thoroughly leaving you in a dazed state of affection, he traces his face to the softest part of your neck, just above your collarbone, and quickly snaps through the skin. With a startled yelp, you glide your hand upward until you've taken a tight grip onto his hair. You barely have time to appreciate how soft it is before you feel the sensation of his fangs piercing a different spot of flesh.

He doesn't seem to be taking much blood.. Definitely not as much as before and not as quickly. It's leaving your head slightly fuzzy, making any sensations, any marks he's leaving on your body, blur into an overall bliss. You're thoughtlessly letting out little moans and gasps at each bite, only encouraging him to keep it up. You feel the vibrations of his groaning against your skin as he moves to hold you tightly around your waist. After a few moments, you start to feel a bit woozy, your body completely melting into his touch. You tap his shoulder quickly,

"Ah.. Lucifer-" Just as before, he made sure to clean any wounds that were still dripping with blood, but he went on to embellish each one with a kiss before pulling away. He looks at you with concern, cupping your cheek and bracing the weight of your lulling head. You smile and hum into his palm.

"How are you doing, darling?" He actively inspects your entirety before meeting your eyes again.

"Lovely~" You say with a drunken chuckle. He pulls you in for another kiss, before easily scooping you up.

"Alright, then.. let's get you to bed, you little perv.” You hit his chest to the best of your ability in your weakened state. His laughter is music to your ears. You’re too tired to worry about how this will affect your relationship. Or your physical health for that matter. But for now, nothing has felt more comforting than his arms wrapped around your body, the cold soothing the heated moment, and your dizzy mind.

♡♡♡

!Taglist!

( @vififofum / @thornwolfy235 / @tinywolfiegirl / @chipper-chip / @bat-boness / @misfitgirlwrites / @nayomi247 / @lonelynmisunderstood / @escapistoftherealworld / @b4ts1e / @hamthepan / @kyo-kyo1 / @looking1016 / @polytheatrix / @littledolly2345 / @lillianastuff / @yourlocalcryptidbee /@0strawberrysorbet0 / @themageofblood / @jayyyayaysblog / @floralsightings / @azmosposts / @8har0ley8 / @actuallyspiderwoman / @sirenetheblogger / @christineblood / @kaytemchugh / @cimadreamer / @simpdevil66 / @azmosposts / @m3ow1 / @acrazyartist / @redfoxwritesstuff / @4k1to / @meesachan / @corvusskid / @alientee /@xx-spooky-little-vampire-xx / @alon3lylov3r /@sapphireravensworld / @mjmdragons / @catticora / @the-maladaptivedaydreamer / @carrie0-1 / @shamblezzz / @cassandras-nest )

[hotwaterandmilk]

A couple of things I received in the mail this week.

Wada Shinji Artworks

Released in 2022 this book, which commemorates 10 years since Wada's death, covers an extensive assortment of artwork from the artist's catalogue including finished colour pieces, manuscripts and comments.

Truly if you're a fan of Wada this book is for you, it is very comprehensive; offering insight into his processes as well as exquisite finished artwork. It does something I'm normally not a fan of in art books, which is spread artwork across pages and combine several illustrations to a page in some places.

However, this book feels like a journey through Wada's career (grouped together by thematic elements like historical titles or suspense titles) and each page is composed in a particular way as part of telling this story so I actually don't mind it all that much. No, not the best for scanning but I don't think a book like this should be about scanning - it's about walking down Wada's path and rediscovering (or igniting) a sense of respect and affection for his works. In that sense, I really do think this book is successful.

I'm old but not old enough to have grown up reading Wada's stories (I was only introduced as a teenager with Sukeban Deka, which immediately captured me because it combined detective themes with action) so I can't speak as an authority on his works or career. But I believe most fans of manga will take something away from a detailed retrospective like this and as such, I highly recommend it.

Lab-Garnier's Magical Emi doujinshi

The latest in Asamiya Kia's long line of full-colour heroine doujinshi volumes which can veer between featuring cute, harmless pics, cheesecake shots and some more softcore illustrations (such as the one he did for Saimebi's Lebia). I had hoped this one would just be on the cute side of things given that Mai from Magical Emi is IN ELEMENTARY SCHOOL however, this was not to be.

While there are a couple of fairly harmless shots of Mai, which I've included here, there is also a double-page panty shot spread and a bath illustration of her naked. 🤢🤢🤢 I had thought Yui from Corrector Yui eating ice cream in her book was bad enough, but this is on another level of NOPE. I'm posting this to save others from making the same mistake I did. This isn’t cute, it is gross ass shit.

Ranma 1/2 Ciao Magazine stickers

Ciao magazine shares a lot of shounen collab content, particularly Meitantei Conan, but in the November issue they actually included some Ranma content (timed obviously with the new anime series’ release).

While I’m not a big Takahashi-head, I had to get the magazine issue specifically for these stickers because I fell in love with the designs. Truly, an insert sticker sheet did NOT have to go this hard. If nobody else has scanned them I’m happy to do so, but Ranma has a lot of dedicated fans so it may not be necessary. I am happy I got these for myself though, very cute little insert that highlights Takahashi’s iconic artwork in a way that will appeal to young girls.

[in-collection]

Hotel Vast Horizon by @rocket-eighty-eight

Heat (1995) | Vincent Hanna/Neil McCauley | 16,202 words | 100 pages

You can see and download the whole typeset HERE.

You can also print it if you want a copy for yourself! I provide printable files below. Check out the guide first ↓ The book is 11x18cm AKA 4,3x7,1" & can be printed with a coptic stitch or staples. Mine's printed on 80gsm grey recycled paper & 210gsm grey paper for the cover.

DOWNLOAD THE FILES / PRINTING & BINDING GUIDE

PRINTING NOTES: This typeset goes pretty close to the edges of the pages, so be careful when cutting it, and the first signature or so has double-spread images, so I'd really recommend making sure your double-sided printing is calibrated for this one (whether you're doing it at home or at a printing shop).

HEY!!!! HI! finally. If you've checked the Heat (1995) (Al Pacino and Robert De Niro Go on a Date: The Movie) tag on AO3 in the past year you've probably checked out Hotel Vast Horizon (Michael Mann Could Never: The Fic). Welp here it is on paper.

The common thread in the typeset was always the ocean (and shit, I said the o-word. did you know there are like 20 references to water, seas and storms in HVH, and yet never once "ocean" is said?). The other thread was the Bitstream Cooper typeface, which is round and curvy and so pleasing on the eye. Isn't it? Also Arial (underrated), because I needed it for the sequencing to show that Michael Mann is a loser. I'm kidding. Or am I? But this brings me to another major thing: the sequencing. (The common denominator between movies and books: the sequence.) That can only be apprehended on the full PDF/book, and it's really something that did not really exist (in so much depths) in the previous typesets.

As to what the sequencing is saying, or what the hell this intro is about (no I did not have a stroke when I did it), I will not say much if only that it is about the vocabulary, the image, the movie, the things that go beyond fate, a little bit Neil vs Vincent and a lot the reason vs the heart. More things shall remain unexplained because I feel they would be better experienced than laid out here.

If you'd still like to know what's actually going on in this thing don't hesitate to send in an ask lol.

More details on the technical matters + a visualization at the bottom, because there is work involved and my micro typography is so clean it could give Neil McCauley a boner.

help where do i even begin? I learnt how to use FontForge to create a new typeface specifically for that symbol at the beginning of the paragraphs in order to implement it in InDesign (see fig.1 below), I changed the Arial's @ in FontForge too (fig.2) to have it fit with the underline in @ rocket88, what the hell.

2. I also drew 11 (I think) illustrations for the intro (yes, those knots......), but that wasn't as complicated as I thought it would be. I do deeply curse InDesign's "Print Booklet" function for how much it hates images though.

3. I would like you to meet my InDesign characters styles (fig.3) as they simply are impeccable and the best you will ever see, I could not have been more professional if you had paid me 5 grand for this. The hyphens! The dashes! The custom small caps!

4. To get even further in the micro typography. It is, in most, most cases, much too time-consuming to properly kern (=modulate the space between your characters and/or words) your text for how little the average eye will get out of it, and/or your average graphic designer is certainly not getting paid enough to actually do it properly. I, on the other hand, am insane and unemployed, therefore yes, I kerned this shit. Micro typo is actually the sculpture of the white spaces of your page. When done thoroughly it does mean checking every characters with your own eyeballs.

So in english, since this typeset is in english, the rules are no spaces for punctuation. Right? and not right ? It makes for a pretty tight block. I do argue too tight - although of course you'll also have times where you want tight. (And this is all within the 5% of the time where kerning matters.) That might not sound too bad until you get to em-dashes, this '—' thing. Which is a literally useless punctuation mark that is so hysterically long it'll leave an unnatural horizontal void in your text and draw all attention to it—you know, instead of the text itself. Useless, because it can always be replaced by commas, colon, semicolon, or parentheses. Unnatural, because em/en-dashes do not follow a typeface's characteristics (when hyphens do! fig4), so they hardly fit with serifs, AND characters are generally vertically stressed in latin (fig5: which one looks normal?) except... well. So you'll have the tightest group of punctuation marks humping each other?!"— then a dash literally the size of a whole ass m that looks nothing like the rest. ridiculous. absurd.

Anyway the point is I said bye-bye to this aberration and used hyphens stretched at 260% (lmao. it works so well?). And sometimes 230%. Sometimes with a space after, sometimes not - if not the same meaning then why the same treatment (fig6)? I wondered at this point if I wasn't going too far (lol) but this is the point of micro typo, so, whatever. See fig7 for more kerning stuff.

5. I have far less things to say about this part than the last even though I must have spent twice as much time on it, but I just wanted to say that I manually set the text rag on all 69 pages, it looks nice, I love tetris, AND!!!! the greatest thing about the whole fucking book (fig8): the text starts on the top line of the first column, and ends, on p.91, on the LAST line of the column, at the very bottom of the page, and IT IS NOT. BY. CHANCE!!!!!! HAHAHAHAHA!!!!!!

thanks for reading. perfection has not been achieved and there might still be typos. see you later.

[literary-illuminati]

Book Review 32 – Weavers, Scribes and Kings: A New History of the Ancient Near East by Amanda Podany

This was my second real (published by a university press, has ~100 pages of citations and bibliography at the back) history book I’ve read this year. Which I think probably explains why it took me about as long to read as the other 7 books this month put together. Which is the opposite of a complaint, just to be absolutely clear. I’ve kind of missed chewing through a history book that would double as a decent self-defence aid in a pinch.

The title explains the book well enough – this is a broad survey history of the ancient near east. Specifically, it’s a history of civilizations that recorded their records and correspondences and stories in cuneiform on clay tablets. So the narrative begins with Uruk in Sumeria, follows it through the spread of city-states throughout Mesopotamia, expands its view to include Syria, the Levant and regions of Anatolia (and to a much lesser extent Egypt) and the western Iranian plateau in the late bronze age, and keeps that frame through the iron age until reaching the Achaemenid conquests and the decline of cuneiform in favour of writing in Aramaic on paper or parchment.

Part of that is just arbitrary because you need to pick some outer borders of what your book is about, but it’s also a fact that writing everything down on (often baked, either purposefully or because they got caught in a fire) clay tablets was a truly incredible gift to future historians. Paper and parchment and cloths decays away over the course of a historical eyeblink, whereas we still have legal contracts and bureaucratic records from literally four thousand years ago that were recorded on fired clay. Combined with some incredible archaeological luck, and we can see stretches of late bronze age history in higher definition than very nearly anything until, like, the Early Modern Period.

The necessary condition of that is obviously that these cuneiform-writing civilizations actually wrote enough down for written records to really let us understand their societies. Which did very over time, and is definitely overwhelmingly biased towards the great institutions and upper classes, but actually does seem to have been true! Podany all but dedicated the book Mesopotamia’s scribal class, and they got everywhere. And the change over time in just what’s written about - the spread of written records and letters from temples and palaces to the private homes, the spread in literacy from an arcane art only trained scribes would understand to something every halfway prominent merchant would be expected to grasp the basics of for record-keeping – is illuminating enough about how these societies evolved on its own.

Aside from all the waxing poetic about clay tablets, the book does try quite hard to be an approachable historical survey. To that end, basically every chapter is split into a few different sections, each pocket biographies of individuals (or, occasionally, pieces of architecture) that we have enough visibility of to make them a useful entry point to illustrating some broader aspect or society or important process they lived through. The vast majority of them aren’t great kings or conquerors, either – scribes, merchants, weavers, farmers, priestesses, and even the occasional slave get pride of place. On balance, the book tries to be a social history, getting across how people actually lived (or Podany’s best guess of it, though she’s quite explicit about what the actual evidence we have for every given biography is and when she’s speculating) is favoured over the exact sequence of battles and kings.

I’ve mentioned it before, but prior to reading this my only real familiarity with the ancient Near East (and specifically with the development of pristine states in Mesopotamia) was from Scott’s Against the Grain. Which adds a slight sense of whiplash to the entire first third or so of this book, honestly; as opposed to Scott, Podany actually seems sympathetic to the position that civilization was a good idea. Part of that is just that she takes the actual emergence of the first city-states as a given (instead of something approaching original sin), but the book very clearly portrays the growth of a literary culture, monumental architecture, specialized labour, grand and impressive rituals and festivals, institutionalized long-distance trade, and so on as interesting and impressive things worth studying and appreciating. It’s a book about a project of state-based urban-agrarian civilization, as told through its archaeological remnants and literary corpus, and as a whole it portrays that project as admirable and sympathetic. The book doesn’t brush over slavery or warfare, but they’re not especially focused on, either. Famine and plague actually are pretty much brushed over or at least portrayed as irregular calamities. A lot of the book’s wordcount is spent sketching out lives that seem at least slightly familiar to a modern reader, and making the Mesopotamian world seem like a place you could live a happy life in. Quite a contrast to Scott’s constellation of slave societies held together by brute force and exemplary terror, forever raiding the hinterland to abduct new workers to make up the losses from constant disease outbreaks and always on the verge of collapse.

Well, that’s all only mostly true. Podany’s sympathies for pristine states and bronze age empires does not extend to the iron-age Assyrian Empire. Her disdain for their whole imperial project is pretty clear through those chapters, and from her telling they (especially during what’s called the Neo-Assyrian Empire) were responsible for a lot of the brutal innovations that are now such core parts of imperialism. The mass deportation of conquered populations to settle and work other provinces, using exemplary terror to cow subjects, and royal legitimacy established nearly entirely through glorious victories in warfare and exulting in the same. (Along with less objectionable but still important practices like appointing regional governors from the centre.)

The book makes a real point of keeping a balance between men and women in who it focuses on. This is, I get the feeling, kind of just a matter of wanting to show off that we have a historical record that actually includes women in it as more than accessories and footnotes to men for this period (unlike, say, Classical Athens), But Podany’s clearly made a secondary goal of the book to try and push back on the whole image of a primordial and unchanging ultra-patriarchal order across all of history. So there’s a lot of attention paid to how the role of women in public life changed over time, and the sort of political and economic power elite women could wield. Which was actually quite a bit, as it turned out! Obviously nowhere in the ancient world was anything like a feminist utopia (and as a general trend, seems to have grown more patriarchal over time), but compared to a lot of periods I know more about, the available space for women in public life is quite a bit larger; on the upper extreme, queens and priestesses managed and controlled massive estates in their own right, and on the lower we’ve got plenty of bureaucratic records showing women in various prestigious or managerial roles. Always paid significantly less than men doing the same of course, but still a far sight from being totally cloistered or official ideologies saying women are soulless or incapable of rational thought!

Speaking of priestesses – Podany goes into great detail trying to describe Mesopotamian religion and the place religion had in the ancient near east. Which again changes over time – in the early dynastic period the great temples seem to have been the core organizing institutions of economic and social life, but two thousand years latter they were still rich and important, but relatively speaking much less central – but is basically always incredibly important. The endowment of high priestesses and the creation of some public work then given over as the property of an important gods were common themes of year names across the region’s kingdoms, and by all accounts pretty key legitimizing activities. The idea that the gods would sanctify oaths and punish anyone who broke them was likewise a pretty core part of Mesopotamian systems of justice. The book’s a bit vague on how the actual theology and practice of religion over time, but there’s plenty of lovely, evocative descriptions of rituals and festivals, and of the architecture of temples and design of the statue-avatars that were considered to be literal bodies of the divine.

The book’s also very interested in forms of government – both day to day systems of contracts and justice and land allocation, and the high politics of royal courts and governance. Though there’s unsurprisingly quite a bit more available on the latter than the former. Still, it’s pretty fascinating to the degree that the whole ‘absolute tyrant bronze age god-king’ was...well, not not a thing, but very much an occasional aberration. The growth of centralized royal authority was a real trend over a lot of the period, but especially in the beginning arrangements that seem pretty close to what we’d call a constitutional monarchy, with power shared with councils of notables, really do seem to have predominated. Special shouout to Ashur, which before it became a militaristic empire in the late Bronze Age was actually a prosperous trading city where the king was in large part a ritual/religious figure and the balance of executive power seems to have been held by an official who was elected by the city’s merchant class for annual terms.

I’ve done a poor job getting it across in this review, but the book does an amazing job really confronting you with the sheer depth of history – bronze age kingdoms and city-states were the dominant political institutions of the near-east for millennia. The period covered by the book is literally nearly as long as the period between the end of the book and the present. It’s enough to give you a sense of vertigo.

Anyway, absolutely incredible book, that I’m very happy to have read. Now I need to go find a decent one on Achaemenid Persia.

[quacheta]

So a few months ago, there was at least one (1) person who got permission to, and started, the project of bookbinding AmevelloBlue's The Ghost in the Shell. And when they tried to print it, it was like 700-800 pages. Which is... a lot.

So I figured, since (1) I also love Ghost in the Shell, (2) I do typesetting semi-professionally, and (3) why the heckers not, I could probably get it down to a more reasonable size.

And I did. And then AmevelloBlue gave me permission to share it here, so.

The Drive Folder With All the Files.

File-specific information below. :)

(Please, for the love of Donnie's banana pancakes, read it. I am trying to answer as many technical questions in advance as I can, so people don't get overwhelmed or confused or frustrated.)

(But also it is a LOT of information, so if you need clarification please ask. This is for to be fun! Not scary!)

There are three parts.

GitS.p8: This is the straight PDF export, done in pages and not spreads. That means each page is its own page (a spread has 2+ to a page) and the pages are in order. If you want a pretty PDF to read on a device, this is what you want. If you want to run it through your own imposition software, this is also what you want.

GitS.p8_typeset: This is the imposition. That means the pages have been rearranged into signatures and spreads for bookbinding. There are 16 pages, or 8 spreads, or 4 sheets of paper (printed double-sided) to each signature. Each signature gets stacked, folded into a booklet, and then stacked on top of the next signature for sewing the book block. THIS IS THE WHOLE BOOK. If you want ONE file to send to the printer, in one straight run, this is what you want.

signatures (folder): These are INDIVIDUAL SIGNATURES. That means each signature is a separate file. If you want to do a test print of a single signature, this is what you want. If you want to run different signatures through different printers, this is what you want. If you want to do this piecemeal for any other reason, this is what you want.

(The last three signatures are three sheets of paper, not four. This is for the sake of balancing page count against structural integrity in the bound book.)

Why would you want different printers, you ask?

Because color printing is expensive. And I used color in the typeset.

The entire thing is designed to still be readable (and pretty!) in a regular, black-and-white printer. Because I wanted this to be accessible to everyone, not just people who can afford color printing. But if you want to split it, and send the signatures-with-colored-bits to a color printer, and save money by NOT sending the whole book, these are the signatures with colored bits:

0, 5, 7, 11, 13, 14, 25, 26, 28, 35

And if that's too many pages still, here are the signatures with the most important colored bits (i.e., the title pages and the illustrations):

0, 7, 35

All of the files are PDFs. All of them, specifically, are PDF/x-1a(2003), which means the color profile is CMYK only and all the fonts are embedded. So nothing should go screwy-whompus when you download it or send it to the printer.

TRIM SIZE: the pages are 5x7.5. This is (1) to allow printing on letter-sized paper more easily, and (2) to also allow for trimming of the book block without screwing over the margins. The imposition and the signature files have trimming / cutting guides (the little lines) for your convenience.

There are 36 signatures total, or 560-something pages (less than 200 sheets of paper, before folding, if printed double-sided). This is still a big book. Big enough that you will need to know about spine swell, and possible rounding and backing, if you decide to do the binding. Please keep that in mind as you plan your project.

EPUB: some people like to convert PDF book files to ePUBs for eBook reading. Due to how I designed the typeset, this is not going to be pretty if you try it with these. I am currently in the final stages of making the eBook for GitS, and will upload the ePUB to the drive folder as soon as it's done. It will not have the pretty background / border illustrations of the print file, but it will be neat and tidy and include the pretty title pages.

I... think that's everything?

[druidx]

Her Countenance was Light - Chapter 25

CW: None AO3 ; Chapters: 01. 10. 20. 21. 22. 23. 24. Tag list (ask for +/-): @aquadestinyswriting, @hannah-heartstrings, @jacqueswriteblrlibrary, @babyblueetbaemonster @mr-orion

Room 23 is a basic meeting room, one level up. There's nothing particularly remarkable about it, except it's where Elo tucks herself away when they are struggling with a case. Maybe it's the smooth chalkboard or the windows that catch a lot of morning light. It could be the big table in the middle of the room that is perfect for laying out her thoughts. Whatever the reason, it feels like a home-away-from-home as she walks in.

From the shelves in the corner, Elo takes a recording device, slots in a new cassette tape and hits 'record'. As she prepares her workspace, she explains the details of the case in a penetrating and measured tone. "Detective Sarg– Lieutenant Elowyn O'Toreguarde, Special Cases, recording observations on examination of new evidence for the Evelyn Strucker murder, case number 1-2,1-1, 2-0, 1-7." She snaps on the gloves, lays out the towel and, with care, pulls out the book and the cloth. "Evidence being recorded is a book of some kind. It was delivered sometime last night by an acquaintance of my Confidential Informant on this case. The cloth is a maroon colour, although it's still damp. My CI said that the book may be a key part of why the victim was killed, as my CI alleges it was on the same scuppered barge as she was. Quite how it has been retrieved, I don't know. It does not appear very water damaged, so one assumes it was kept somewhere water-tight." Elo picks the tome up, examining the cover and spine, and continues, "It appears to be hand-bound in a type of red stained leather, rather like that case from a few years ago with the Kurtulmak worshipper and his homemade text of human skin. Once my initial observations are complete, the book will be passed to our forensic tech, Candice Green, for her analysis." Elo pauses and regards the thing in her hands. "Cuthbert's Scales, I hope this one isn't human skin too."

With a small shudder, she places the book back on the towel. "The cover is tooled with strange lettering vertically down each side, and in the center is a tree reminiscent of the Wiccan 'as above, so below' image. That is, the top half is in the full flush of summer, but the bottom is bare branches, indistinguishable from roots. It's really quite beautiful," she adds reverently, smoothing her hand over the cover. Elo grips the cover, bracing herself as she opens the book. Only the front page greets her. Her sharp-gasped breath is slowly released. Flipping over a few more pages, she continues her narration, "While the pages are damp, they're not sticking together, nor is the ink running. They're made from a coarse material, quite unlike paper. Ms Green will be able to confirm their exact composition. "Many of the pages seem to be filled with text in the same style as the front cover, following a vertical pattern, such as in Oriental writings, and are interspersed with crude drawings of plants and creatures, perhaps mythological in nature." She flicks a few more pages. "The whole book seems to be written in the same language. It's a unique writing style… Makes me think a little of the sway of rain falling down a window pane." Elo blinks as the text swims in her vision. For a moment, there is a strange kind of recognition, as one might get trying to read German; sharing the Latin alphabet and the same linguistic root as English, the false friends are inviting. She feels like if she had enough time and space, she could intuit how to read the poetic, dancing words. She squeezes her eyes shut and shakes her head. Gods, she needs another cup of coffee.

To distract herself, Elo flips to the center of the book. "Ah, now this is interesting. The center spread of the book contains a double-wide illustration of a wolf, displaying a use of perspective which is not present elsewhere thus far. It's depicted face-on, standing aside two coloured islands – one purple and one green. The wolf is black and grey, and its eyes are two different colours also – one pale blue and the other yellow." Hoping to find some hidden clues to explain… well, everything, Elo leans forward to examine the picture. The wolf twitches its head and winks at her.

Elo yelps and falls back, shaking her head to clear the spinning in her vision. "My observations must pause for a moment," she says. "An injury sustained previously seems to be affecting my… vision. I'm going to crack a window and get some air…" She doesn't pause the recording – it is enough to state what she is doing – as she cracks a window open, taking a breath of cool air. It helps for a moment, but as she returns, she is overcome with a wave of dizziness and a sick, lurching feeling, as though she has taken a corner too hard on her motorbike. She immediately sinks to one knee – because it is always better to jump than fall – and stays like that for a moment. When she feels able, Elo stands and reaches to sit on a chair. Another wave of dizziness hits, and she feels nauseous. Despite the blazing spring day outside, the room is getting darker and she feels cold in her chest. She hunches over, clutching her head, trying to draw a breath, to keep herself warm. "Hey, Bug? It's gone a lot longer than– Elo!" Then the darkness is receding, rushing away from her. Warmth returns to her core as he holds her, and she uncurls to give Farren a shaky smile. "I'm fine," she warbles. "You are not fine. Gods, I can't leave you alone at all, can I?" Elo takes a deep breath, gently pulling away from where Farren still has an arm around her shoulders as he kneels in front of the chair. "I'm okay, really. I just got a little overwhelmed for a moment." "You're ice cold," he points out. "Elowyn, go home. Get some rest." "I can't," she says, a stubborn frown pulling at her brow and lips. "I have work to do." "You'll get nothing done at all if you work yourself into a pit now." "Brek, I know my limits. I haven't had enough coffee today, is all. Please, stop worrying over me." Farren sighs heavily. "But Bug, who else is gonna do it? Despite what you keep saying, you never look like you know when to stop. You don't worry about yourself, you never have, which leaves me to pick up the slack." She stares at him, mouth agape. She'd never thought of it like that. "I must be such a burden to you," she whispers, not meaning to say it out loud. "No," he says, cross. "You are not a burden. But, just for once, maybe accept that there's the possibility you can't do it all? You haven't quite been yourself since we were given the Strucker case." Elo blinks. Now she thinks about it, she has to admit he's right. Between the case, the King, and the Fairy Stories running around her city, she has felt a touch pushed. It's made the odd dream-like quality of her life more pronounced. "A little longer," she says. "Give me a little longer. I'll take it easier. I'll focus on His Majesty's sight-seeing and leave the case to you and… the team. And I won't go off hunting dragons on my own." She isn't quite sure why she said that last part, but it gets the message across. Farren gives a reluctant nod. "Alright, Bug. That's fair. But the moment you need to stop, you tell me. You know I've got your back on this?" "Yes. Thank you." "Good." Farren nods to where the book still lies open on the table. "What d'you want to do about that?" "Oh, crap! The recording!"

She stands too quickly, gets a wave of dizziness for her trouble. But it feels more like a blood rush than whatever happened before, and subsides quickly. She reaches over to switch the recording device off and pops out the magnetic tape. With a flush rising to her cheeks, Elo waves it at Farren and slides it into the case. "I'm afraid," Elo says with an apologetic wince, "your declarations of worry and the affirmations of my stubbornness are now part of the chain of evidence." He grins. "Both those things are already a matter of public record. I hardly think one little recording is going to make much difference." She gives him a wane smile. "Did Candy get a hold of that professor yet?" "Yeah, but last I heard there was some argument about a consultation fee, so he hasn't been by yet." "Hm. I think the text in the book matches the one on the artefact, so he'd better take a look at both. I also want her to evaluate what this thing's made of. And if it's anything other than normal materials, tell her to stick it in a report because I'm not sure I want to know." "Worried it's human leather?" Elo gives him a tired, pensive look. With a grin, he says, "You got it, Bug." Elo slides the book and cloth back into the evidence baggy, laying the cassette on top. "And it should go without saying it needs to live in the safe as well." "Roger that." Farren gathers the evidence and towel. "Might wanna warn Candy what's on the tape, so she doesn't get–" What – embarrassed? Psh, says the little voice, Farren isn't wrong: the whole precinct is well aware already. "…surprised." At that, her partner just grins. As they walk downstairs, Farren says, "Since Irvine is the only one who can operate the copy machine, I sent him to make duplicates of our interim report. Cap said the Acting Magister needed to be kept in the loop, as well as the General." "Thanks." Elo is grateful for all the work he and Cobbleskater have been putting in during her absence, she is. But it feels weird, this giving orders, hardly doing any real police work. Then they are in the ground floor stairwell. "I'll run this down to Candy," Farren says.

Elo nods absently as he trundles off, whistling some pop song. She wonders if this is what it'll be like from now on. She isn't sure she likes it. Despite what Fugit said about the City needing her, it feels less and less true. Like she can stand back, take a breath – and won't be missed all the while. The thought leaves her feeling cold. "Yo, O'Toreguarde, you forget where your desk is?" Elo blinks. Hughes is walking backwards on his way to the gym with Komens. "Ah, leave her alone," Komens rumbles, smacking his partner with his towel. "She's been away with the fairies a lot." Hughes snorts. Elo sighs – because if nothing else, it's accurate. Komens looks back at her as he passes through the doorway. "Keep your head up, kid." Elo gives a tired smile. "Trying my best."

Back at her desk, Elo finds a Manilla file folder containing three sheets of paper filled with Cobbleskater's neat handwriting. "Ah, Lieutenant?" The man himself materialises at her elbow. "I rather stuck my foot in it, didn't I? About your promotion." "Yes, you did." Cobbleskater heaves a sigh. "I would like to apologise for that." "Accepted. You weren't aware he hadn't yet been told, so your first mistake was forgivable. However, you must be more observant. The way he reacted should have given you a clue about that fact, so you could have stopped talking then." "Ah, yes, I see," Cobbleskater frowns, thinking it through. "Not to worry, I shall amend my behaviour in future!" He smiles at her, and she has to smile back – he is that damn cheerful. "See that you do," she says with an approving nod and a smile in her tone. "I've organised a patrol car to give you a ride to City Hall. They're waiting for you in the breakroom, whenever you're ready." "Thank you, Cobbleskater. Your efficiency more than makes up for any personality issues." And if anything, it makes him beam larger under the hand of her praise. Elo sucks in a breath. "Would you mind doing me a couple more favours?" "Of course. Anything I can do to help." "Thank you." She smiles and hands him some cash from her wallet. "Can you find who our attending officers were and get them a beer each as my thanks for finding Ms Strucker?" He nods as he takes the money. "I've already taken the liberty of locating them. Just in case." "You are a scholar and a gentleman." He accepts this with a smile and an inclination of his head. "And the second request?" "I want you to look into what might have caused Iceland to suddenly reinitiate trade." "You want to know why the King is really here." "Yes." He smiles. "No problem." "Cheers, Irvine."

Elo wanders into the breakroom then. The patrolling officers due to take her to City Hall greet her with an affable nod. They've not been in long, so a doughnut and coffee are pushed her way.

While they all finish up, Elo takes the time to skim the report from Cobbleskater. In the victim's apartment, it says, they found a stack of notepads and journals, all written in a strange code, like nothing either of them has ever seen. There were books about mythology and maps of the city marked out, again in a code of coloured circles and crosses. They found nothing else pertinent to the case, and the report continues with conjecture. Judging by the disastrous state of her apartment – with the pantry nearly empty, sink filled with dirty dishes, and clothes strewn around – the Detectives believe her state of mind was frenzied by the feeling she had discovered something big. This was echoed by the handwriting in her journals becoming messier towards the end of her work. Her editor knew nothing about whatever she was working on, and had no inkling either, as all her fluff pieces were submitted as usual. They will not know what the victim was working on, Cobbleskater reports, until they can find a way to decipher the text. At the bottom of one of the sheets are two additional notes. One is about a cat – since it appeared in no ill health and could freely come and go, the Detectives topped up its food and water and left it alone. The other is a sample of the code, with a request for more information from the General regarding it. If Elo squints, she thinks maybe it looks a little like the text in the book… But then the patrolmen have finished their doughnuts, so she can't double-check.

They make a stop-over at her tenement, where she leaves the bag of clothes in her room with 'For Snotgrut' pinned to it, and then on to City Hall.

[unrestrainedbalderdash]

Just wanted to say that your idea of the backstory being in puzzle pieces is so good I kindda wanna know how would you do a one-ahot backstory comic for Eddie.

Alright, I'm definitely not as good at writing as you are, but I'll give it a shot.

This is a bit long so I'm putting it under a read more

Also, some warnings for child abuse, physical abuse, school trauma, bullying and brief mentions of ableism

One of my ideas is that there could be 14 different scenes or memories that he looks back on, as a reference to the 14 pieces in Elgar's Enigma Variations because I just think he'd love them. Each section is a double page spread, with some being like typical comics with panels, and others being like single illustrations.

We could start with him being an adorable baby in his mum's arms, his dad standing next to her. Their body language seems happy, but there's something in the eyes that could hint that not all is well.

Edward is in school. These pages can be a montage, in the shapes of different jigsaw pieces. I'm probably projecting here, but I think maybe he could start off excelling academically, being top of the class, but finding himself too terrified to do anything less, his grades only starting to slip once he decides he's above grading systems of lower intellect. So anyway, the panels are of him getting good grades, but struggling a lot socially. There can be whispers amongst the students, rumours that he must be cheating.

Edward gets hit by his father. His mother tries to protect him but to no avail. Near the end, the panels dissolve into being a crossword with the words "moron" and "liar" over and over.

One of his teachers gives him a book of riddles. There is then another jigsaw montage thing of him reading it whenever he can: at break, at home, hiding it under the desk in class. He is getting very absorbed in it.

Edward is a teenager standing lonely at high school (middle school in the US but like Year 7 over here), with the silhouettes of people mocking him. The silhouettes can have crosswords inside, maybe with some insults (although realistically they would definitely be saying slurs and I wouldn't want to put ableist language in it so it would have to be toned down)

Edward's father destroys his book of riddles. He snaps at his father, who proceeds to beat him much more, berating him the worst yet.

Edward is growing up. The background is a jumbled assortment of jigsaw pieces in different colours. He looks miserable.

Edward is an adult now, and leaves home.

Edward is reading the newspaper. On one page is a crossword, full of words relating to Batman but also intellect, like "Genius", "Greatest" and "Detective" being connected to each other, "Hero", etc. On the other page is a picture of Batman. Perhaps Edward has annotated the newspaper article and drawn on it.

The Riddler finally meets Batman, and fights him. It is clear that he is in awe, even when he is defeated.

Edward is behind bars, looking miserable again.

Edward is out of prison, and meets Query and Echo

Query and Echo are now working with him, wearing themed spandex as well. He looks so happy to finally have friends who care about him, but then the police sirens come, and everything turns to blue, and all you can see is black lines of his face full of dread and fear of losing everything.

The last scene, as the Finale, is him looking at the future, sprinkling in a little bit of existential angst. He is in the front of the page, with jigsaw pieces in the background, all jumbled up, and showing different possible futures of him; we could see glimpses of him as an old man, and him wearing a crown, and him covered in blood dying. There are also some of him being happy, this is very important because we need hope and he deserves to be happy. Maybe he's posing like his mother was on the first page, holding his question mark staff like she was holding the baby, with the same look in his eyes as she had. Behind the Riddler, there are jigsaw pieces that are connected so they're in the shape of a question mark, and they could show his grave, conveniently cutting off the date of death on the headstone, with a flower or two laid on the grave because I think we need to show that someone does care about him. It could say "What am I?" at the bottom.

[solradguy]

hey sol, you may have answered this before but how do you prepare your physical books for scanning without destroying them? i have some figure making books i’d like to share on archive.org but i don’t wanna slice up the pages if possible :(

Depends on the binding! Artworks of GGX and GG2Overture Material Collection both have flexible glue binding ("perfect" binding) that made pushing them down into my scanner bed easy without damaging them:

The GGX book (left) had some art go down into the gutter that was annoying for double-page spreads but it was clear enough that I was able to redraw the missing parts. The GG2O book was designed with space left around the art so that it didn't go into the gutter. It's alright if you can't redraw the gutter, just leave it in the images after you scan them and hopefully people will be able to read whatever text goes down into it.

The Yoshitaka Amano illustrated biography I did scans from was a little tricky. It's hardback with a sort of woven binding. I could lay it flat in the scanner bed, but the hard spine definitely felt like it was being pushed to its limits doing that; part of the reason why I won't be scanning from it again. If your books are hardbacks too, they should probably be ok for scanning all of their pages if you're especially gentle/careful about it and they aren't too old. Here's what the spine/binding on the Amano book looks like:

I set them in my scanner like this and hold the spine down with one hand while I operate the scanner software with the other:

Part of the book hangs out of the scanner and that seems to make it easier both on the book's spine and on my hand since it's at more of a 90 degree angle than a 180 degree one.

I don't put the scanner lid down and do my scans mostly in the dark with just a dim lamp on to make up for not putting the lid down. Putting it down just gets in the way/doesn't really help much for scanning big books like these. If you have small hands or your setup makes it hard to scan the way I do, you might be able to hold the book/its spine down with a larger, heavier, book while you operate the software.

If the binding on your books is really tight and you can't lay them very flat, you might be able to find a scanning software on your phone and make a setup to hold the book open far enough to get camera scans with the app. I haven't tried this, though I have considered it for scanning manga without unbinding them.

Some other (optional) things you can do to improve scan quality are:

Put a piece of black construction paper behind the page you're scanning. I have one taped to the top of my scanner lid at the moment because I've been scanning loose manga pages, but for the art books I'd slip it between the pages. It reduces page bleed through from the scanner light in the finished scan dramatically.

If the pages on your books are glossy, investing in some inspection gloves will be very useful. I bought a pack for like $5usd on eBay to scan the Dengeki PlayStation magazine because its pages were glossy and I kept leaving fingerprints on them. A small investment to save some time in post cleaning off any visible fingerprints later.

Put a movie on in the background because my god does scanning get tedious.

These aren't required, only things that have streamlined my process a little.

Good luck!!

[literaticat]

What are the confidentiality standards for agents? I've looked at the AALA ethics page and I only see financials mentioned in that regard. Personally, I would expect much more than that to be kept confidential, or at least within the agency, but I've had some contrary experiences with agents. I'm thinking of things like, editorial feedback for a book under contract, or a PB writer disliking illustrations for their book and negotiating around that, etc.

Agents are considered "fiduciaries" for their clients, and there are certain legal/ethical standards for fiduciaries. Basically, we have to keep your financial info (contract terms, etc) and other personal stuff we're privy to confidential and can't use it to benefit ourselves, we have to act in your best interest, we can't "double dip" (ie, get some secret money/kickbacks from the publisher for a transaction), we must disclose if there's a conflict of interest or anything like that, etc.

And just generally, you know, your business is your business, we're your business partner, so obviously we shouldn't be spreading your business around.

That being said, I'm not 100% sure what you mean with your examples? If you're having some kind of editorial conflict, or you're a PB writer and you have a big problem with the illustrations, it would be part of our job to help you handle those conversations as needed, or have them on your behalf. (The publisher might or might not agree to DO anything about that, but the convo could not exactly be "confidential" if you want to do something to potentially fix it!)

[alexesguerra]

Mega-Sized Tarot: Hocus Pocus Tarot Deck and Guidebook Mega-Sized Tarot: Hocus Pocus Tarot Deck and Guidebook Contributor(s): Schafer, Tori (Author) , Siegel, Minerva (Author) , Dread (Artist) --Brand New-- Pub Date: October 31, 2023 Physical Info: 2.2" H x 9.2" L x 6.1" W (2.46 lbs) 78 pages Bring a touch of witchcraft into your tarot practice with this new, larger-than-life edition of the illustrated Tarot Deck and Guidebook inspired by Hocus Pocus! Hocus Pocus has put a spell on fans with its humor and heart since its release in 1993. Now, tarot enthusiasts and Hocus Pocus fans alike can celebrate their love for the film in a big way with this official tarot deck. LARGER FORMAT: Truly celebrate your fandom with larger, sturdier cards that fully capture the splendor and enchantment of the Hocus Pocus films, a beautiful card stand, and a deluxe velvet pouch for taking your tarot practice on the go! A MUST-HAVE FOR FANS: Featuring original illustrations of the Sanderson sisters and the wider world of Hocus Pocus, this deck matches characters from the film with tarot archetypes, making it a fresh interpretation of a traditional tarot deck. COMPLETE TAROT EXPERIENCE: This deluxe set of 78 cards consists of both major and minor arcana, perfect for anyone beginning their tarot practice, as well as for experienced practitioners. BEAUTIFULLY ILLUSTRATED: Each card features a full-color illustration of a character from Hocus Pocus, including the Sanderson Sisters, the Dennisons, Ernie, Billy Butcherson and more. DETAILED GUIDEBOOK: Includes a 128-page guidebook with explanations of each card's meaning and simple spreads for easy readings. GREAT GIFT: Packaged in a sturdy and decorative gift box, Hocus Pocus: The Official Tarot Deck and Guidebook will enchant fans of the film and tarot practitioners alike. COMPLETE YOUR COLLECTION: Hocus Pocus: 13 Frights of Halloween also available! Biographical Note: Tori Schafer is a writer and narrative designer for video games, and has worked on titles such as Elder Scrolls Online and Spellbreak. Her love of games is only matched by her love of tarot, which she has been practicing since she was a child. When she's not playing games or practicing tarot, she's spending time with her husband and beloved, bratty cat in their apartment. Minerva Siegel is a writer, author, sensitivity reader, tarot consultant, and longtime practitioner of witchcraft who haunts a Victorian home in Milwaukee, Wisconsin, with her gruff Taurean double-Virgo husband and their motley pack of rescue dogs. In addition to this book, she's the author of Tarot for Self-Care: How to Use Tarot to Manifest Your Best Self and Spell Jars for the Modern Witch: A Practical Guide to Crafting Spell Jars for Abundance, Luck, Protection, and More, as well as a dozen licensed tarot decks. Minerva is a disabled wheelchair user. Though the physical body has limitations, there's freedom and power in fully tapping into our own magickal potential. Her many guidebooks help readers do just that. You can find her on Instagram @Author.Minerva.Siegel. DreaD. is an illustrator of the strange, unusual, and geeky. She spends all her time in her lair making fan art, casually threatening greeting cards, and fantasy pins with her goblins in the Pacific Northwest. She loves telling stories with her illustrations and hiding secrets in her pieces, and has tons of wacky things happening on her Etsy and Patreon(s). You can find out what she's up to at: linktr.ee/drea.d.art.

[jessreadingblogk-12]

100 Mighty Dragons All Named Broccoli by David Larochelle, illistrations by Lian Cho

Genre / Category: Children's picture book / Texas 2x2

Age group: 3-7 years

Summary: This book is a fun journey around the United States with 100 dragons all named Broccoli. Each page is filled with colorful characters as you count down till there is only one dragon left.

Justification: This book has been featured on the Texas 2x2 list in 2023. Furthermore, this book is perfect for parents and educators seeking books that are interdisciplinary as it teaches both addition and subtraction within the story.

Formant and Evaluation: The format I read this book in was digital on Amazon Kindle. I will be evaluating illustrations, design and layout, and pacing.

Illustrations: The Illustrations in this book are used as interesting asides to help the readers visualize exactly what the dragons in the story do when they leave their nest. These asides are not necessary to the plot of the book; however, the illustrations will help keep young readers engaged with the story. They also provide interesting details about the places they go. For instance, when three dragons move to East Texas, they are shown as cowboys in the rodeo as opposed to their kayaking, West Virginian siblings. I particularly enjoyed the crayon-drawn aesthetic as it can help young readers draw these characters with their own crayons.

Design and Layout: The design and layout for this book may have been different for me as I read this book on the Kindle iPad app. In the app, this book supposedly has 135 pages, but it has only about 30 from my estimation. Another issue I had with this digital format was the fact that this book lacked zoom functionality, a crucial aspect of viewing digital illustrations on a device with a smaller screen such as my iPad mini. However, I did enjoy the seamless double-page spreads as this version of the book had 2 pages for every one digital page.

Pacing: This book’s pacing is very fast. Most pages have a “this left…” sentence at the bottom of the page to encourage readers to continue reading and counting along with the book. This book can be read in about five minutes by an adult so if this book is being read to children, it might help to ask them plenty of questions about what they see on the page and how many dragons are left after every page.

Citation: Larochelle, D. (2023). 100 mighty dragons all named broccoli (L. Cho, illus.). Dial Books.

[shehan-mga2022mi6014]

Rules and guidelines for SMA competition

1.1 The “LANGUAGE” of Silent Manga

A Silent Manga is a visual narrative told without dialogue, that relies entirely on illustration alone. You may, however, make use of onomatopoeia by incorporating SFX into your art.

We welcome all emotions – happiness, sadness, and everything in-between. Like a good chef, the mixing of opposing flavors can sometimes produce the best results!

2.1 Page count

The page count for a single SMA entry is 17 pages or less. (The page count may change depending on the round so please be sure to always check the current round announcement page).

2.3 Working in digital

Please follow the same dimensions stated in 2.2 Canvas size.

All digital drawing tools are welcome in SMA (Clip studio, Manga studio, GIMP, Adobe Photoshop, Medi bang, Paint, etc.).

Please DO NOT use any copyrighted materials, imagery, or characters as part of your creation. However, pre-set tools like brushes and screen tones are welcome.

Preset photos or drawings of people and backgrounds are FORBIDDEN by the submission agreement as their use may be subject to copyright infringement. The ONLY exception is photos you’ve taken yourself.

3.2 What IS allowed

Speech balloons containing “!?”: Exclamations and other punctuation marks are fine, but always keep in mind that they ENHANCE your characters’ expressive emotions, not SUBSTITUTE them. For example, many artists draw expressive marks near characters’ faces, often without speech balloons.

Signs (e.g., Parking / Flower Shop / Restaurants, etc.): Signage is also OK, provided they are very common and universally understood.

Onomatopoeia: drawn letters that represent sound is welcome and actually encouraged in ANY LANGUAGE. In most Japanese manga, sound effects are usually incorporated into the art by the original artist in a unique style that sets the tone of the sound.

Entries from partners, groups, etc.

Multiple entries are WELCOME!

3.3 To take into consideration

Utilize the first page as part of the storytelling and not just a cover page.

We encourage you to make good use of a “double page spread” (a pair of two adjacent pages in a book). Treat the page spread as ONE WIDE CANVAS.

Complex stories are often difficult to incorporate in SMA. It’s a good idea to plan ahead, and think of a simple, yet effective story before you begin your final manga.

We want to see what “message(s)” the story clearly presents to the reader – evoking emotions and feelings to entertain the reader.

FLOW: Though manga displays the action on a single page, it is designed to be read as a “double page spread”, with the action starting from the right and flowing from page to page. This same rule applies even when reading manga on a smartphone or tablet. The key is to ensure the reader turns the page! Use effective “Hiki-goma” (the last panel before turning over the page to the following panel) and other techniques for effective storytelling.

4.1 Starting your manga

We recommend starting your manga as A SINGLE PAGE on the left side of the spread.

4.2 Layout

Your manga should be drawn from right-to-left (Japanese standard).

4.3 Image data

Preparing the image data of your work (data format). Please prepare the image data of your work according to the format below. (One image file for each page / two-page spread divided into two image files).

Image format: JPG or PNG format

File size: 1 file 2 MB or less

Image file name: Your image files should be labeled with a two digit number in sequential order based on the page number of the image file (Example: page_01.jpg, page_02.jpg, etc.)

Resolution: 300 dpi

Blaze

0 notes

[mcgravin]

It's available on the Internet Archive.

From an Amazon review:

A really bad 1956 book about space travel

The only reason this book is remembered at all today is that it is illustrated by the great science fiction illustrator, Virgil Finlay. The author is a former high school teacher who apparently was a self-appointed expert on insects, but who clearly knew nothing about physics, descriptive astronomy, space medicine or spacecraft engineering as the fields existed in the mid-1950s. So the text is usually almost comically nonsensical. Artist Finlay doesn't have much to work with either. His space ships are based on the cargo rocket designed by Wernher Von Braun for the Collier's magazine space-travel symposium of the early 1950s, and his space suits come from the same symposium. He rarely gets a chance to show what he can do, except for a few drawings of Martians and their canals, and visitors from another solar system. The ink drawings are well-reproduced and there are quite a few double-page spreads. You should buy it for the illustrations and ignore the goofy text.