#accidentally relevant

[anchorsnreignbows]

whoops too real

[taamlok]

one thing i think is so cool about veilguard that hasn't been getting the hype it deserves is that the companions are actually doing things without you. like if you're wandering around a city you might bump into them doing their own thing, or in the weisshaupt siege the companions who aren't in your party are still there and fighting in a different area. i've never played an rpg that has that degree of coordination between the player and non-party companions, i'm so excited for it!!

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 5: Flip Slip.

(Part 1, Part 2, Part 3, Part 4, Part 4.5)

[irregularjohnnywiggins]

You ever have those moments where an idea just... won't leave your head?

[mumblesplash]

[narrator voice] she did not forget

[snek-eyes]

Queen instrumentals playing in Give Me Coffee or Give Me Death

(instrumentals arranged by Eos Counsell)

(insp. / template / BoRhap breakdown)

[voidedjuice]

ghost in autumn colors

+ bonus!

the new friend is eating her!?

[spark-circuit]

i'm sorry i know everyone's enjoying the sword festival right now but. b. i'm just still not over it man.

[skitskatdacat63]

"From triumph to failure is but one step."

+ the usual

I love when I can include paper sketches in the process gif. It's very satisfying to see it progress from a very vague imagining of what was in my head to the finished project.

+ version without text

My favorite sketch was definitely the one where I actually put in words what it's supposed to convey. I wouldn't usually write that down, cause it's all in my head, but it was useful to do so when sending it to other people. I'll go into it more but here it is just as a teaser:

Lmao first of all, I like how I was teasing "Spanish GP" art, but as per usual, it's just thinly veiled au art. IM SORRY, I'M NOT INTERESTED IN MAKING GENERAL POSTERS, THAT'S NO FUN! So instead you will get weirdly relevant matador au art. I like it a lot though, I was really shocked I was able to draw 3 different Fernandos, I mean even drawing one figure takes a lot out of me, but this was weirdly easy?? I think it's just the effect of not being burnt out anymore, and actually being able to draw with more ease makes me feel like a god.

Okay, so the text: "Fight or Flight?" I'll be honest, I don't even remember why I chose it, literally came to me in a vision 😭 But I think it's fitting with the narrative of this piece. Is it better to keep going on, keep fighting, or better to finally give up, and flee? Not that I even remotely think he should give up, but I feel like sometimes I can sense him pondering this very question. That was the big fear before he announced that he re-signed. Keep fighting and maybe, just maybe, you'll get the chance to finally go up against the bull again. Or accept it's an uphill battle and the fighting is going to keep getting more and more strenous, and maybe it's time to put down the sword. SORRY THIS IS SO ANGSTY FOR WHAT'S SUPPOSED TO BE "yayyyy home race!!!" Please forgive me <3

I. Renault

At some point, someone pointed out to me that I had drawn all other iterations of matador Fernando with a sword, except for Renault Fernando, and that ended up feeling very poignant to me. In a bull fighting match, they really only pull out the sword at the last minute to deliver the killing blow. So I think it's important to never draw this Fernando with a sword, because it shows the unfailing confidence and stability he has at that point. He only needs to pull out the sword at the end, as a formality almost, there's no reason for him to keep his guard up at all times.

II. Ferrari

Meanwhile this Fernando, he's considering his sword like he hasn't had to in the past. He's checking the sharpness, making sure in advance he can do what needs to be done. He's on guard, he feels like he needs to keep up his defenses at all times because he doesn't have that same amount of trust and stability anymore. He knows though he will be up against the (red) bull, at least that's never in question. At least there's the assurance he'll get the chance to fight.

III. Aston

Oh, Aston Fernando....He doesn't know whether to take up his sword or finally put it down for the last time. While at least Ferrari Fernando knows he's on constant guard against the bull, this Fernando doesn't even have that assurance anymore. He feels like he can never put down the sword, just in case he gets the chance to strike the killing blow on the bull, which feels like it's growing more and more unlikely.

Spanish flag: ? Lmao this was meant to be something to celebrate Fernando's home race and it turned very introspective whoops. Also got the Napoleon quote in there hahaha, can't escape it!! Shame though there is no French gp anymore, if so I'd probably draw an unhinged thing for it :,(

[honorthysalad]

Realizing that Tanaka’s line here is alluding to the village’s sin. How the villagers offered heads in hopes of relief, but there was no god listening on the other side, just a hole swallowing their offers. How the Indoh ancestor offered the village to bring back his wife, but only condemned her and the rest of his family. How the Indohs offer Hichi for forgiveness, but you can’t just reverse a trade: what’s done is done. And now ‘Hikaru’, about to give up his life as Hikaru so Yoshiki could live peacefully, but it’s too late for that; he’s so mixed-up he could never live normally.

[sorryiwasasleep]

Screwed Up: A SuperBat One-Shot

“Look, Kent, the only way you’re getting out of writing this article is if you’re screwing one of them, so unless you tell me you and the Amazoni—“ Clark can’t help the honest-to-god snort of a laugh that pulls from him.

God, Diana will get a kick out of that too when he tells her.

Still laughing, Clark doesn’t even think about it.

He just answers, “I mean, I’d say B’s screwing me.”

And then he freezes as he realizes what he actually said.

And so does the rest of the newsroom.

And it’s like he can see the air swell in front of his eyes as his face flushes red and the group takes what feels like a collective inhale before nearly everyone in the newsroom starts talking at once.

In a move that probably makes him look even guiltier, Clark instinctually claps a hand over his mouth as if to take back the words.

Oh no.

[aalghul]

Hii I keep seeing people talk about Talia's Lexcorp era and I want to check it out! Could you tell me what comics & issues that is?

start with with JLA: Tower of Babel (especially her story in JLA Secret Files & Origins #3) and DC #750 even though those aren't strictly lexcorp era because they're the context behind what happens next.

President Luthor Secret Files & Origins

Action Comics #772-773

Batman: Our Worlds at War

Gotham Knights #20-21 <- she's only talked about here but it's good insight into bruce's feelings

Superman: Man of Steel #120, 123-125

Superman #194

Superman/Batman #6 <- once again, not physically present but you see the conclusion of her lexcorp era so it's important

[conflipt]

...do you guys not know how to spell metallica?

[zhouxiangs]

it is day six of losing my mind over the peteway hand-holding, what came before, what came after, and what may or may not come later, and today i am thinking about the importance of touch.

or most importantly, of touch as a gesture.

because there's the touch itself, which as two enigmas with touch-based powers that are probably touch-starved for genuine consensual purposeful touch (thank you @marinacourage, i am never recovering from reading those words strung together in that order) is... already a lot. we can infer from what we've been shown/how deliberately they focus on it every time that both their powers work by touching people with their hands, which i imagine must be incredibly alienating for both of them, albeit for different reasons, but specially so for pete who (unlike way who also has to verbally issue a command) seems to need only to touch someone to invade the privacy of their mind even if he doesn't want to.

so, the act of touch alone is incredibly intimate for both of them.

once everything is out in the open, when they both know the other is an enigma and what his powers are, and way knows that pete has been using his power every time he touches him to read his mind, pete could just stop touching him. which is what he does at first.

but then there's my favourite part: both the intent and the manner of the touch. because pete withdraws, but not because he doesn't need or want to keep touching way; he does it because he was using his power surreptitiously, and now he doesn't need to.

pete reaches towards way again, and not only touches him: he slides his own hand in between way's and touches their palms together. pete is touching way, but he makes sure that way is touching him, too. and just like when he bared his neck earlier, pete is putting himself in way's hands, at way's mercy; he can read way's mind, but way can control him if he wants, either to make him back off or anything else. and way doesn't, nor does he draw back even if he looks at pete in surprise.

because pete is showing way he believes in him. he's telling him as much, saying "don't let obligation or fear make you not dare to decide to do the right thing. you are worth more than daddy says". saying "you always have a choice. you still have the right to choose, way".

but he's also telling him with his touch, with the palms of their hands resting together. "i see you", "you are not alone", "i'm here, and i believe in you", "your past sins will not drive me away. wounded hearts can still be cared for".

and also, because of how pete looks at way and because of how emotionally charged this moment is, i cannot help but think about the metaphor of "and palm to palm is holy palmers' kiss" in act 1, scene 5 of shakespeare's romeo and juliet; juliet's evocation of a palmer touching the hand of a saint's statue as an almost holy and transformative experience. a kiss with hands.

[firewolf111]

Based off of a conversation I've had with myself (though slightly changed to fit the characters and because my memory is trash)

Logan: What happened to our dreams? To our goals of success? Why did you abandon them? Why did you give up on them? I thought you were passion. What happened to our drive? We wanted to be something. Now look at where we are.

Roman: You aren't the only goals we had.

Logan: What do you mean?

Roman: Did you forget his dreams? *Gestures to an image of a younger version of Thomas and himself*

Roman: Did you forget his dreams came first. Our want to be an actor, a singer, a dancer, a writer. Did you forget that to them, success was chasing our creative dreams? Our goals of science came later.

Logan: Well, that would make sense. Kids often have foolish dreams.

Roman: Foolish?!

Patton: Now, now. Let's calm down.

Roman: No! I'm tired of listening to him tell me my dreams mean nothing.

Logan: Well, they do. They have no merit to them. We all already know that they will get us nowhere, but our logical goals of pursuing science would have brought us the success we dreamt of.

Roman: We wouldn't have been happy. He wouldn't have been happy.

Logan: He would have been fine. We would have been better than we are now.

Patton: Okay, why don't we agree to disagree? I mean, you both are making great points.

Roman: I'm just trying to pursue something that will make us happy! To figure things out!

Logan: And look where that got us.

Roman: *small and dejected* Why can't we be content with where we are?

The silence is loud. Maybe it's the fact that you could hear a pin drop, or maybe it's the flinch Thomas gave or the disappointed look Patton sent him. Maybe it was the look of hurt on Roman's face. Or maybe it was his own painful self-awareness. But suddenly, he feels guilty. The anger simmers down, and he realizes that Roman was right. He wasn't the only one who had goals for Thomas. He wasn't the only one who had to sacrifice things for the greater good for him. But it's too late to back track, and he was never good at admitting he was wrong.

Logan: Are we content? I don't see why we should have to settle for such a pitiful outcome, just because you decided to quit pursuing better options. Perhaps if you were less lazy or had let me take control, things would have worked out better.

Roman: *defeated and not making eye contact* You didn't offer any compromise. The only option was to quit. We would have been miserable if we kept on the path you wanted.

Logan: *sinking out* Like we aren't now.

And like always, he regrets what he said. And as always, he still doubled down.

Later, he'll pretend like nothing happened. Guilt will eat him up on the inside, and he'll wonder if he is the robot people say he is. Yet no apologies will be said. Later, Roman will cry himself to sleep after staring in the mirror, questioning if he is actually Thomas's hero. He'll create something from the pain and hide it in his special drawer. Later, Patton will play mediator like always. He'll act more cheerful and kind to cover the obvious tension but will not acknowledge it.

And after that, Logan will offer coffee to Roman in the morning and ask if he wants to brainstorm ideas. Roman will accept the extended Olive branch. No apologies said or offered, but accepted all the same. Roman will create a story about a scientist and will ask Logan to help make it believable. Of course, Logan will agree and pretend he doesn't know the reason behind the story. Patton will watch and finally feel relieved at the end of the tension. And the mindscape will once again breathe.

Until it happens again.

Because they are not content with where they are.

But why can't we be content with where we are?

[lunalikestowriteanddraw]

*first listen*

Kremy, as a frog: who do you think is my true love?

Me, knowing that Kremy and Gideon get married in episode 15: idk, probably Gideon

*second listen*

Kremy, as a frog: who do you think is my true love?

Me, knowing EVERYTHING that happens later, unable to fight back a smile: Gideon :)