#also I write too much in tags BUT

[randomfingthings]

I had to get this gem of a moment out of my system! Definition of when inspiration strikes 🤗

[moonscape]

[kaibascorpse]

some of you people are so obsessed with having an acceptable group to ‘punch up’ at that you would rather pretend a marginalized group are Basically The Oppressors™ than listen to their valid criticisms about the fact that ‘punching up’ very rarely hits the intended target, and the majority of the actual damage of that act is suffered by fellow marginalized people in your own community. there is a significant difference between venting frustrations about privileged groups and just outright attacking anyone who (you assume) experiences that axis of privilege regardless of - and in many cases outright denying - their actual lived experiences. it goes far beyond just ‘venting frustrations’ when what you’re really doing is trying to find a moral justification to bully people you don’t like, and when your own desire for catharsis and moral superiority leads to ignoring the voices of the vulnerable people you hurt. you’re not ‘punching up’ - you just like punching people for the sake of punching.

[biblically-accurate-dca]

painting test with a limited color palette

here's the moon equivalent!

[sugarcoatednightshade]

thinking about how Humans Are Space Orcs stories always talk about how indestructible humans are, our endurance, our ability to withstand common poisons, etc. and thats all well and good, its really fun to read, but it gets repetitive after a while because we aren't all like that.

And that got me thinking about why this trope is so common in the first place, and the conclusion I came to is actually kind of obvious if you think about it. Not everyone is allowed to go into space. This is true now, with the number of physical restrictions placed on astronauts (including height limits), but I imagine it's just as strict in some imaginary future where humans are first coming into contact with alien species. Because in that case there will definitely be military personnel alongside any possible diplomatic parties.

And I imagine that all interactions aliens have ever had up until this point have been with trained personnel. Even basic military troops conform to this standard, to some degree. So aliens meet us and they're shocked and horrified to discover that we have no obvious weaknesses, we're all either crazy smart or crazy strong (still always a little crazy, academia and war will do that to you), and not only that but we like, literally all the same height so there's no way to tell any of us apart.

And Humans Are Death Worlders stories spread throughout the galaxy. Years or decades or centuries of interspecies suspicion and hostilities preventing any alien from setting foot/claw/limb/appendage/etc. on Earth until slowly more beings are allowed to come through. And not just diplomats who keep to government buildings, but tourists. Exchange students. Temporary visitors granted permission to go wherever they please, so they go out in search of 'real terran culture' and what do they find?

Humans with innate heart defects that prevent them from drinking caffeine. Humans with chronic pain and chronic fatigue who lack the boundless endurance humans are supposedly famous for. Humans too tall or too short or too fat to be allowed into space. Humans who are so scared of the world they need to take pills just to function. Humans with IBS who can't stand spicy foods, capsaicin really is poison to them. Lactose intolerance and celiac disease, my god all the autoimmune disorders out there, humans who struggle to function because their own bodies fight them. Humans who bruise easily and take too long to heal. Humans who sustained one too many concussions and now struggle to talk and read and write. Humans who've had strokes. Humans who were born unable to talk or hear or speak, and humans who through some accident lost that ability later.

Aliens visit Earth, and do you know what they find? Humanity, in all its wholeness.

[gummi-ships]

[yoursonlucifer]

the thing about emily axford as a player is that she rolls fine but whoo boy does she know how to play. theres a couple posts on here about murphs bad luck rolling vs emily "being able to roll a nat 20 on command," but that's just not true. emily rolls pretty middling, but she's very good at strategy, more often than not meaning that she is able to add buffs to rolls or have them work out even if she doesn't roll Great; we gotta give credit where credit is due, which is to emily's strategy and not to her rolls

[cheswirls]

short asl thing based on @where-does-the-heart-lie's modern au :) i started this over a year ago but the beginning is all dialogue and felt more like a script to me i suppose??? which deflated my desire to work on it. anyway i checked it over recently and it's completely fine lmfao, self-confidence restored here we go !

-

"Yo. Aren't you usually in the middle of your shift by now?"

"I've been banned from the hospital."

"Like, for life?"

"No. For the next, uh.. Twenty-two hours."

"That's oddly specific."

"It was twenty-four, but I fell asleep after leaving the building."

"That wouldn't have to do with why they kicked you out, at all?"

"Hmmm. I'm too sleep-deprived, apparently."

"Ah. And, um, you called me because...?"

"I pressed a random number in my call log after waking up. Lucky you, I guess."

"Yeah. Right. Lucky me. And your car keys are...?"

"Confiscated."

"Ah, right, of course."

A beat of silence. Two. Three, then "Look, if you're busy, then–"

"No, no.  You called me, so I'll be there. Give me twenty minutes."

"Alright. Thank–"

"Thank someone else. Also, if you fall asleep in my car, I'm taking it as express permission to drive you around wherever I want."

"Ugh, go die. I don't even know why I bothered."

"LUCKY YOU, I guess," sounds off way too loudly in his ear. "No take backs. See you in ten."

"I thought you said–" Sabo breaks off as the call ends, leaving him staring blankly at his phone's too-dim screen. He squints, turns the brightness all the way up, and still squints as the sunlight proves too strong for the display.

Ace shows up in more than ten but decidedly less than twenty minutes. Sabo doesn't waste much brain power on it, only climbing into the passenger seat and yawning into his palm while his other hand fixes the seatbelt into the buckle. Not a second too soon, too, as Ace roars the engine to life and peels away from the curb at record speed.

Ace fiddles with the radio. He turns the music up, then dial it back down to inaudible. They hit the expressway and he leans over the steering wheel, frowning with his eyes fixed on the road far ahead. Sabo yawns again and this appears to be the limit to his patience. 

"Hey, so, I had a thought after you hung up on me."

Sabo grimaces. "You mean you–"

"Today's Wednesday."

He doesn't elaborate. Sabo is too tired to process. "Yes," he follows, after a second. He glances at the sky out the front window. "What time is it?"

"Oh, uh." Ace fumbles with hand placement so he can lift his watch to his face. "Nine forty."

Sabo takes a couple beats to try and process this, moves his eyes away from the skyline, and sighs as he pulls his phone out. 2:47 is what the display reads, which sounds much more believable.

"How did the minute hand get off?" he mutters to himself, chancing a look at Ace's busted wristwatch. Ace raises a brow, taking his gaze off the road to scrutinize Sabo. "No, it doesn't matter," he mutters to himself once more, sliding his phone away back on his person and out of his hands.

"My point is," Ace continues, like he hasn't just been interrupted by a whole thing. "Your timeout will be done midday Thursday. Did they switch your days off?"

"No." Sabo sighs. "They technically gave me the next thirty-six hours. Technically closer to forty. Something like that. I go back in on Friday. Sometime.” He tries to smile and it turns out very lopsided, from that he can make out in the rearview mirror. “Can you tell I’m tired?”

“I don’t think ‘tired’ is an accurate description,” Ace quips. “When did you eat a proper meal last?”

“Uh, yesterday. Maybe.”

“Maybe??”

“A ‘proper meal’ means different things to the two of us,” Sabo huffs. “On my account it was yesterday. I’ve had food since then, of course.”

“Alright, so here’s the plan,” Ace announces before absolutely whipping it around a curve. Sabo is his passenger in the passenger seat and had fully prepared to be so when he got in the vehicle, but he’d been vastly underprepared for this sudden course of action, which is how he ends up halfway out of his seat with his cheek slammed into the cold window. Ace doesn’t quite notice his brother’s terminal velocity until the car is once again on the straight and narrow, and only then it’s because of the audible thunk Sabo’s face makes when it collides with the glass.

“Aw shit. You good bro?”

“Ow,” Sabo mutters. “If I have broken bones I’m suing your ass.”

“Well, if you’re good enough to make jokes, I think you’re better than you’re letting on.” Ace keeps the wheel steady with one knee while he takes both hands away to crack his fingers. When he glances over at Sabo again, he looks even more pathetic – like he’s becoming one with the glass. “Anyway, as I was saying.

“I’m taking your ass home. You’re going straight to sleep and while you crash, I’ll make you something decent to eat and stick it in the fridge for you to heat up later. I’ll even make you two servings to eat two different times, since you clearly can’t be trusted to take care of yourself correctly.”

“Ouch.”

“I want you to conk out for as long as your body allows. We can reset your sleep schedule tomorrow, alright? Put your phone on silent; do not answer any calls. In fact, you know what, just give it to me.

Sabo glances over to see Ace’s hand held out to him, palm up. Fingers wiggling expectantly. His lips pull up into a grimace. “I’m not doing that.”

“Fine.” Ace takes his hand back. “But you will comply with everything else.”

“Wow! It’s so funny, I didn’t realize you turned into my mother overnight! Really tapped into your mom potential, huh? Anything exciting happen in your life that would cause that? I guess I wouldn’t know, since I’ve been a zombie for the past two days.”

“There’s nothing wrong with acting like your older brother, you dipshit, especially if you keep putting yourself through the wringer like this. You go home. You sleep. You wake up and eat. You go back to sleep. Then we do laundry. Does that sound agreeable?”

“That’s negotiable, at the least,” Sabo mumbles. “I will accept good food as a form of bribery.”

“Oh, nice, because I’m flat broke at the moment.”

Sabo makes a mental note of that, and then they’re pulling into the driveway. Ace lets him exit the vehicle by himself and then promptly manhandles him all the way onto the couch where it will be easier to force his body to relax than in a real bed. Ace knows this, so he calls him weird before chucking a loose blanket at his head. Sabo is almost too tired to function at this point, so he lets Ace have the last laugh in favor of finally closing his eyes.

Coming to is a surreal experience, especially since the sun is still out. He must make a noise because Ace is suddenly within view. His limbs are tangled in the blanket and still so heavy that he doesn��t bother moving. “Thought you would be gone,” he half-groans, eyes slipping shut again for a moment.

“I did leave,” Ace confirms. “I had to go pilfer some stuff to make stew with. It’s almost done, so I’ll hang here until then.”

Pilfer. That could mean any number of things. Sabo chooses to believe in the option where Ace is an upstanding citizen, and then remembers Ace saying earlier that he had no money. He frowns and squirms on the cushions enough to where it looks like he’s checking his pockets. “Where’s my wallet, Ace?” he bluffs.

“Somewhere around here,” Ace pipes up. “Your stomach will thank you for your contributions to the Portgas Household’s pantry!”

“Ugh, I got robbed,” he complains. “This sucks. ‘m going back to sleep.” He rolls over so his back is to Ace.

“Yeah, you do you, bro. Stew will still be here later. I’ll see you when you’re back in the world of the living.”

—

Luffy comes in late that night and slams the front door shut as loud as humanly possible. When he appears in the main room, he doesn’t seem to be upset, so Ace writes it off as a Luffyism. Sabo hasn’t stirred at the noise, so it’s all good.

Realizing this, Luffy pads closer to Ace’s side and looks at Sabo’s unmoving body warily. “Why is Sabo passed out like a corpse? Is he sick?”

“No, he’s not sick, he just can’t take care of himself. Which is why we are going to let him sleep for as long as possible.”

Luffy just nods to this, but it’s the uncomprehending Luffy-nod that means he’s just going to end up doing whatever he wants to regardless. Ace sighs, then jerks his head towards the kitchen. “He ate a little earlier, but I want him to eat again when he wakes up. There’s stew in the fridge if you want it – just leave him a little. Got it, Monkey D. Luffy?”

Luffy throws him a salute and then runs off in his socks. “Yippee! Ace made stew!”

“Think of your brother, Luffy, and make good choices!” Ace calls after him. “He’s a pathetic man who needs food to feel better or he’ll end up sleeping through Laundry Day!”

—

Sabo does not sleep through laundry day, but he does sleep for sixteen whole hours, so it’s just around noon when he forces himself up off the couch and into a warm shower.

Ace is around, which is mildly unexpected. But he’s still half-asleep, so everything is at least a little unexpected. He glances up from playing video games with Luffy to see Sabo leaving the steam-filled bathroom with his hair hanging around his shoulders. “You look like a wet cat,” he calls.

“Sabo’s awake!” Luffy cheers. “Ace thought you died at one point.”

Ace elbows Luffy in the gut, making him hunch over. “I did not!”

“He totally checked to see if your heart was still beating!”

“I’m undead, actually,” Sabo says completely seriously.

“Does that mean you don’t need to eat anymore?” Luffy questions. “Because I ate all the stew last night.”

“I saw that coming and made extra.” Ace finger-guns in Sabo’s general direction. “That’s why I bought two sets of ingredients. With your money!”

“With my money,” Sabo echoes, because it’s such a wild statement to have to deal with this early in the day. Well, early for him. “Fuck you.”

“I mean, I can tell Luffy where I hid–”

“Thank you, Ace, for agreeing to share your quarters with both of your brothers so we can all do laundry today on your dime!” Sabo raises his pitch so his voice is mockingly squeaky when he says this. He starts moving down the hall before Ace can start to argue, letting his and Luffy’s voices bleed into the background.

When he comes back out, now dressed, it smells significantly better than before. “I reheated the stew,” Ace announces, gesturing for Sabo to take a seat at the kitchen counter. “Let’s all have lunch before we head out.”

“You have to drink this too,” Luffy tells Sabo, sliding a Gatorade across the counter so it sets in front of him when he finally does take a seat. “Ace’s orders.”

“Gotta get those nutrients back somehow.”

“Aren’t we so considerate, Sabo?”

“Do you even know what ‘considerate’ means?” Sabo asks, lips quirking up into a half-smile. At Luffy’s shrug, it turns into a real smile. “Well, thanks anyway. Both of you.”

“No sweat. And look!” Ace brandishes a five dollar bill for both to see. “I found this baby for us to use on coins! It’s all on me today–”

“Where’s my wallet, Ace?!”

[cometshift]

predisasters

[mattodore]

birthday boy 🎂

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[tooies]

i think probably the reason i like the idea of like a girl secretly being a dragon but still trying to just have a life in society and be normal is because it's kinda a transfem narrative of the whole like everyone thinks you're a terrifying monster but you just want to be a girl. and the other reason is due to i'm otherkin

[dailyloopdeloop]

DAY 71: shy

[turtleblogatlast]

[ cw: risk taking behavior / circumstantial self harm kinda / ignoring of injuries / self-depreciation / slight ooc-ness but for a reason! / ]

Post invasion, Leo is fine.

More than fine! He’s better than before, even. That is, if you don’t count the slightly cracked shell and still healing bones, but those are only a problem when the weather wants them to be!

Leo really is better in the ways that matter.

He’s not as cocky, not as self-centered, and overall just more heroic in general if he does say so himself.

Raph even said he was proud of Leo!

So obviously things are going well.

But.

It’s not enough.

Leo’s better, sure, but he’s still got work to do.

So - and here’s something that will probably make his brothers faint on the spot - he needs to train.

_____

His brothers do not faint, but it’s a near thing for Raph. Mikey has to fan the snapper’s face and Donnie almost brings out the smelling salts before Raph shoots back to his feet with an excited grin.

Leo’s big brother gets teary eyed soon after and envelops him in a bear hug, saying once again how proud he is that Leo is growing up.

Leo lets himself be hugged, even hugs back as fiercely as he can, because unbeknownst to Raph, this marks the end of Leo’s childhood.

He lets himself be hugged like a kid one last time, looking through the hole in Raph’s shell all the while.

_____

Leo only trains the regular way with his brothers and occasionally April and the Caseys, but most especially Raph.

But of course that’s not enough, it was never going to be.

So he goes through the motions of the stretches, the spars, the meditation, and then he leaves.

He makes sure to have his excuses ready, usually defaulting to Hueso as his go to since his brothers are easily bought off with the promise of pizza. Leo hasn’t yet found the tracker Donnie installed in him, but when he does that’ll be dealt with too! But for now, this should be good.

See, the invasion made him realize something.

It’s not about him, but it was his shortcomings that led to everything going to hell.

So he just…needs to get rid of those shortcomings.

He’s working on it, gaining fighting skill in training, but there’s more he needs to do, more skills he needs to train.

Leo watches intently as Repo Mantis swindles someone, he memorizes the sleight of hand that Hypno performs, he sneaks back into the Mystic Library and is so quiet the hush bats forget he’s there, he talks Big Mama into honing his manipulation, and he even sneaks into human hospitals and reptile veterinary clinics to get a clue on more serious injuries.

And after any of these, he heads to Run of the Mill to compete in the Maze of Death.

_____

This is his twelfth time going through the (newly remodeled and even more deadly) Maze of Death, and would be his fifth time winning. The first three times had him waking up in Hueso’s office, and each time he wakes his old persona shines through.

He always waves off Hueso’s annoyance and questions and insists on trying again next time before he steals some pizza and bails.

The skeleton actively tries to stop him from entering the Maze after the first time, but hey- mystics are allowed before you enter.

It’s easy enough to teleport on by.

Harder to meet Hueso’s - and later his brothers’ - eyes when he fails again.

When he first actually won, Hueso congratulates him in that typical deadpan tone of his.

“Ah, felicidades, Pepino. Now you can move on, sí?”

“Hm? Nah, boneman! That run was sloppy!”

And then Leo runs off before Hueso can stop him.

He doesn’t even look at his picture on the champion wall when he next comes around. It’s not much to look at anyway.

_____

His second win is much like the first, and only his third win is actually acceptable.

But he knows the field too much now. He needs a challenge.

When he attempts to go through it blindfolded, he’s quickly shown how much he doesn’t know the Maze. So, obviously, he loses again.

He got a bit more banged up that time around.

“Pepino, basta ya, you’ve already won. Where are your brothers?”

“I can’t stop yet, señor! This is for my brothers - no les digas, please.”

Even if Hueso wanted to tell Leo’s brothers, they haven’t been in enough for him to get to, and it’s not like Hueso has their number since Leo’s the one Hueso usually contacts. For now, Leo’s safe to continue as is.

Though his injuries are getting harder to hide, and there’s only so much his shell in particular can take.

So to speed things up, he incorporates the blindfold into his regular training.

His brothers question it, of course, but hey, he initially got the idea from seeing Lou Jitsu do it in the third best Lou Jitsu movie, so it comes as a great excuse now.

He’s only a little put off by how fast Mikey adapts to it when the others try.

“I dunno-“ Mikey shrugs when asked, “You guys shine so brightly anyway, a mask doesn’t do much.”

Seeing their mystic energies is pretty cool, Leo can admit.

He just wishes he could grasp that himself - and that it was useful for a death maze.

_____

Leo’s training pulls off eventually, and soon, after a few more losses, he wins a forth time. But it’s a near loss, and a near loss is the difference between someone living and dying.

He’s gotta go again.

Hueso’s more insistent than ever, though.

“You must stop, Pepino.”

“But I can do better-“

“You don’t have to! Your shell is bleeding - ¡por tu propio bien, poner fin a esto!”

“I told you, this is for their own good! For everyone’s own good!”

He forgets the pizzas when he leaves. He claims sickness when he hides under his covers.

He ignores how childish the act makes him feel.

_____

Leo’s getting better, and his reflexes and tact in training shows this. His other training of his subterfuge and medical skills also prove to be useful.

He’s pretty good at hiding injuries, now! Though not so good at hiding a pained shell. Even Donnie looks at him with blatant concern (and understanding) when Leo can’t help but take a sharp breath whenever he lands on his back.

It’s hard not to go right back into waving everything off with jokes like he used to. Deflections are easier when they’re annoying!

But- this is just another reason that he needs to get better, right? So his brothers won’t worry. He doesn’t need the spotlight anymore - he’s over that, thanks.

He squashes down the part of him that perks up when Splinter says he’s growing up. He actively kills the part of himself that cries at the same phrase.

_____

So. Yeah. This’ll be his twelfth time running the Maze. And, hopefully, his fifth win. Maybe he really will move on after this.

The Hidden City is pretty big! There’s probably a bigger challenge somewhere.

Maybe Big Mama has a more secret Nexus hidden away, out of the public eye.

Well, whatever. That’s a future problem for him to figure out, yeah? For now, he carries on like usual, teleporting to the entrance of the Maze and diving right in.

Even blindfolded, he works his way through, dodging and weaving and feeling as he goes. He even tries to evoke his inner Mikey and calls on his mystic energy. Not enough to cheat, but enough to feel.

Usually, when Leo teleports, he swears he feels every part of himself disperse into particles. Now, with energy thrumming under his scales, he can feel particles everywhere.

It’s not refined enough to tell him everything, and he gets a fun new burn and a nice whack to the back by getting distracted. Still, it gives him more than he had before. It makes him more aware of everything, like he licked a finger and held it in the air to feel the direction of wind, but every direction blew wind, all in different ways.

He makes it to the end with minimal injuries after that, and sure, his shell is screaming at him now, but he thinks he did a shell of a good job.

…Ah, he needs to cut that out, huh? Man. Maybe Donnie’s collar idea was a good call after all.

Leo needs to be a hero. Not a face man. Not a failure.

Not a kid.

_____

Leo doesn’t smile when the Minotaur takes his picture again for the champion wall, and he doesn’t listen when she tells him to “go home and never come back.”

He doesn’t plan to, anyway, yeesh.

He’s tired as he trudges out of the exit, and Hueso catches him when he stumbles.

Hueso doesn’t say anything. Leo doesn’t either.

Or, he doesn’t, until he feels a familiar large hand helping him up as well.

Leo’s face whips up as he flinches back, eyes wide as they meet with a worried (so, so worried) Raph’s.

“You told them?” Leo asks Hueso in betrayal, heart thudding wildly in his chest.

“Pepino…”

“Told us what?” Mikey pipes up from behind Raph, coming closer to get a better look at Leo, “Leo, what’s going on?”

“Your shell has been having pretty big setbacks on its healing, is this why?” Donnie demands, glaring fiercely as he motions toward the Maze.

Leo feels unmoored. “I-“

“Leo.” Raph interrupts, and no Leo doesn’t want to hear it- “Are you okay?”

And Leo wants to say “it’s not about me”. He wants to say anything that proved he learned his lesson, that he’s not a liability or worse, an active danger to his own family.

He wants Raph to continue being proud of him. He wants his brothers to trust him.

Instead, he passes out.

_____

The next time his eyes open, Leo’s on his side, staring at his blue lava lamp.

He knows without looking that his shell is re-bandaged. He knows his other injuries have been dealt with too.

And unless Leo learned how to do some pretty impressive medical sleepwalking, he knows he’s not getting away this time.

All three of his brothers being in his room prove that.

“What’s been going on, Leo?” Mikey asks, and his voice cracks partway through.

He’s looking at Leo like he’s searching for something, but Leo doesn’t have anything to show. Nothing’s hidden, he just did some light spring cleaning is all, throwing out all the parts he didn’t need.

All the parts they didn’t need.

And yet despite everything, he can feel himself falling back into old ways, a grin tugging at his beak and lackadaisical deflection on the tip of his tongue.

Maybe he should let that part of him show, just for once. It wouldn’t seem like too much of a setback would it? And he could really use a fun pun right about now-

No.

No it’s not about him. He needs to remember why he did all this in the first place.

“Okay- sorry, guys.” He smiles, softly, quietly, “I guess I got too caught up in training. I’ll work at it some more, don’t worry.”

“Oh, I see. Training. That’s all it was, huh? Training.” Donnie hisses more than says, nearly vibrating in anger.

“…yeah?” Leo nods slowly, because, uh, that’s literally the most honest thing he said. It was training.

“If it’s just “training” then why the secrecy, hm? Why in Curie’s good name did you prefer to sneak around rather than, oh, I don’t know, tell your family?”

Leo feels his shoulders rise at Donnie’s aggression, defensiveness welling up in him, “It was my training! Nothing went wrong, I’m getting better!”

“Better?” Raph asks incredulously, “Leo, you’re wasting away. A tap to the shell stuns you for minutes, you lost weight, and your dark circles are worse than Raph’s ever seen them! You aren’t getting better-!”

“YES I AM!”

The words rip out of Leo before he can stop them.

The room is silent as his brother look at him, all wearing expressions of hurt that Leo put there again.

“Yes I am.” Leo reiterates, shaking, “Because- if I’m not-“ He squeezes his eyes shut. “If I’m not-“

Then what was all this for?

Arms slowly wrap around him, and he knows now from the feel of the mystic that it’s Mikey.

“You’ve gotten faster, and sneakier.” Mikey says quietly. “When I accidentally cut my hand, you knew exactly how to take care of it.” His voice grows firm, and he backs out of the hug, “But those are your skills. You, though, you’ve been…you’ve been…”

“You’ve been dilapidating before our very eyes, and trying to hide it.” Donnie finishes, jaw tight. “You think we wouldn’t notice? After everything?” To Leo’s horror, Donnie’s voice is hoarse with tears, “You absolute dumb dumb.”

“I- but I need to train. The Maze is-“

“Leo, we don’t care that you ran through the Maze. We care you did it alone.” Raph says quietly. “We could have joined you, any time.”

“But- but I’m doing this for you-“

“Listen to your brothers, Blue.” They jump as a new voice joins the fray, heads turning to see Splinter make his way into the - frankly crowded - room.

“Dad, I-“ Leo begins, but trails off, suddenly more unsure than ever in the face of his father.

“It’s good you’re finally picking up training! Especially for your brothers’ sakes! But there’s such a thing as going overboard, you know.” Splinter pokes a sharp claw into Leo’s plastron, “Just because you’re dragging it out this time, doesn’t make this any less of a sacrifice. My son, you’ve taken after Karai an awful lot, haven’t you?”

Leo just looks at his father. At his brothers. Then, he looks down at his calloused hands, bandaged and scarred from overuse.

He swallows dryly. “Is that a bad thing?”

He feels his family crowd in around him, feels his father’s hand on his shoulder.

“It’s not wrong to want to be better, Leonardo.” Splinter says, softly and with so much grief and guilt that Leo can never begin to understand, “But you were never bad to begin with.”

Leo’s breath hitches.

“And-” Splinter’s hands rise up to frame Leo’s face. “You are much too young to ever consider sacrifice the best answer.”

“You got me to relax, Leo. So I’ll do the same for you.” Raph grins, eyes wet, “We’re still kids, right?”

And-

Leo smiles, watery but genuine. “Yeah, Raph. We are.”

[biblically-accurate-dca]

au where moon fills in while sun is "on vacation" and nothing bad happens

[gwyns]

elain archeron & koschei the death god

"similar to a lamb making its way to slaughter, you haven't yet grasped that you're already on the chopping block. you think to be my end, my lovely fawn? my sweet seer? how can you bring upon my end when your end is already beginning."