#and I'm in the drafts

[lostinwildflowers]

Blah blah blah work

Blah blah blah school

Blah blah bl- hyperfixation?

[cozylittleartblog]

"content creator" is a corporate word.

we are artists.

[lilacgaby]

katsuki, who practices asking you out by talking to you. or well, a sleeping you at least.

you'd developed a habit of sleeping after a study session, which is when he'd take the time and softly whisper his confession to you, hands fiddling with his pencil, curses spilling from his lips as he messed up. heart rate spiking everytime you'd adjust yourself in your sleep.

it was the fifth time when he finally got his words down pat. his voice vibrating against the palm he used to support his head as he stringed the words together perfectly,

all for it to go to waste when he actually confessed. the words leaving his mind, his mouth hung open as the cogs turned in his mind, your favorite flowers held tightly in his hands as he fought to string together something. anything?

"please be my girlfriend."

as he felt his soul leave his body, he was relieved when you took the flowers out his hands, a smile on your lips as you eased all his tension with just 3 words.

"of course, katsuki."

years passed, yet the memories of his preparation never left his mind. and even though they weren't exactly helpful in the end..

he couldn't help himself from practicing his proposal to you using the same method. now though, you were asleep in your shared bedroom, you were both pro-heroes now, and he fiddled with the ring he bought for you instead of that mechanical pencil.

a lot of things didn't change though. the anxious feelings and butterflies that bubbled in his chest as he stuttered and mumbled a practiced speech over and over again,

and you, who played along despite not really being asleep.

tags: @k0z3me @darhinadadragon @maddietries @exoticrasin @lavendarstarz @hisonlyobsession @i-the-fluffo @cookielovesbook-akie @frosted-flakes @irenne-stans @lulumi1u @bakunis @twirlyphim @drawingforshitsandgiggles @babylambdietcoke @deimosjay

[tesscourtes]

mwah

[joycrispy]

Awhile ago @ouidamforeman made this post:

This shot through my brain like a chain of firecrackers, so, without derailing the original post, I have some THOUGHTS to add about why this concept is not only hilarious (because it is), but also...

It. It kind of fucks. Severely.

And in a delightfully Pratchett-y way, I'd dare to suggest.

I'll explain:

As inferred above, both Crowley AND Aziraphale have canonical Biblical counterparts. Not by name, no, but by function.

Crowley, of course, is the serpent of Eden.

(note on the serpent of Eden: In Genesis 3:1-15, at least, the serpent is not identified as anything other than a serpent, albeit one that can talk. Later, it will be variously interpreted as a traitorous agent of Hell, as a demon, as a guise of Satan himself, etc. In Good Omens --as a slinky ginger who walks funny)

Lesser known, at least so far as I can tell, is the flaming sword. It, too, appears in Genesis 3, in the very last line:

"So he drove out the man; and placed at the east of the garden of Eden Cherubims, and a flaming sword which turned every way, to keep the way of the tree of life." --Genesis 3:24, KJV

Thanks to translation ambiguity, there is some debate concerning the nature of the flaming sword --is it a divine weapon given unto one of the Cherubim (if so, why only one)? Or is it an independent entity, which takes the form of a sword (as other angelic beings take the form of wheels and such)? For our purposes, I don't think the distinction matters. The guard at the gate of Eden, whether an angel wielding the sword or an angel who IS the sword, is Aziraphale.

(note on the flaming sword: in some traditions --Eastern Orthodox, for example-- it is held that upon Christ's death and resurrection, the flaming sword gave up it's post and vanished from Eden for good. By these sensibilities, the removal of the sword signifies the redemption and salvation of man.

...Put a pin in that. We're coming back to it.)

So, we have our pair. The Serpent and the Sword, introduced at the beginning and the end (ha) of the very same chapter of Genesis.

But here's the important bit, the bit that's not immediately obvious, the bit that nonetheless encapsulates one of the central themes, if not THE central theme, of Good Omens:

The Sword was never intended to guard Eden while Adam and Eve were still in it.

Do you understand?

The Sword's function was never to protect them. It doesn't even appear until after they've already fallen. No... it was to usher Adam and Eve from the garden, and then keep them out. It was a threat. It was a punishment.

The flaming sword was given to be used against them.

So. Again. We have our pair. The Serpent and the Sword: the inception and the consequence of original sin, personified. They are the one-two punch that launches mankind from paradise, after Hell lures it to destruction and Heaven condemns it for being destroyed. Which is to say that despite being, supposedly, hereditary enemies on two different sides of a celestial cold war, they are actually unified by one purpose, one pivotal role to play in the Divine Plan: completely fucking humanity over.

That's how it's supposed to go. It is written.

...But, in Good Omens, they're not just the Serpent and the Sword.

They're Crowley and Aziraphale.

(author begins to go insane from emotion under the cut)

In Good Omens, humanity is handed it's salvation (pin!) scarcely half an hour after losing it. Instead of looming over God's empty garden, the sword protects a very sad, very scared and very pregnant girl. And no, not because a blameless martyr suffered and died for the privilege, either.

It was just that she'd had such a bad day. And there were vicious animals out there. And Aziraphale worried she would be cold.

...I need to impress upon you how much this is NOT just a matter of being careless with company property. With this one act of kindness, Aziraphale is undermining the whole entire POINT of the expulsion from Eden. God Herself confronts him about it, and he lies. To God.

And the Serpent--

(Crowley, that is, who wonders what's so bad about knowing the difference between good and evil anyway; who thinks that maybe he did a GOOD thing when he tempted Eve with the apple; who objects that God is over-reacting to a first offense; who knows what it is to fall but not what it is to be comforted after the fact...)

--just goes ahead and falls in love with him about it.

As for Crowley --I barely need to explain him, right? People have been making the 'didn't the serpent actually do us a solid?' argument for centuries. But if I'm going to quote one of them, it may as well be the one Neil Gaiman wrote ficlet about:

"If the account given in Genesis is really true, ought we not, after all, to thank this serpent? He was the first schoolmaster, the first advocate of learning, the first enemy of ignorance, the first to whisper in human ears the sacred word liberty, the creator of ambition, the author of modesty, of inquiry, of doubt, of investigation, of progress and of civilization." --Robert G. Ingersoll

The first to ask questions.

Even beyond flattering literary interpretation, we know that Crowley is, so often, discreetly running damage control on the machinations of Heaven and Hell. When he can get away with it. Occasionally, when he can't (1827).

And Aziraphale loves him for it, too. Loves him back.

And so this romance plays out over millennia, where they fall in love with each other but also the world, because of each other and because of the world. But it begins in Eden. Where, instead of acting as the first Earthly example of Divine/Diabolical collusion and callousness--

(other examples --the flood; the bet with Satan; the back channels; the exchange of Holy Water and Hellfire; and on and on...)

--they refuse. Without even necessarily knowing they're doing it, they just refuse. Refuse to trivialize human life, and refuse to hate each other.

To write a story about the Serpent and the Sword falling in love is to write a story about transgression.

Not just in the sense that they are a demon and an angel, and it's ~forbidden. That's part of it, yeah, but the greater part of it is that they are THIS demon and angel, in particular. From The Real Bible's Book of Genesis, in the chapter where man falls.

It's the sort of thing you write and laugh. And then you look at it. And you think. And then you frown, and you sit up a little straighter. And you think.

And then you keep writing.

And what emerges hits you like a goddamn truck.

(...A lot of Pratchett reads that way. I believe Gaiman when he says Pratchett would have been happy with the romance, by the way. I really really do).

It's a story about transgression, about love as transgression. They break the rules by loving each other, by loving creation, and by rejecting the hatred and hypocrisy that would have triangulated them as a unified blow against humanity, before humanity had even really got started. And yeah, hell, it's a queer romance too, just to really drive the point home (oh, that!!! THAT!!!)

...I could spend a long time wildly gesturing at this and never be satisfied. Instead of watching me do that (I'll spare you), please look at this gif:

I love this shot so much.

Look at Eve and Crowley moving, at the same time in the same direction, towards their respective wielders of the flaming sword. Adam reaches out and takes her hand; Aziraphale reaches out and covers him with a wing.

You know what a shot like that establishes? Likeness. Commonality. Kinship.

"Our side" was never just Crowley and Aziraphale. Crowley says as much at the end of season 1 ("--all of us against all of them."). From the beginning, "our side" was Crowley, Aziraphale, and every single human being. Lately that's around 8 billion, but once upon a time it was just two other people. Another couple. The primeval mother and father.

But Adam and Eve die, eventually. Humanity grows without them. It's Crowley and Aziraphale who remain, and who protect it. Who...oversee it's upbringing.

Godfathers. Sort of.

[what-am-i-doing-in-this-fandom]

I spent all day on this, now I'm gonna go spend the rest of my Halloween with my family, I LOVE YOU GUYS, HAVE A GOOD HALLOWEEN!!!!!

I lost the ask this was supposed to be attached to :'(

Woah, actual communication??? Between these bozos?? More likely than you'd think 🙏

Previous!!

Next!!

First!!

[blackkatdraws2]

[Toon x Mobster] Sir toon and his loyal men.

This comes WAAYY way after Gavriel and Jack's relationship really takes off.

The other members were initially very against Gavriel and Jack's relationship, Gavriel Huffman included. However, Jack is eventually able to earn the respect of the other mobsters after proving himself able to protect both their boss [Gavriel] and the other members of their group, time and time again.

They swore to do him favors and other errands as a compensation for his benevolence. Jack himself didn't mean for this to happen, he just didn't want anyone to get hurt and his kind heart has won the group over in turn.

[snarkspawn]

quick redraw of a super old thing from ages ago

[marzipanandminutiae]

"most allegedly haunted houses turn out to have gas leaks!"

no they don't. you are merely skimming the surface of mundane shit that can be wrong with old houses with your one puny little explanation that only fits a very small number of cases. try harder

[ozymandien]

chef with a silver earring

[toodrunktofindaurl]

"Death's child"

twitter | bluesky | insta | 🔞 patre*n

[dunmeshistash]

Ryoko Kui Exhibition & ''Delicious in Dungeon'' Exhibition

"Delicious in Dungeon" Artwork

Cover illustration draft, vol. 1

Since this was the first volume, I tried out a few different drawings and had the editor and designer choose which ones they wanted, then made small adjustments. I personally liked the top-down draft, and the one of the cooking processes (back cover) the best. But looking back, I sincerely think it's good that we didn't go with those. (Kui)

Cover illustration draft, vol. 2

The format was decided for volume 1. So, volume 2 came together quickly. (Kui)

Cover illustration draft, vol. 3

I thought it might be cool to make the character Chilchuck darker in the foreground, and the background brighter! But it didn't quite work out the way I had imagined. I think it could have been a bit better. (Kui)

Cover illustration draft, vol. 4

I remember that the overall shape of volume 4 came together very quickly. The character Senshi's hands didn't fit nicely, so I moved them backwards and to the side. (Kui)

Cover illustration draft, vol. 5

I thought people might start to think "how many have I bought?" so I wanted to create a slightly different impression with this volume. I decided to put the character right in the center and try putting it together all in blue and green hues. (Kui)

Cover illustration draft, vol. 6

With the Red Dragon defeated, have we reached the halfway point in the story? With this in mind, I thought of how many volumes were left to go, and the number of characters, and decided to pair up the characters Namari and Shuroiro. In hindsight, it would have been fine to have them on one cover each. (Kui)

Cover illustration draft, vol. 7

The image is of focus lines converging on the character Izutsumi. This is the kind of cover, with upside down characters, which I've always wanted to try once(?) I submitted it as a trial, thinking that at this point the cover wouldn't dramatically influence sales. However, in the end, we decided it would be better not to have it upside down. (Kui)

Cover illustration draft, vol. 8

I tried blurring the mushrooms in the foreground, then I accidentally saved over it, and couldn't go back to the original. I remember apologizing that it was probably tacky, when I submitted it. (Kui)

Cover illustration draft, vol. 9

I don't think snake meat is marbled at all, but if it has an unfamiliar look, people might not recognize it as meat… so I made it look like beef to make it easier to understand. (Kui)

Cover illustration draft, vol. 10

I thought it might be interesting to have more than one of the main characters on the cover again, so I added the character Falin. I remember it wasn't badly received, but it still ended up just being Thistle on his own. (Kui)

Cover illustration draft, vol. 11

I wanted this cover to be covered in shiny gold. After I finished it, it didn't have enough color, so I painted the tablecloth green, and it ended up looking like Christmas colors. (Kui)

Cover illustration draft, vol. 12

Up to this point, the covers have featured one of the main characters holding cooking utensils in the foreground and a monster in the background, but I thought it might be interesting to reverse the format just before the final volume, so I drew this cover with that in mind. (Kui)

Cover illustration draft, vol. 13

volume 13 was meant to be the final one, but it was too thick to be published as a single volume, so we decided to split it into two. The question of “so, what should I draw next!?" may be at the forefront of volume 13. (Kui)

Cover illustration draft, vol. 14

I had decided that the final cover definitely needed to have everyone eating together on it, but because I was publishing two books at the same time I was pressed for time, and it was difficult to have a cover with so many characters on it. I also submitted a rough for an illustration that didn't need me to draw any crowds, but such obviously easy ideas are never adopted. (Kui)

TV anime "Delicious in Dungeon"

About the ending illustration.

I drew these based on the director's instruction "This kinds of pictures." I hardly ever have the chance to draw color illustrations, so it was a valuable experience for me. (Kui)

[Kui's commentary is from the english pamphlet]

[soldierkitten]

tilly the god au ep 1 (part 2 of 4)

starting stuff / prev / next

[yangjeongin]

😪😪😪

[lilybug-02]

Woah, new character! She seems...nice?

Bug Fact: Cockroaches can hold their breath for up to 45 minutes, even when in a complete vacuum.

V2 First || Prev // Next

Volume 2 Masterpost

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[hinamie]

a tribute to celebrate the finale of the manga that has meant so much to me these past few years