#and i like being able to feel the art and the tools

[thefrogman]

There were a few things brought up in the tags of my above answer.

I'm not sure I understand exactly what the disagreement is here, but I specifically mentioned things that would allow for the creation of art outside of industry.

If artists could make art without the anxiety of having to pay for food and rent, they could opt out of the commercial art world whenever they like and create what they want.

We have the NEA to help fund art for art's sake, but that is constantly under attack from conservatives. They can't help but show that banana duct taped to the wall and say all art is stupid and should be defunded. (I really liked the banana, btw.)

The NEA isn't enough. I want filmmakers to be able to make fully funded movies outside the studio system. I want ambitious artists to have a budget if their work requires it. We should have an entity like NASA that is dedicated to people making outrageous, groundbreaking art, just because. No profit motive.

People encounter art almost every second of every day. The computer I'm typing on was originally a concept sketch. The logo on my soda pop was created by a graphic designer. Art is everywhere and it is taken for granted.

Art and art education is so undervalued it is a modern tragedy.

I was a little vague about regulations due to running low on energy and wanting to finish my answer.

I don't think we can stop or even slow down AI. It is here. And it is here to stay.

As far as regulations, I think making sure datasets are trained on licensed images would be a good start. And the ability to "opt out" of training would be important too.

But I think the regulations should be less focused on AI itself and more on protecting artists. Many groups of laborers have been afforded worker protections. Steel workers, farmers, auto manufacturing. Though I think one obstacle might be the freelance nature of a lot of art production. Perhaps something like SAG could work.

Another idea I am flirting with is a regulation where no finished commercial artwork can be 100% generated.

If something is to be published, sold, or distributed as "art," it should require consistent input, creative direction, and finishing work from a real human artist. The final product should be shaped through a real artistic process, not just prompted and posted.

I know that’s tricky to define. But it’s an idea I’m working on. I'm trying to figure out how to make it practical without being overly restrictive. And also allow for AI tools that reduce artistic tedium. It’s still cooking.

In any case, my current philosophy is less about attacking and destroying AI and more about how to elevate real human artists and allow them to thrive. And, ya know, pay their bills.

Lastly, I want to write up a guide to sourcing and attribution, but my health has been quite poor this week. I'm also very behind on answering people's lighting and photography questions. But I'm slowly chipping away at those and hope to publish them when I feel better. Please be patient.

Looking at some of your work, it is stunning but it is very similar in style to AI artwork, do you have any recommendations for how to tell apart photography like yours from AI.

I've been thinking about this. And this may sound controversial at first, but I'm hoping people will hear me out.

We should stop trying so hard to detect AI art.

I think we should all lift that burden from our brains.

I have often talked about "woke goggles." Where conservatives have lost the ability to enjoy anything because they are hypervigilant about detecting anything woke. They've cursed themselves into just hating everything. All they have left is the "God's Not Dead" Cinematic Universe.

And I worry people are getting AI goggles now. They are so concerned about accidentally enjoying robot art and hurting artists that they have overcorrected to the point where they are hurting artists.

One cannot say "AI is all soulless slop that always looks bad" and then accuse a real artist of making something that looks like AI and not hurt them. By doing so, it includes the baggage of all of the "slop" comments along with it. This crusade is having collateral damage to the very artists we are trying to protect.

Yes, we need to be cautious about malicious AI images. Misinformation and deepfakes are going to be a big problem. People using AI imagery for profit is already a mess. But if you are cruising your feed and like a cool sci-fi robot gal or a photo of a waterfall and it turns out to be AI... that's fine.

It was trained by real artists and AI is going to create some cool shit because of that.

Honestly, I think a lot of the worst slop is because the dipshits creating the prompts have no artistic taste. People keep blaming the AI for how bad it looks and often don't consider it is a product of the loser who published it.

There is plenty of non-slop out there that has fooled me. And, like it or not, it is going to get harder and harder to tell what is AI. Until there are better tools or better regulations, I don't think there is much we can do to avoid enjoying AI art every once in a while. If only by accident.

Current "AI detectors" are mostly a scam. Even the best forensic-level AI image detectors struggle to stay above 70–80% accuracy across a wide range of models and image types. And that's in controlled lab conditions.

Free online tools often drop to near coin-flip accuracy (50–60%), especially with newer image generators and post-processing applied.

The best way to avoid AI imagery is to look at an artist's body of work. It's much harder to create consistent, non-obvious fake images in a large sample size. That is usually enough to have confidence in authenticity. Plus, if they have posted similar art before 2022, you can pretty much rule out any shenanigans.

Otis literally died before genAI was available.

But images you see in the wild, just let yourself enjoy them if that is what your brain wants to do. It'll be okay.

I just think we are attacking this backwards. If we want to protect artists, we need to support them.

Calling out random AI art does not support them.

It does not put money in their pockets.

It does not grow their audience.

Over a decade ago I tried to lead a fight to create better systems of attribution on websites like Reddit and Imgur. I even spoke to the Imgur team after an article was written about me.

I asked them to allow sources on their posts and to develop tech that would help people find where an image came from. They said they were "working on it" and it never manifested.

IMAGE SHARING SITES STEAL MORE FROM ARTISTS THAN AI.

But we just kind of accepted it. No one really joined me in my fight. The prevailing defeatist attitude was, "That's just the way it is."

I think now is the time to demand better attribution systems. We need to be vigilant about making sure as many posts as possible have good sourcing. If an image on Reddit goes viral, the top comment should be the source. And if it isn't, you should try to find it and add it.

Just to be clear, "credit to the original artist" is NOT proper attribution.

And perhaps we can lobby these image sharing sites to create better sourcing systems and tools. They could even use fucking AI to find the earliest posted version of an image.

And it would be nice if it didn't require people to go into the comments to find the source. It could just be in the headline. They could even create little badges "made by a human" for verified artists.

Good attribution helps artists grow their audience. It is one of the single most effective things you can do to help them.

I literally just got this message...

There are maybe 10 popular artists who I helped grow their audience early on. Just because I reblogged their work and added links to all of their social media. I even hired my best friend to add sourcing information to every post because I believed so much in good attribution.

Calling out AI art may feel good in the moment. You caught someone trying to trick people and it feels like justice. But, in most cases, the tangible benefits to real artists seem small. It impedes your ability to enjoy art without always being suspicious. And the risk of telling someone you think they make soulless slop doesn't seem worth it.

But putting that time and effort into attribution *would* be worth it. I have proven it time and time again.

I also think people should consider having a monthly art budget. I don't care if it is $5. But if we all commit to seeking out cool artists and being their collective patrons, we could really make a difference and keep real art alive. Just commit to finding a cool new artist every month and financially contributing to them in some way.

On a bigger scale I think advocating for universal basic income, art grants for education and creation, and government regulation of AI would all be helpful long term goals. Though I think our friends in Europe may have to take the lead on regulation at the moment.

So...

Stop worrying about enjoying or calling out AI art.

Demand better attribution from image sharing sites.

Make sure all art has a source listed.

Start an art budget.

Advocate for better regulations.

[unityrain24]

art mediums as listed by how forgivable and versatile they are:

digital art

acrylic paint

watercolour

oil pastels

coloured pencils

art mediums as listed how much practice/preference i have with them. for some fuckin reason. :

coloured pencils

oil pastels

watercolour

acrylic paint

digital art

[pankomako]

regular stream

[mars-ipan]

nagito komaeda and his scary ass dog

[sciderman]

How do you feel about the increase in really weird NSFW ads on here (advertising panels that look like sexual encounters, and AI art apps that pride themselves on porn) but will take down NSFW posts from their users, even if it isn't technically sexual.

i hate all social media and it's consistent prioritising the advertisers over the users and the internet simply was a better place before capitalism sunk its hooks into it

[bigfrogdraws]

got back into stardew valley recently! here's some art about it

[venomgaia]

ngl i genuinely wholeheartedly think i paint best in paint tool sai 1.0 theres just smthn so distinct about the rendering thats unique in sai pieces vs stuff i do in csp or procreate. i can get CLOSE but its not the same

[recallback-art]

oh yeah ftr, there's been talk floating around of a potential deal between tumblr and mid/journey and that's obviously bad news for me here. nothing is official yet and iiiii will probably keep posting until it is either debunked or confirmed, but be aware that i'm gonna delete this blog if its real.

if you'd like to help out small creators like me so we can keep our blogs here, email tumblr via contact us and tell them exactly how bad this is. be calm, be clear, and be serious so they take things seriously. k thaaaaanks sorry for the doom and gloom

[mocury-moto]

wow my artistic confidence just skyrocketed okay good to know

[hanavbara]

support HUMAN artists, not AI‼️

AI generated images are NOT art. art is CREATED, not GENERATED.

this is not just about taking jobs from artists (which is already a huge deal), it’s also about devaluing art itself, turning it into mass-produced, empty and soulless content. it’s heartbreaking to see AI stealing from real artists: from Studio Ghibli to smaller creators like us.

personally, we started our art journey by reinterpreting what we love: music, TV series, anime and transforming it into our vision inspired by the 90’s anime that we grew up with. when we create our illustrations, we try to capture the emotion and love we feel for the subject, aiming to tell a story with each drawing. ever since AI was created, we have had many people asking if our art is AI generated. honestly, it’s heartbreaking every single time. for us, art is a deeply human experience that we’ve been dedicating ourselves to for seven years. creating from nothing takes dedication, skill, and an emotional investment that, in our opinion, AI simply can’t capture.

you’ve probably seen your feed flooded with AI generated images in a “Studio Ghibli style”. trends like these reinforce the idea that art can be easily replicated and devalued. the future of artists is more uncertain than ever. we don’t know if in a few years we’ll still be able to make a living from this, since many companies are adopting the mindset of “why should i pay someone for their well-earned work when a machine can do it for free in an instant?” that mindset is the real problem: the way society is starting to perceive art.

art is essential to human life. many people realized this during the pandemic: what would we do without music, movies, books, that bring us comfort? art is more than just the final product. it’s about the process, struggles, and personal growth that comes with it. when you create, you grow, learn, and challenge yourself. AI erases that, replacing it with instant and shallow replication. real art brings people together, evoking emotions and reminding us of what it means to be human.

relying on AI to make art isn’t innovation, it’s avoiding the challenge of creating something meaningful. AI tools like these are being pushed as "the future," but what does that say about us? replacing human artistry with shallow, mass-produced content takes away humanity from art, do we really want to be part of a world where art is just another disposable product? what value do we place on creativity?

if you’ve made it this far, it means you care about these issues. let’s raise our voices together and speak up. don’t consume AI generated images. value and respect creativity. SUPPORT REAL HUMAN ARTISTS.

[crushedsweets]

CREEPED VISUAL NOVEL Link, tutorial, extra art, Q&A, some chatter

The CREEPED Prologue is completely free and browser-ready. Gameplay is about 10 minutes. Please read the "tutorial" and notes before playing!

Follow Y/N and their dog, Max, through their grandparents' farm and a mysterious forest filled with...less than fortunate people!

PLAY HERE; works best on PC

This visual novel is powered by GOOGLE SLIDES! It has 0 programming and was created by one person in a little over a month, so please bear with any "bugs" and clunkiness!

TUTORIAL

>Click using mouse/trackpad >Go slowly to not break game >Do not use arrow or space keys

EXTRA NOTES:

>Works best on PC/Browser, I haven't tested the full game on mobile yet >In general, clicking the PNGs on the textbox (Apple, Teddy Bear, Hatchet, etc) will lead you to the right page >If you land on a page that tells you to "go back," that's when you should click the back-arrow key. If your cursor disappears, it doesn't register the click correctly >I recommend moving your cursor periodically to avoid it disappearing and sending you to the wrong page

EXTRA ART

some WIPS and the original sprite-style i was gonna choose LOOOOOOOL

Q&A

Q: Is this an x reader? A: This is a reader-insert, but it's not romantic and I try to keep it as neutral and unidentifiable as possible! Q: What's the plot? A: GENERALLY AND WITHOUT SPOILERS, your dog gets you into trouble and you're just looking to help him!

Q: Who is in the prologue? A: Tim, Brian, Toby, and Kate! More will be added in future chapters.

Q: When will future chapters be posted? A: Not sure! This took me about a month to do, and half was spent over winter break. I will try to get chapter 1 posted before summer, but I am a full-time student, employed, have extracurriculars, etc etc

ok thats all i only remember 4 questions feel free to ask more LMAO

CHATTER(because you know i can talk forever)

ok i just wanted to be able to talk about how the process was with this and how i feel about the results and whatnot...

ive been wanting to make a google slides visual novel since i was like 13 LOL it hit the point where i was repeatedly told i should just learn to code but i was like NOOOOO ITS GOTTA BE GOOGLE SLIDESSSS which is totally stupid but hey. i think that gives it some sort of simple charm that reminds me of being 16 and doing little projects in my room LOL i like working with the easiest tools . my bad

anyway. im just very happy LOL. it's not perfect but i feel like i came full circle in a sense?!?! i've been into creepypasta since i was 9 and it comforted me when things were really hard, and when i was 18 i was going through a really hard time and got back into creepypasta as a way to distract myself. i've always had a habit of throwing myself into fiction for escapism when things suuucked.

i'm 20 now but i've met SO many amazing people, had so many fun awesome exciting projects with friends, created tons of stuff im proud of, felt more motivated to create since i was like 13, have been inspired by so many amazing artists/authors on here, etc. just so so so lucky to find community in such a tight-knit cute fandom that thrives off of creativity and playing around! i hope i can keep the momentum and make a couple more chapters this year, but im kinda busy with school and work...LOL . i'm just excited to have this posted so i can have more discussion about it T_T

anyway thank you if you read this far and thank you if you played etc etc yaahhhhhh omg ok BYE THIS IS SO EMBARRASSING im just so grateful to be in this fandom

[talon-dragonbeast]

i realise this is because im way too autistic about animals and spend too much time reading about animal cognition and behaviour, but the way some members of the therian community talk about animals, like theyre just simple beasts incapable of complex emotion, really bothers me sometimes. like that meme that did the rounds on here a few months ago, something along the lines of "i wanna be a wolf, the only emotions wolves feel are chomp and awoo". first of all, just because wolves arent humans doesnt mean that their lives cant be just as rich and complex as them. second of all, wolves dont feel emotions?? fucking wolves??? one of the most emotionally complex mammals, that have such complicated social structures that scientists are still scratching their heads about them? those wolves??

obviously im exaggerating a bit here (wolves arent The most complex mammal, that would be a tie between chimpanzees and orangutans), and i do know that its just a joke. but these jokes reinforce beliefs that humans have, and i think that us therians could start leaving them behind us now. yes, animals can be just as capable of complex thinking as humans are, and to think otherwise is just doing them a disservice.

for example, did you know that some corvids are capable of not only using, but making tools? and that most animals engage in play as a way to learn from their surroundings? and that some birds can recognise human faces, and even behave differently if they like the human or not? and that chimpanzees can make and use objects just to amuse themselves, and not for their survival? and that some birds pull pranks on eachother and laugh when they are discovered? and that most social animals learn skills by watching their parents doing them first and reproducing them? and that corvids have favourite objects that they carry around in their beaks? and that rats can count and process numbers in their heads? and that squirrels can remember where they buried hundreds of seeds for the winter? and that some species of birds have dialects and accents depending on where they live?

intelligence in animals isnt just being capable of doing things that humans can. intelligence is being creative, using your environment to you advantage, finding sources of food where others wouldnt, being able to think quickly and outside of the box. understanding cause and consequence, predicting that something will happen before it happens, planning events beforehand. communicating effectively with your peers, sharing food, information, taking care of eachother instead of yourself. it isnt just tools and art and abstract thinking and language and writing.

we are only just scratching the surface of what brains can do, and the animal kingdom is fascinating. there is so much stuff out there that you cant even begin to imagine. i encourage you to learn as much as you can about it, because really, it will blow your mind.

[ms-demeanor]

Why reblog machine-generated art?

When I was ten years old I took a photography class where we developed black and white photos by projecting light on papers bathed in chemicals. If we wanted to change something in the image, we had to go through a gradual, arduous process called dodging and burning.

When I was fifteen years old I used photoshop for the first time, and I remember clicking on the clone tool or the blur tool and feeling like I was cheating.

When I was twenty eight I got my first smartphone. The phone could edit photos. A few taps with my thumb were enough to apply filters and change contrast and even spot correct. I was holding in my hand something more powerful than the huge light machines I'd first used to edit images.

When I was thirty six, just a few weeks ago, I took a photo class that used Lightroom Classic and again, it felt like cheating. It made me really understand how much the color profiles of popular web images I'd been seeing for years had been pumped and tweaked and layered with local edits to make something that, to my eyes, didn't much resemble photography. To me, photography is light on paper. It's what you capture in the lens. It's not automatic skin smoothing and a local filter to boost the sky. This reminded me a lot more of the photomanipulations my friend used to make on deviantart; layered things with unnatural colors that put wings on buildings or turned an eye into a swimming pool. It didn't remake the images to that extent, obviously, but it tipped into the uncanny valley. More real than real, more saturated more sharp and more present than the actual world my lens saw. And that was before I found the AI assisted filters and the tool that would identify the whole sky for you, picking pieces of it out from between leaves.

You know, it's funny, when people talk about artists who might lose their jobs to AI they don't talk about the people who have already had to move on from their photo editing work because of technology. You used to be able to get paid for basic photo manipulation, you know? If you were quick with a lasso or skilled with masks you could get a pretty decent chunk of change by pulling subjects out of backgrounds for family holiday cards or isolating the pies on the menu for a mom and pop. Not a lot, but enough to help. But, of course, you can just do that on your phone now. There's no need to pay a human for it, even if they might do a better job or be more considerate toward the aesthetic of an image.

And they certainly don't talk about all the development labs that went away, or the way that you could have trained to be a studio photographer if you wanted to take good photos of your family to hang on the walls and that digital photography allowed in a parade of amateurs who can make dozens of iterations of the same bad photo until they hit on a good one by sheer volume and luck; if you want to be a good photographer everyone can do that why didn't you train for it and spend a long time taking photos on film and being okay with bad photography don't you know that digital photography drove thousands of people out of their jobs.

My dad told me that he plays with AI the other day. He hosts a movie podcast and he puts up thumbnails for the downloads. In the past, he'd just take a screengrab from the film. Now he tells the Bing AI to make him little vignettes. A cowboy running away from a rhino, a dragon arm-wrestling a teddy bear. That kind of thing. Usually based on a joke that was made on the show, or about the subject of the film and an interest of the guest.

People talk about "well AI art doesn't allow people to create things, people were already able to create things, if they wanted to create things they should learn to create things." Not everyone wants to make good art that's creative. Even fewer people want to put the effort into making bad art for something that they aren't passionate about. Some people want filler to go on the cover of their youtube video. My dad isn't going to learn to draw, and as the person who he used to ask to photoshop him as Ant-Man because he certainly couldn't pay anyone for that kind of thing, I think this is a great use case for AI art. This senior citizen isn't going to start cartooning and at two recordings a week with a one-day editing turnaround he doesn't even really have the time for something like a Fiverr commission. This is a great use of AI art, actually.

I also know an artist who is going Hog Fucking Wild creating AI art of their blorbos. They're genuinely an incredibly talented artist who happens to want to see their niche interest represented visually without having to draw it all themself. They're posting the funny and good results to a small circle of mutuals on socials with clear information about the source of the images; they aren't trying to sell any of the images, they're basically using them as inserts for custom memes. Who is harmed by this person saying "i would like to see my blorbo lasciviously eating an ice cream cone in the is this a pigeon meme"?

The way I use machine-generated art, as an artist, is to proof things. Can I get an explosion to look like this. What would a wall of dead computer monitors look like. Would a ballerina leaping over the grand canyon look cool? Sometimes I use AI art to generate copyright free objects that I can snip for a collage. A lot of the time I use it to generate ideas. I start naming random things and seeing what it shows me and I start getting inspired. I can ask CrAIon for pose reference, I can ask it to show me the interior of spaces from a specific angle.

I profoundly dislike the antipathy that tumblr has for AI art. I understand if people don't want their art used in training pools. I understand if people don't want AI trained on their art to mimic their style. You should absolutely use those tools that poison datasets if you don't want your art included in AI training. I think that's an incredibly appropriate action to take as an artist who doesn't want AI learning from your work.

However I'm pretty fucking aggressively opposed to copyright and most of the "solid" arguments against AI art come down to "the AIs viewed and learned from people's copyrighted artwork and therefore AI is theft rather than fair use" and that's a losing argument for me. In. Like. A lot of ways. Primarily because it is saying that not only is copying someone's art theft, it is saying that looking at and learning from someone's art can be defined as theft rather than fair use.

Also because it's just patently untrue.

But that doesn't really answer your question. Why reblog machine-generated art? Because I liked that piece of art.

It was made by a machine that had looked at billions of images - some copyrighted, some not, some new, some old, some interesting, many boring - and guided by a human and I liked it. It was pretty. It communicated something to me. I looked at an image a machine made - an artificial picture, a total construct, something with no intrinsic meaning - and I felt a sense of quiet and loss and nostalgia. I looked at a collection of automatically arranged pixels and tasted salt and smelled the humidity in the air.

I liked it.

I don't think that all AI art is ugly. I don't think that AI art is all soulless (i actually think that 'having soul' is a bizarre descriptor for art and that lacking soul is an equally bizarre criticism). I don't think that AI art is bad for artists. I think the problem that people have with AI art is capitalism and I don't think that's a problem that can really be laid at the feet of people curating an aesthetic AI art blog on tumblr.

Machine learning isn't the fucking problem the problem is massive corporations have been trying hard not to pay artists for as long as massive corporations have existed (isn't that a b-plot in the shape of water? the neighbor who draws ads gets pushed out of his job by product photography? did you know that as recently as ten years ago NewEgg had in-house photographers who would take pictures of the products so users wouldn't have to rely on the manufacturer photos? I want you to guess what killed that job and I'll give you a hint: it wasn't AI)

Am I putting a human out of a job because I reblogged an AI-generated "photo" of curtains waving in the pale green waters of an imaginary beach? Who would have taken this photo of a place that doesn't exist? Who would have painted this hypersurrealistic image? What meaning would it have had if they had painted it or would it have just been for the aesthetic? Would someone have paid for it or would it be like so many of the things that artists on this site have spent dozens of hours on only to get no attention or value for their work?

My worst ratio of hours to notes is an 8-page hand-drawn detailed ink comic about getting assaulted at a concert and the complicated feelings that evoked that took me weeks of daily drawing after work with something like 54 notes after 8 years; should I be offended if something generated from a prompt has more notes than me? What does that actually get the blogger? Clout? I believe someone said that popularity on tumblr gets you one thing and that is yelled at.

What do you get out of this? Are you helping artists right now? You're helping me, and I'm an artist. I've wanted to unload this opinion for a while because I'm sick of the argument that all Real Artists think AI is bullshit. I'm a Real Artist. I've been paid for Real Art. I've been commissioned as an artist.

And I find a hell of a lot of AI art a lot more interesting than I find human-generated corporate art or Thomas Kincaid (but then, I repeat myself).

There are plenty of people who don't like AI art and don't want to interact with it. I am not one of those people. I thought the gay sex cats were funny and looked good and that shitposting is the ideal use of a machine image generation: to make uncopyrightable images to laugh at.

I think that tumblr has decided to take a principled stand against something that most people making the argument don't understand. I think tumblr's loathing for AI has, generally speaking, thrown weight behind a bunch of ideas that I think are going to be incredibly harmful *to artists specifically* in the long run.

Anyway. If you hate AI art and you don't want to interact with people who interact with it, block me.

[justladders]

To everyone in the art community, please:

Tracing is effective. But only as a learning tool. Telling people "never trace" can be robbing them of methods that could have been effective to their learning process if they'd known about them.

The "art of using tracing" is a bit looked over, so I have five points:

(it's a long one)

1: AS A RULE OF THUMB, DO NOT POST/SHARE TRACED AND STOLEN ARTWORK. This is not only lying to anyone you show it to, if you're trying to come off as, "I'm so good, look at what I did," but most importantly, it's lying to yourself. You'll trick yourself into not needing to get any better, and you will stagnate if you start to rely on tracing as a form of stealing. If you come to realize that you are, you should stop using any tracing methods altogether to keep yourself from abusing it. It's a slippery slope for beginners, and a big reason why you’ll hear almost everyone echo that you just shouldn’t trace at all. The issue is that this ignores the ways that tracing can actually be good.

2: Tracing sets the stage for motor skills/hand-eye coordination. I've seen so many early-stage beginner artists get upset that the art that they make of their favorite character/oc is messy, or maybe they just don't even know what they want to draw and can’t "make themselves mindlessly doodle.” These early arists then become completely disheartened and upset, especially if they start to look at other people for comparison. Tracing over work or even over photos is a way to train your hand to hold and wield a pencil/stylus properly without you being worried about the finished product. Think of it like a way to dip your toe into learning the process of what making art feels like, without having to get overwhelmed with searching up pointers and people telling you, "10 quick tips to become a master artist!!!!!!!" (<- please ignore those) If you’re just beginning, your hand-eye coordination needs to be trained, and you shouldn't bog yourself down so much thinking about end products just yet, so if tracing is the way to get you started, go for it. If you're a bit more experienced, tracing and drawing over reference can also help you warm up without being committal or stressing your art brain too much.

3: Practice "mindful tracing." While I said the previous point was targeted more at beginners, this point is actually about something that experts in their field use. Doing "mindful tracing" over art means that you aren't worried about getting the lines "correct," you're studying why those lines are there. You're taking note of where the shadows meet the highlights based on the light source, how it shows off the forms, and how sharp or soft the lighting is; you're going over the lines of action in the piece to see how your eye is guided by the artist's intention and planning; you're seeing how characters may be stylized into shapes and the feeling that those shapes can give; you're noting how the artist uses line weight or weird blocks of color or stark breaks to split up the art or separate ideas within it; you're experiencing the flow of the poses within the artwork to grasp how that kind of thing feels; you're breaking down the overall composition like in a thumbnail sketch; and the list goes on.

"Mindful tracing" ends up looking like you've marked up an English essay: it should be messy, because the intent with it is not to copy or replicate, it's to notate. It's like how literally writing notes on things helps you remember better than if you only read it. You're acknowledging instead of just looking. And you can always learn, even from styles that you don't intend on actually using. As you get to be more experienced, you may come to realize that you can do "mindful tracing" analyses on artwork without having to literally write over top of the piece, which is great: that means you're improving your creative brain, and prepping it to be able to break down your own works in this way as you make them.

4: Trace for specific character or style studying. For this point, I want to especially stress that this is what makes everyone say, "don't trace," because this is what tracing is most commonly associated with: art theft. There's really no excusable reason to repost someone's art in this way.

I feel like you have to be a bit more experienced to properly use tracing specifically for style studies. The benefits that come with tracing a certain style is that it can quite literally teach your hand/brain to recognize the patterns that are present. You get a feel for how far apart a specific characters eyes are, how big their hands are, how the shapes of the body make up their form, how the exaggeration in the expressions feel, and when traced you know you have all of these proportions correct. This makes it so much easier to start drawing the specific character on your own if you know that you have a correct baseline (and of course you should still use reference from then on). When you study many different characters of the same style, you can start to grasp what actually makes up this style that you're studying, where -similar to point #3- you train your art brain to recognize the original artists' intentions and ideas. I would even argue that doing this is MORE IMPORTANT than using reference at the very beginning of a style study, because it makes you worry less about if you're pulling from the reference correctly and instead lets you focus on the original art by thinking through it during the process; this kind of thing is done by professionals. Although tracing can net you these benefits for studies, it is not a way to get around the rest of the learning process, which is the pitfall that normally ends up making tracing ineffective.

5: Lastly, I actually kind of lied about tracing "only being good as a learning tool." The other case where tracing gets used is within the process of making hand drawn animation, and I do mean the professional stuff. Model guides are constantly used in classic animation as reference to keep by the animator's side so that characters stay on model, but sometimes there are unnoticeable parts of a character that just get straight-up traced from either the model sheet or a different scene that's already animated. When used smartly and sparingly, this keeps the character on model, is unidentifiable to the audience, and takes up less time for the animators to work (and by "used smartly" I don't mean moments where characters blatantly have 5 seconds of reused animation). I can basically guarantee that this practice was done throughout the making of any 2D project you can think of.

In digital hand drawn art, key frames between points in an animation may get the "shift and trace" treatment, where the tween frame is just a smudged-around-version of the key frames until it looks about right, and then it get traced over. Backgrounds get traced all the time by artists in the professional field through modelling a 3D render of the space, going over it so they have the layout, and then painting on top of it. When drawing characters, people will take photos of themselves and trace the pose, then keep it to the side as reference. And this is all without even mentioning rotoscoping.

When people say, "don't trace," what they actually mean is, "don't trace as a substitute for experience."

The issue is that people blanketly state, "x thing is bad," because then people that aren't learned in the field go, "oh, okay, x thing is bad, it will always be bad, I shouldn't look into it or consider it any more, and I should correct/disgrace anyone that thinks otherwise or does x thing."

So please. Trace. Tell other people to trace. But remember: trace mindfully. :)

[scary-grace]

hands-off, hands-on - a shigaraki x f!reader fic

This was inspired by this art and a comment left on it about the risks of trying to jerk off with a quirk like Decay. It was also inspired by @obsessedtomone and @scarlettcryptid, who encouraged me to write it and then to post it. The pun in the title was my idea and not their fault.

Shigaraki's quirk makes life difficult in a lot of ways, but there's only one he can't find a way around, and since you joined the League of Villains, it's gotten even worse. When the truth comes out at last, he's expecting it to be a disaster and nothing else. He definitely isn't expecting you to offer to help. (cross-posted to Ao3) Canonverse, one-shot, smut.

Shigaraki Tomura’s quirk is everything to him. It’s how he found himself alone in the world as a five-year-old, even if he can’t remember the details. It’s why Sensei took an interest in him, why Sensei took him in, why Sensei chose him to carry on his work. It’s the perfect tool for someone like Shigaraki, who hates everything, who wants nothing more than to destroy everything he doesn’t like. Decay is the best thing that’s ever happened to Shigaraki. And at the same time, it absolutely, categorically sucks.

Shigaraki might hate everything, but he doesn’t hate it all the time, and the times when he doesn’t hate it are times when he’d love to be able to just have whatever it is without being one wrong move away from ruining it. Name a thing he likes, and his quirk is ready and waiting to fuck it up – gaming, eating, sleeping, even reading the fucking newspaper. He can do all those things four-fingered, if he stays focused. It’s the stuff he can’t stay focused on that’s impossible.

He can’t stay focused when he’s horny, at least not enough to keep from potentially Decaying his dick off. Shigaraki doesn’t actually know if his quirk works on himself, and he’s not interested in finding out. And that means that no matter how horny Shigaraki gets or how many poorly timed boners he pops, jerking off is permanently off the table.

That’s not to say Shigaraki’s never finished. He has. He’s spent so much time humping pillows that he had to learn to do his own laundry. But there’s something really pathetic about being twenty years old with two working hands and still be stuck grinding on a pillow to make himself come, and it always takes so stupidly long. Now that Shigaraki’s got the League of Villains, now that he’s got plans to make and Sensei’s legacy to fulfill, he doesn’t have that kind of time. When he wakes up with the world’s worst morning wood after a dream he doesn’t remember clearly, there’s nothing he can do but wait for it to go away.

It fades – enough – but the feeling doesn’t, and eventually Shigaraki doesn’t have a choice but to drag himself out of bed. He slinks from his room to the bar, hoping it’ll be empty, with the rest of the League out and about preparing for the mission and Kurogiri somewhere nearby if Shigaraki needs him but not actually right there to ask him what’s bothering him. Shigaraki can pour his own drinks. Maybe he can get out of this if he gives himself whiskey dick on purpose. Kurogiri’s not in the bar, just like he was hoping, but it’s not empty, either. You’re there, sprawled out over the bar with a sweating glass of water on a coaster in front of you.

Shigaraki’s jaw clenches at the sight. “What are you doing here?” he demands, and you look up. “Don’t you have something to do?”

“I did it already.” You yawn. “Using my quirk tires me out.”

“Really?” Shigaraki can’t keep the irritation out of his voice. “Making people stupid is that exhausting?”

Your quirk is a weird one. It lets you increase or decrease a target’s ability to plan, reason, problem-solve, remember things, and learn – in other words, their intelligence. “From this distance, for as many people as you need me to hit?” You yawn again and drop your head back down to the bar. “Yeah. Remember, I have to keep them all being stupid the same way, right up until it’s too late. Or your plan won’t work.”

Shigaraki had the pieces of the plan before he made you use your quirk on him, but once you used the quirk on him, he did some fine-tuning on the strategy, and he came up with the idea of using your quirk the opposite way, too. While the rest of the League is planning to make the attack on UA’s summer training camp a success, you’re using your quirk every day on the heroes in charge of planning the camp itself. Shigaraki’s not actually going to know if it works until after the attack, and that pisses him off. “Go nap somewhere else, then.”

“I’m not going to bother you,” you say. “Where else am I supposed to go, anyway? Your room?”

Shigaraki’s this close to saying yes, just to get you to leave, before he remembers what his room looks like – and remembers that he spent a while trying to see if grinding one out would work this time. He can’t kick you out of the hideout. You look like shit, and you’ll attract a lot of attention. “Fine. Shut up.”

“Yep.” You fold your arms on the bar and rest your head on them, shutting your eyes.

Even when you aren’t looking at him or talking, your presence bothers Shigaraki. It’s bothered him since the beginning – as much as he’s bothered by the others, in a different way than he’s bothered by the others. While the others can at least manage to avoid pissing Shigaraki off, there’s nothing you do that doesn’t cause some kind of problem. If you’re talking to him too much, he’s annoyed because he doesn’t know why you’re talking to him. If you’re not talking to him, he’s pissed about that, too. If you’re not around, he’s mad that you’re avoiding him, and if you are around, he wishes you weren’t. The fact that you’re here was a big problem for him even before he started having the dreams.

Shigaraki can’t remember the details of last night’s dream, but he knows you were in it. He pours himself a drink, takes the bottle with him, and sits down at the far end of the bar from you. You don’t look up again, and Shigaraki finishes his first drink, then half of his second, with no improvement on the situation. He shifts on the barstool, trying to get more comfortable. He needs to find something else to do. Something that will distract him from how stupidly horny he is.

You’re right there, and being irritated with you for doing anything at all is as good a distraction as anything else. “If all you’re doing is making a couple of heroes slightly dumber, you’re not really pulling your weight, are you?”

You don’t stir, but Shigaraki sees your shoulders stiffen. “What else should I be doing?”

“More,” Shigaraki says. You lift your head to look at him dead on, and Shigaraki hates that so much that he loses his train of thought for a second. “I don’t want them slightly dumber. I want them so stupid they can’t walk in a straight line. You have to get closer to them for that? So get closer. Get out of here and –”

“If I make them that stupid, the heroes will know that something’s wrong,” you interrupt. “My quirk’s in the government databases. If I do anything too obvious, they’ll know I’m working with you, and they’ll change their plans. Or they’ll change who they’re using to execute those plans. For my quirk to work on someone, I need to know who they are.”

Shigaraki knows how your quirk works. He’s not stupid. “I could do what you want me to do, but it would ruin your plans,” you say. “I don’t want to do that.”

“Then what do you want?”

“I wanted to take a nap,” you say. You sit up straight on your stool, get to your feet and start towards Shigaraki. “Now I want to know what I did to piss you off.”

You’re coming closer. Shigaraki feels a surge of panic. “Get away from me.”

“No.” You sit down one barstool away from Shigaraki, but still way too close for comfort. Shigaraki’s skin feels hot, and in spite of the fact that he left his room wearing sweatpants, they’re getting tight. “You let me join the League, but ever since I got here, I can’t do anything right. You’re mad at me all the time, and today you’re even madder than usual.”

“No, I’m not.”

“Yes, you are,” you say. You keep staring. Shigaraki looks away, and you say the first thing he’s ever heard you say that makes you sound like a villain. “Either you can tell me the truth, or I’ll use my quirk on myself and figure it out.”

Shigaraki’s stomach lurches. “I thought you were too tired to use your quirk.”

“Not on myself,” you say. Shigaraki glances back at you. You’re almost smiling. He’s seen you smile before, talking to Toga or Magne, but not like that. “You can tell me, or I’ll find out on my own. Your choice.”

You’re not screwing around. Shigaraki thinks fast. He could Decay you, but – Shigaraki writes off the thought before he can even complete it. He has to tell you something, and it has to be convincing. But he doesn’t have to tell you everything to keep you from using your quirk. It’s going to be humiliating, but nowhere close to as humiliating as the whole truth, and he opens his mouth and spits it out. “I’m horny.”

You blink. “So jerk off.”

“I can’t.” Shigaraki sees your eyebrows lift, skeptical as hell, and loses patience, even as his face heats up. “My quirk. Anything I touch with five fingers –”

“And you can’t jerk off without –” You break off mid-question, looking just as uncomfortable as Shigaraki feels. “So you’ve never –”

“No, I have, I just –” This is way more information than you need to know. Shigaraki grits his teeth. “You wanted an answer. There’s your answer. Leave me alone.”

You don’t leave Shigaraki alone. You actually move over onto the stool next to his. “So you’re just going to be a dick to me any time you’re horny.”

It’s your fault Shigaraki’s horny. Before you showed up, he could deal with things on his own, but now instead of videos and games to fixate on he has fantasies – because he can imagine about what you’d look like under him, what you’d sound like, what you’d feel like. All of which are the worst possible things for Shigaraki to be thinking about right now. He’s completely hard, again. Maybe you can tell, or maybe you’re using your quirk on him after all, because you’re making a really weird face. “If you’re going to be a dick any time you’re horny –”

You break off. Shigaraki thinks, fleetingly, about Decaying you. At this point he’d rather Decay himself, because if even he kills you, he’ll still have to remember that this happened. You take a deep breath, let it go. “Do you want help?”

Shigaraki’s mind blue-screens for a second. “What?”

“If this is why you’re like this, then it’s easy to fix,” you repeat. Your hands are clenched into fists on your thighs, and you slowly uncurl them. “Do you want me to help?”

“Help with what?”

“Jerking off,” you say. You make an awkward gesture, and every muscle in Shigaraki’s body goes tense as he imagines your hands around his cock. You have to be messing with him. There’s no way you’re actually offering – that. “Yes or no?”

“Yes.” Shigaraki finishes his drink and stands up before he can think any more about it. He grimaces as his cock strains against the fabric of his pants, and feels a surge of embarrassment when he realizes you’re looking at it – but it’ll be over soon. In the face of getting some, and getting it from you, nothing else matters. “Let’s go.”

Shigaraki’s nerves kick in on the walk back to his room. Not enough to make the hard-on he’s coping with fade even slightly, but enough to remind him that this is probably a bad idea. But you’re following him, and you haven’t changed your mind. Shigaraki’s not chickening out first. The nerves get worse when he opens the door to his room and realizes what a mess it is. “Uh –”

“Where do you usually sit?” You don’t look impressed – or disgusted, now that Shigaraki thinks about it. “On the bed?”

Shigaraki sits down on the bed – which he didn’t make, because he never makes it – and you sit down next to him. You don’t do anything. “I thought you were going to help me.”

“Show me what you do,” you say. Shigaraki stares at you. His heart is racing, his pulse hammering so hard that he feels it everywhere. “Go as far as you can, and then I’ll keep doing what you do.”

That makes sense, probably. Shigaraki’s mind is startling to scramble. He decides to think about it later and catches the hem of his shirt, hiking it up and out of the way. He knows from experience that it’ll slide back, so he pins it between his teeth and reaches down to his waistband, shoving at it until his pants are down around his thighs and his cock is free.

His hard-on looks like it feels. Uncomfortable, leaking, hot to the touch when he wraps three fingers and his thumb around his shaft. Shigaraki tries a few of the same insufficient strokes as always and feels the muscles in his abdomen and thighs clench. It’s not enough. It’s never enough. A frustrated sound edges out around the fabric in Shigaraki’s mouth. Aren’t you supposed to help him? He looks at you. You’re looking away.

“Hey,” Shigaraki says, the hem of the shirt falling from his mouth, and you look at him. “You wanted to help. Pay attention.”

Your face is flushed. You nod, and you reach out – but only so you can grasp the hem of Shigaraki’s shirt and pull it out of the way again, your knuckles brushing over his abdomen in a way that makes him twitch. You’re sitting closer to him now than you were before, close enough that he can almost feel the heat of your body, and imagine how it would feel to have you pressed against him. One of your hands is holding his shirt up. The other comes to rest on his lower abdomen, fingertips brushing through his hair, centimeters away from the base of his cock.

Shigaraki squirms involuntarily, trying to move your hand lower and jeopardizing his own strokes at the same time. Even when he lifts his hips to meet his own hand, he can’t lose control the way he wants to, can’t chase the feeling he needs. He needs it. He needs it and he’s never come even close to having it, until now. Shigaraki tries to focus. You’re only going to help once he’s gone as far as he can, so he’d better get there as fast as possible.

He shouldn’t have told you to pay attention. Now you’re watching everything, your face still flushed and your eyes glued to Shigaraki’s every move, taking everything in. Do you like this? Do you like watching Shigaraki’s pathetic attempts to get himself off? Whether you like it or not, you’re still touching him when you don’t have to. Shigaraki’s fingers tighten involuntarily around his cock, his fourth finger almost coming down, and he loosens up in a hurry. But that’s no good, either. He tries again.

It’s the same as always. Shigaraki makes it one or two strokes before it gets dangerous, enough to show him what he could have and not enough to get him there. He’s sweaty and his heart is beating too hard and the same frustrated tears as always are stinging his eyes. He curses, lets go – and a warm hand slides between his legs to replace his.

Shigaraki almost comes on the spot. It takes every ounce of willpower he has, and he almost blows it again as he watches you adjust your hold on him, shaping your hand more closely around his cock. You’re slow about it, but you sure as hell aren’t hesitant. Shigaraki can’t look for longer than a few strokes. It’s too humiliating to see the intensity of his own reaction, precum oozing from the tip of his cock and his hips jerking upwards into your hand. He clenches his jaw and shuts his eyes.

“Hey. Pay attention.” Are you making fun of him? Shigaraki opens his eyes and finds you looking at him. “I need to know if I’m doing it right.”

“What do you think?” Shigaraki forces the words out through gritted teeth. “Do you need me to tell you you’re doing a good job or something?”

“That might be nice,” you muse. Your hold on him loosens slightly – not enough to complain about, more than enough to read as a threat. “Since I can’t do anything else right around here, I at least want to be good at getting you off.”

Your grip tightens again, and you run your thumb lightly over the tip of Shigaraki’s cock at the end of the next stroke. Shigaraki couldn’t pull a move like that if his fucking life depended on it, which it would. He was going to tell you not to ask stupid questions, like if you’re good at getting him off when he’s two seconds away from blowing his load all over himself, but instead he moans, so loudly that people can probably hear it two streets away. You replay the same stroke, slower this time, pulling Shigaraki’s back into an arch to match the upward motion of your hand, and then you spend a few seconds just toying with his tip, barely touching him at all.

Are you trying to make him squirm? Shigaraki hates that it’s working, hates that you won’t just give him what he needs – but then you’re back to stroking his cock again, and Shigaraki relaxes, as much as it’s possible to relax. It feels good, even better than he thought it would. And even better than that, because he doesn’t have to do anything. All he has to do is sit back and enjoy it.

“Hold your shirt up,” you say, and Shigaraki grabs it clumsily. Your now-free hand traces quickly down Shigaraki’s chest, along his stomach, skidding sideways over his hip before sliding between his legs. There’s not room for both of your hands. Shigaraki spreads his legs without thinking twice.

You make a weird sound – maybe a gasp. “Stop that,” you say, but now you’re cradling his balls in addition to stroking his cock, so Shigaraki’s not interested in stopping much of anything. “It’s working.”

No shit it’s working. Shigaraki’s entire body is wound tight, so much that he can’t even twitch or thrust or squirm – all he can do is strain, agonizingly tense, every atom of his body focused on the motion of your hands. Shigaraki squeezes his eyes shut. His shirt crumbles away as he claws at it, the sheets on his bed going the same way a second later as he fights to ground himself. He needs more. Shigaraki needs to come right now, before he grabs onto something he can’t replace.

The word struggles out of his mouth sideways, twisted and strained just like the rest of him. “Please –”

You don’t answer him, but Shigaraki feels you shift closer to him. He opens his eyes and you’re right there, close enough that he can feel your breath against his skin. You’re watching him, head tilted, lips parted, so close. Shigaraki’s so close, and he needs more from you. He seizes the front of your shirt to pull you down to him, only for it to Decay when you’re halfway there. But Shigaraki gets lucky. You lean in the rest of the way and press your lips against his.

It’s not because of that. Shigaraki’s coming hard enough to see stars, hard enough that he blacks out for a second, but it’s not because you’re kissing him. His cum spills everywhere, onto his sweatpants and his stomach and over your fingers, and you keep stroking him with slick hands. You don’t pull away until Shigaraki’s whining against your mouth and you’ve drawn out every drop of cum he has to give.

And then you sit back, and let go, and look away. “I need a new shirt.”

You’re sitting next to him, on his bed, in just your bra. The sight would get Shigaraki hard again in an instant if you hadn’t just made him come hard enough to disconnect his spine. He raises a shaky hand and points to his hoodie, slung over the back of his computer chair, but you don’t go for it. Instead you get up and head to the bathroom to wash your hands.

Shigaraki needs to wash everything. His sweatpants, himself – the stupid mattress, since he was dumb enough to Decay the sheets off it right before he blew what feels like the biggest load in history. What else was he supposed to do, though? No way was he going to be able to control himself while you worked him over. No way is he going to be able to think about anything else the next time he sees you do anything with your hands. Or with your mouth.

It occurs to Shigaraki vaguely that while he’s solved the initial problem of being too horny to function, he’s set himself up for something even worse – more dreams, made all the more vivid because he’s got experience to back them up. He might be good to go for now. Probably for the rest of the day, since it’ll be a miracle if he can do anything other than clean up and take a nap. But he’ll be right back where he started the next time he wakes up from another dream about you.

The water from the sink shuts off, and a moment later you come back out, snagging Shigaraki’s hoodie off the chair and pulling it on over your bra. Shigaraki feels a faint twinge of foreboding at the sight, but it fades fast. Sure, he could wake up tomorrow morning with the boner from hell and it’ll be all your fault. But now he’s got a way out of it, and the way out of it is so good that what it takes to get there barely even matters. And he’s in a good enough mood to admit to himself that you do things right a lot more than you do things wrong.

Which reminds him – “Hey,” Shigaraki says, still humiliatingly breathless, and you pause in the act of pulling the hood up. “You did a good job.”

He might still be out of breath, but your face is still flushed. “Good,” you say, and you turn to leave. Shigaraki doesn’t hear you speak again until you’re already out the door. “Next time I’ll do better.”

Better might kill him. Next time. Shigaraki pulls up his sweatpants so his dick isn’t hanging out, makes no other effort at cleaning up, and falls asleep with something that feels like a smile on his face.

[tatzelbookwurm]

Pt. 1 Pt. 2 Pt. 3 (you're here)

Full fic on Ao3

Art of LBM

Pt. 4: An Unexp-ectoed Party (not on Ao3 yet)

Constantine was quietly freaking out. He couldn’t be sure, but he suspected that the ghost who had turned itself into a cute little tatzelwurm to avoid answering questions might be something far beyond his capabilities to deal with. Everything it said and did suggested it was way outside his scope of experience. While Tim used a shoelace to play with it like a rambunctious kitten, John mentally catalogued the things that threatened to give him a panic attack:

Before the ghost even arrived, the blinding power flowing through his spell array nearly knocked him flat. It had felt like being swatted in the eyeballs by an eldritch god.

The ghost appeared in human form, fully alive, before being transformed by the summoning magic. John had only ever heard whispers of legends about a being who could do such a thing. The legends were vague and grandiose, but some epithets included The One Who Walks Between, He Who Straddles Life and Death, Twilight Walker, Shroud Danger Child, and The Halver. 

The ghost could not only see his soul at a glance, it could perceive all the damage he had done making deals with demons.

The ghost implied it was on casual, friendly terms with the Ancient of Time aka Chronos, Kala, Father Time, etc. And that it had altered the timeline at least once already.

It could age. Despite what the ghost said, only Neverborn should be able to age. The dead were static, and given the death that he could feel sustaining the portal, this ghost had definitely died.

It was brilliant enough to pinpoint a weakness and successfully distract Tim by transforming into a shape that could manipulate his protective instincts. John did not want to admit that he also felt protective of the cute little blighter.

It had hopped out of the summoning circle as if it were just chalk scribbles, despite John working in some of his most powerful containment spells as a matter of what he had thought was excessive precaution.

Shite, the list had already reached seven items. The tatzelwurm (had Drake really just named the thing Little Baby Man?) glared at him and called him “Gross!” 

“Seriously!? This cloaking spell should be more than sufficient.” John grumbled. “Did it really have no effect?” If so, that was gonna be item number eight.

Little Baby Man tilted his head. “It worked.” Then he huffed with amusement. 

Thank fuck for small blessings. 

A quickly muttered spell turned his burning cigarette into a makeshift sort of laser pointer, and Constantine distracted Little Baby Man while he tried to think of what to do next.

“Hey kid, this is a problem.” He kept his voice low, and watched to see if the tatzelwurm appeared to pay any attention to him. It dedicated all its attention to the glowing dot, and ignored the two men.

“I assume this isn’t the normal direction your interrogations go.” Drake wound his shoelace around his hand and pocketed it. “It’s certainly a first for me.”

“Ditto, in so many ways.”

“Any idea what to do now?”

“We should probably return him where he came from, and wait for Zatanna to get back from wherever she’s disappeared to now.” John would really like a second opinion. He would also like to dump this mess in someone else’s lap and be on his way. 

Although to be fair, watching the tatzelwurm careen around after his lazer dot was actually pretty fun. Not that he’d ever admit it. Still, the creature was done answering questions and John wasn’t prepared to bind the thing because he didn’t think he’d need to pack the tools to bind an eldritch god when Batman called him to do a “quick consult.”

Danny couldn’t remember the last time he had this much fun. The CEO person played with him! He did feel a bit bad for hurting his foot, but it was difficult to dwell on regrets or worries when he could attack the string instead. And now there was a red dot to chase! It was very fast and sneaky, but he was faster and sneakier.

Is this what Paulina felt like when she wished herself to be a giant chibi version of herself to be loved and worshipped by everyone? Because he felt adorable. And fierce. He was going to kill that red dot so hard when he finally sunk his claws in it!

Frustratingly, it seemed to also have intangibility powers. Well, Danny knew what to do about that! He concentrated ectoplasm into his paw and bapped it down hard on the dot. This scorched the floor a bit, but when he lifted his paw, the red dot was skewered on one of his claws. It tried to tug away, but he clung tight. Apparently its size belied its strength, because it started to drag him across the floor. 

Danny tried to release the dot, but his claw was firmly snagged, so he resigned himself to being dragged back into the chalk circle. He tingled a bit as he crossed the perimeter, but it wasn’t a bad sensation, just a little odd. Then a portal opened up and pulled him through the water filled tube snake toy sensation in reverse and ugh! Just as bad the second time, if not worse.

The spell spat him out in human form under the Specter Speeder. Or rather, it ejected him at speed so he smacked into the bottom of the Speeder before falling back to the ground with a heavy thud. Thankfully he didn’t crack his head against the concrete, but he still couldn’t stifle a pained groan.

A firm hand wrapped around Danny’s ankle and dragged him out, and he found himself staring up at Drake and Constantine for the third time that day.

“Uh, hi,” he said, rubbing the back of his neck. “I suppose I have some explaining to do.”

Being able to create ghost portals would come in real handy right about now. Maybe he should just commit some arson and let these two deal with escaping the basement on their own.