#and i wrote for day 3

[bluegiragi]

patience and indulgence.

early access + nsfw on patreon

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(hey i drew this comic in collaboration with the very talented author prettyunhinged, who wrote an amazing fic to go along with it!!! please leave a comment and kudos if u read it, it's so perfect >.< but also do look at the tags first lmao )

[ryuzumisama]

The Pale Elf

[stil-lindigo]

shallow grave.

a comic about accepting when your relationship is dead.

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creative notes:

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all my other comics

store

[visionsofmagic]

day 3: fushiguro toji [size difference]

࿓ synopsis • you bet you can have toji raw & dry with only one go.

―❦ nsfw, pet names, a bit of daddy kink, rough!toji, humiliation, bet, brat!reader, roughness, raw, dry, big!toji & small!reader, f!reader, riding, swearing, inner speech [‘is all I believe] • 1.3k • I have never wrote for him but I hope it feels canon. also, I literally have a thing for menace characters. ehe. anyway, enjoy! [kinktober m.]

a deep chuckle comes under you, sending chills down your spine, making you want to hide your face from the owner of the sound ‘cause you can feel how he is teasing you, finding it entertaining how you try to sit on his thick cock even though the intense sensation coming from your tight pussy flows through your body, making you breathless because it’s too much. 

“toji –“ you say between your breaths, looking up to his face only to find him looking right back at you – well, he sees the most pathetic version of you but wasn’t this what you wanted? his expression says; wasn’t this what you begged for? silly girl, he said the moment you tried to say you can handle it – handle to take him dry, without any preparation. thinking she can handle it? cute. 

of course, you wouldn’t stay back, not after hearing all the stories about how it felt like euphoria and hell at the same time to have it dry, raw, in one go. you who believe you want it to be harder, rougher, deeper each time you have sex with toji directly went to him, saying how you want to try riding him but without foreplay. 

he laughed at you – in a such teasing way that your anger rose up, causing you to play the card he could never refuse; bet.

he agreed after a quiet time, but not because of the bet – the challenge, but for the chance to see you eat your own words and witness your struggle on his cock, and he was right, as always.

“what is it princess?” he mocks, teases – a bit of mischievousness inside his sparkling eyes looking up at your face full of tears – his cock isn’t inside you! “is it too much?” he enjoys this more than you do, apparently, because he is just lying on the bed, hands on the back of his head, staying behind him, and a smirk that screams how he has no desire to hide his enjoyment stays on his attractive face.

“fuck y –!”

“tch tch tch,” he shakes his hand to left and right, showing his amusement, “how nasty,” he looks at you with a new expression and you know that one very well – he is one step behind forgetting about the bet and fuck you the way he wants – not with the one you begged for. “but you disrespect me one more time and I will shove my cock right into that fucking tight pussy in one go.”

his treats only make you get wetter. you find yourself wanting him to do that – without leaving it to you, he should be the one who enters into you in one go ‘cause clearly, you can’t do it; it just doesn’t fit!

keeping your mouth shut, you place your left hand on his exposed biceps, the hotness flows from there to your palms as your other hand travels to your slit with the intention of fingering yourself a little bit so that he would fit – you can’t stay any longer. you need him inside you, right now.

however, toji gets what you’re doing. his bigger hand finds yours, caging it with his after pulling it to himself, making you fall into his chest, nose to nose – eyes to eyes. danger radiates from him as he speaks, “you wanted this slut, so, bear it,” his other hand positions on your waist, pushing you down; his cock’s tip enters into you, earning a low moan from you. “lower yourself down princess.”

he uses cute pet names but the eyes don’t lie – his eyes tell you that you should lower down or else the consequences will be really bad, so, you do what he tells you, lowering your body down inch by inch, realizing how it was a bad idea since you two have different proportions in terms of size – how dumb you were to think that toji’s, a man of twice the size of you, will go in that easily.

“fuck - ! agh, toji - daddy! ‘is too much!” you say, looking at the sight of your cunt being ripped off with his cock each passing time as it gets into you deeper and further.

he leaves your hand, touching your face instead and you can feel half of your face disappearing within it, “so the slut finally has a brain that works, huh?” he asks, “didn’t believe when I said it would be too much. a fucking dumbfucked woman who thinks she has the skill of surprising me,”

 he leaves your body entirely, leaving you surprised as he puts his arm on his eyes, closing them and saying, “get off of me. need sleep, not a dumb whore.”

you stay like that, not moving, not taking your eyes off, comprehending what’s happening.

his massive body doesn’t move an inch either, however, from the voices you hear, you can say he’s about to sleep – sleep?!, you ask inside your own head, heat rising up that comes from anger and disbelief. who thinks he is to leave you behind like this and go to sleep in the middle of the sex?!

the madness you have never had takes control of your mind and body in that moment after you realize he doesn’t give a fuck about you or the reason why you tried to do this – making him go crazy while you ride him raw and dry.

no logic side on the brain, not anymore, your hips move on their own, “fuck this shit,” you say and add before going further, “I will show you how this dumb whore will make you sweat.”

a scream comes from your parted lips, the burning sensation takes all the breath you have, the mind turns into dizzy, eyes half-closed yet see the man underneath you taking his arm from his eyes – well, half-closed eyes now, and ears hear the words he says, “fuuck –!”

even though your hips ache in pain, pussy is already on fire, and you throw your head back – such pleasure coming from both his situation and his cock that fills you without leaving any space, you moan his name.

it takes you a few moments to adjust it and move but you have no time; you have to provide that no one can fuck him like this.

hips move up and down, eyes now at his face, daring him to look away – to avoid your eyes; he accepts the challenge, hands are put on your ass, squeezing the flesh, breaths mix with each other and the only voices in the whole room are his swears, growls and even moans within your high pitched moans, the lewd sound of thick pussy hitting the pussy, balls following – everything seems so euphoric.

riding him with the help of him lifting you up and down in sync with your movements, you hear your own name on his lips. it’s hurt like hell to let him shove himself into you at the pace he wants to after you cum two times, the muscles begin to hurt, the mind goes blind from time to time, and keeping your words about how you can make him sweat, he finally takes the control; he hugs your smaller frame, rolling over so that you can be under him, he enters your now wider pussy one again but somehow, it’s still tight.

“pretty slut,” he says, hands staying on the sides of your head, his body covers yours, you feel vulnerable when you compare your small body with his yet it gives excitement when he turns your back to him, his chest touching you from behind, and his fingers open your folds apart, cock entering slowly, “did so good for me, now, let big daddy reward you, fuck that pussy ‘till it fits in one go. after all,” he says, pulling his cock only to push it in you with one go – so full, so filled. wasn’t he holding you from the abdomen, you would jolt into the bed. “it’s what my princess wants, right?”

❦ tagging: @lilvampirina ! thank u pretty!

[tsururoach]

you ship ryomina because ryoji is a disaster of a bisexual. I ship ryomina because of the beauty of a suicidal boy that can love life enough that death can agree.

[canon-gabriel-quotes]

presented without comment or context

Source

[howlonomy]

Monster Clover, like this is so awesomecool.

They're such a little beast and it is amazing and please i need more, like written text even i just need the juicy lore and emotional moments that are circling in ur brain.

HAT: RETRIEVED!!

[xofemeraldstars]

"Evan."

Tommy stares at him, mouth slightly open and Buck flashes back to that morning in the cafe when he thought he fumbled his chance at something great. But Tommy took another chance with him, as insane as inviting him to his sister's wedding was. Buck shakes his head, trying to dispel the memory and smiles at Tommy.

"I'm serious," he replied, grinning broadly. "Come with me to our wedding," he couldn't help it, the memory fresh on his mind.

Tommy caught on pretty fast, his eyebrows shot up and he started laughing. "Does that mean it's my turn to meet your sister?"

Buck's smile only grew as Tommy played along. "You already know a lot of the people who will be there and I need someone to dance with," he reached out and took Tommy's hand, whose eyes softened just as it did back at the cafe.

"I guess this time there won't be any free food," he replied and pulled Buck's hand up to his lips to press a kiss to the back of it. "Hold that thought tho," Tommy added, index finger pointing at Buck before he got up and disappeared into the garage.

"Babe?" Buck called out and somehow he wasn't nervous or anxious that Tommy left the dining table just after he accidentally proposed.

"Yeah, so my reaction earlier was not disbelief that you're asking," Tommy called out from around the corner and, well, that intrigued Buck as he cranes his neck to get a glimpse of his boyfriend.

Tommy walked back in through the door, one hand held at his back and Buck looked at it then back up at Tommy's smiling face, his mouth slowly opening as he put the pieces together.

They both started chuckling as Tommy sat back down and Buck, because he couldn't help himself, held up a finger and got up, walking towards a kitchen drawer, pulling it almost completely out and taking out a small velvet box.

As Buck sat back at the table across from Tommy, he bites his lip while slowly pushing the box forward, just as Tommy did the same with his own velvet box. "On the count of three?" Buck asked.

"Yes," Tommy breathed out and Buck stopped.

"Yeah?"

"Yeah."

[necrotic-nephilim]

au - tim sneaking out of jason's room one night at the manor and accidentally locking eyes with dick who is sneaking out of bruce's room at the exact same time, breakfast is very awkward the next morning

(i did think of having it be jason instead of tim but honestly jason has 0 shame and even less issue outing himself if it means fucking with bruce and, to a lesser extent, dick)

i'm cackling I love these types of things so much. they're so silly. sometimes we deserve mindless crack for these ships. have a *very* low effort ficlet bc this just makes me snort, enjoy <3

Dick closed Bruce's door as quietly as he could. Usually, he didn't have to sneak around when he slept with Bruce. But the temporary room Bruce had given Jason in the manor was just down the hall, and Dick didn't feel like looking Jason in the eye if he walked out of Bruce's bedroom in the morning at the wrong time.

Just because he was pretty sure Jason knew, didn't mean he needed confirmation and confrontation.

Dick had almost caved to staying in bed with Bruce when Bruce tried to pull him back down, but he kept some level of wits about him, prying Bruce's arm off of him and giving him a final kiss on the cheek before heading for the door.

The one thing Dick did allow himself, though, was wearing one of Bruce's shirts instead of his own. It was a size too large on him but smelled safe and comforting. Dick breathed a quiet sigh of relief when the door latched silently. He let go of the handle, turning around to creep off to his own bedroom in another wing.

And found himself staring at another figure.

With all of the lights off and only faint moonlight streaming through the windows, Dick couldn't tell who it was, at first. His reaction was embarrassing no matter who it was, jumping nearly a foot backward and clutching a hand over his chest.

He was a goddamn vigilante. This was just embarrassing.

The other person wasn't nearly as shocked as Dick, but they stood perfectly still, staring with wide eyes that faintly reflected what little light illuminated their face. Dick squinted, leaning forward to see who it was.

"Tim?" Dick hissed, trying to keep his voice to a whisper. Bruce had fallen asleep and if Dick woke him up now, he was never going to get the stubborn bastard back to bed.

Tim, still looking like a deer in headlights, just blinked at Dick.

"What are you doing up this late?" Dick asked. They'd all agreed to take tonight's patrol off, letting Babs, Helena, Dinah, and Zinda handle it in exchange for tackling the massive human trafficking ring in the morning with fresh eyes and cleared heads. The job was the only thing that had gotten Jason to agree to work with them in the first place. Bruce barely managed to strong-arm Jason into sleeping in the manor, with a decent amount of guilting from Alfred.

Jason, who was in the room only a few feet away from Dick. The room that Tim's hand was resting on the doorknob of.

"That's Jason's room," Dick said slowly.

Tim just nodded. "I know." He wasn't whispering like Dick was, but his tone remained impossible to read.

He just saw Dick walk out of Bruce's room. Had he put it together? It was Tim, after all. if he hadn't yet, Dick assumed he only had a couple minutes before it dawned on Tim.

"What were you doing in Jason's room?" Dick frowned. If he focused on Tim, it could keep the focus off of him for as long as possible. Dick tried to ignore how fast his heart was beating.

Tim's expression was hard to make out in the dark. "We were talking about the case." Still, his tone remained entirely neutral.

Too neutral, for Tim.

"At two am?"

"Well, what were you doing?" Tim huffed slightly when he said it, folding his arms over his chest.

He was shirtless, Dick just realized.

Shirtless and coming out of Jason's room.

"I was-" Dick stumbled over his words, choking as he tried to come up with an alibi. "We were talking about the-"

"I already used that excuse, pick your own," Tim deadpanned. Dick was pretty sure he also rolled his eyes. "I've known about you and Bruce for years, you know. You don't have to pretend."

The noise that came out of Dick's throat was almost as mortifying as the realization that not only did Jason likely know, but so did Tim.

"It... okay it has not been years," Dick's face was hot and he was glad it was too dark for Tim to see his blush. "I mean- it's been a while but not years-"

"Whatever you say." Tim shrugged, sounding unconvinced. "There have been feelings between you two for years, close enough for me."

If Dick died, right here, in this hallway in front of Bruce's door, he hoped the cause of death would be put down as homicide instead of natural causes. Because every word from Tim's mouth made another piece of Dick die inside, just a little.

"It's none of your business either way." Dick tried to stand up straight to sound more in control of the situation, clearing his throat.

"Trust me, I don't want it to be my business."

Dick would've laughed, if this was happening to anyone but him.

"What about... you and Jason?" Dick asked carefully.

Tim shifted on his feet. "What about it? I told you, we were talking about the case."

"Right." It was Dick's turn to roll his eyes. "In his bedroom, at two am, without your shirt?"

Tim stared at Dick for a long, torturous moment. A moment that made Dick agree with Tim, about not wanting to know any sordid details.

"I'm going to bed," Tim said suddenly, turning away from Dick. "Goodnight."

Dick had a thousand more questions he wanted to ask. How Tim and Jason even got together, when it happened. Last Dick knew, they could barely stand to be in the same room.

But Tim was walking away at an alarmingly brisk pace and Dick just sighed. He was too tired and mortified about his own secrets to chase Tim down for an impromptu interrogation that would just end up embarrassing them both more.

Maybe it was best for Dick's sanity if he didn't know the specifics.

Dick didn't consider how awkward it would be until he was standing in the kitchen, staring at Jason bent over a cup of coffee.

Did Jason know Dick knew? It didn't seem like he did, but he had always had a good poker face.

When Tim ambled into the kitchen and grabbed overnight oats from the fridge, he didn't even look at Dick. He seemed to be pointedly avoiding it, sitting as far away from Dick as he could at the oversized dining room table.

All while Dick couldn't seem to stop staring.

"Your cereal is going to get soggy," Jason muttered, and it took Dick a moment to realize Jason was talking to him. "At least eat it before trying to explode my head with your mind, or whatever your staring problem is."

"I'm not-" Dick stuttered. he shut himself up with a mouthful of cereal when Cass gave him an odd look.

Would she be able to figure it out just from his body language?

Dick had never fully understood the lengths her ability to read people could go. he looked away from her and stared at a random spot on the table, trying to eat at a normal pace.

Bruce was the last to wander into the kitchen. He squeezed Dick's shoulder as he walked by, making Dick jump. It was an innocent enough touch that no one would question, but all Dick could think about was the brief look from Tim before he quickly averted his eyes again.

The silence around the table was going to eat Dick alive. He started eating cereal faster.

"Oh for fuck's sake," Jason broke the tension, throwing his head back and slamming an empty mug down onto the table. "Everyone knows you two are fucking, alright?" He gestured between Dick and Bruce. "Stop being so goddamn weird about it, you're acting like there's a bomb in the room."

Bruce choked on his coffee. "Jason." He tried to sound reprimanding, but his voice was a few octaves too high.

Dick threw his hands in the air. "I knew you knew about that, but I didn't know about you and Tim until last night so excuse me for feeling a little awkward."

"You didn't know about what?" Bruce nearly yelled, spinning around to face Jason.

"Damnit, Dick!" Tim groaned, putting his head in his hands.

Jason just scoffed, pointing a fork at Bruce. "Oh don't even give me that self-righteous bullshit-"

Their argument went back and forth while Tim just rubbed his temples, muttering to himself and glaring at Dick.

Worst of all, Dick was pretty sure Cass was giggling next to him under her covered mouth.

Dick just sighed and ducked his head, dutifully waiting for the ground to open up and swallow him whole.

So much for his breakfast.

[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

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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.

[anlian-aishang]

Levi with an (Episodically) Depressed S/O

Tags: levi x reader, angst, hurt-comfort, gn!reader Word count: 900

Levi invites you to shower with him, making the obstacle less daunting and much more attractive. In his black robe, leaning on your bedroom door, two towels slung over his arm indicate the knowledge that you will say yes and accompany him. The way that he looks, the low plea in his voice, how could you say no? 

It would be more accurate to say that he was bathing you, but he does not phrase it that way. Instead, he is humble, letting his actions speak louder than words. He does not tell you that he will shampoo your matted hair, does not flaunt how deliberately he exfoliates your limbs, he just does them for you. Some days, even just tipping the bottle or pumping some soap into your hand can seem mountainous. On those days, he sees those activities not as tasks, but as privileges. It is his honor to be the one looking after you in your most dire time. He would always prefer someone to take care of rather than someone to miss. 

Showering together not only ensures that you stay clean, but his company prevents you from those timeless sessions sat on the tile floor. At the moment you look refreshed but before you become sleepy, he jerks the handle to the left and halts the devastatingly relaxing rain. 

Always, your clean clothes are already folded atop the bathroom counter, waiting for you. Some times, you fail to remember that you did not put them there. Other times, you notice the sign of his relentless consideration, but are artificially silenced from expressing your gratitude. No matter in his mind. You are clean, clothed, and out of bed, and that’s already better than you were before. 

Without one complaint, Levi scoops your dampened towel and old clothes from the wet bathroom floor and drops them in the hamper for you. He has seen the piles that can amass, and if it were anyone else in any other circumstance, the clean freak would be quick to chastise, but any sight or thought of you disintegrates any instinct to discipline. You are sat in the living room, admiring the ivy that swirls around the balcony’s posts, thumbing the petals of the bouquet vased on the coffee table. White-gold rays move just a tad west to cast your figure in therapeutic light. You’re too tired to move away from the sun, and for once, Levi finds your fatigue favorable. As the morning temperature rises, he can see that your resting smile does as well. 

While you are entranced with the scenes of summer, Levi swiftly searches for and alleviates the areas you have left neglected. He dumps your sock drawer upside down and mends the pairs that you have discarded as singles. In your closet, he finds the clean pile and dirty pile and either folds it or washes it accordingly. Under your bed, on your nightstand, in your bedside drawer, he discovers the dirty dishes that have been missing the sink and returns them to their proper place. 

Between those tasks, he rolls his shoulders back or rubs the side of his neck and allows himself to sigh. It is difficult - not to bandage these tiny wounds - but to see the harsh bruises left by the illness. Sure, you were forgetful, and not quite as tidy as he was, but still - the mounds of laundry, hidden dirty dishes - this wasn’t like you. Levi lives for your joy - not the superficial smile, your peace - not the misleading silence. He lives for you - in sickness and in health. The times you forget your worth, that is when he whispers it in your ear. When the world is overwhelming you, he lets his touch communicate it. 

Once your space is in order, he can start to work on getting you to leave it. Rather than annoying reminders or obligations, he mindfully manipulates the steps of treatment into desirable invitations. Rather than Do you want to… or Would you like to…, his proposals are statements, taking the responsibility out of your hands. Concerts in the park this afternoon. Let’s go to the farmers market. Apple orchard just opened.

Or even less far away. 

Plants look thirsty, water them with me? Rain just cleared, read on the porch with me? Full moon tonight, stargaze with me?

To you, with me frames the activities, frames your presence as favors for him, and even in your lowest state, you are always keen to help him with anything. To Levi, it is no framing, your relationship is the greatest gift that fate has bestowed on him, and he treats you as such. It is in his selfless actions and his careful words, but it is more than that, traits you can’t quite categorize. The near flat, subtle smile you wake up to in the morning. The tight yet painless combs through your hair that leave you feeling divine. The low, calming timbre of his voice, decorated with a tender tone that he reserves for you. 

Even before the haze you’re in now, you’ve never been able to label those qualities of his, and instead settled: it’s just who he is. 

Like the sentiment that motivates his care: it’s what you deserve. 

// masterlist //

[citrine-elephant]

i'm right here.

rough concept for a "what if leon had a major panic attack and chris helped him stay grounded" writing experiment..

[milkbreadtoast]

Christelle doodles😚💖🌟🌊

[coddda]

Hiiiiiii. Episode 25/26 lawlight analysis rant thingy here. I don't know how to write an intro for this so let's just get to it LOL

I think one of the reasons that the rain/foot scenes stick out so much (the. Sheer insanity of a Foot Massage Scene in an anime revolving around two guys trying to kill each other aside 💀) is the fact that the anime specifically suffers a bit in terms of adapting a few of the "emotional" moments in death note.

And I don't mean "emotionally impactful" exactly. For example I think the adaptations of scenes like Raye and Naomi's deaths were very impactful and the atmospheres of their final scenes were great, but I mean more from a characterization standpoint (if that makes sense). Being more focused on mind and logic games, Death Note as a whole isn't as invested in individual characters' deeper feelings as it is in its action (which isn't necessarily a criticism per say, it's simply part of the nature of a mystery thriller series). But just because they're fewer and farther between doesn't mean there are none at all. In the manga we do get to see, for example, how much Light actually cared for his family and especially Sayu, and how he actually felt more conflicted and suffered lack of sleep/appetite when he first used the Death Note.

The anime specifically as an adaptation is pretty good at adapting the main mind fuckery and action of Death Note, but its lacking in properly adapting scenes like the ones I mentioned above is a criticism I see somewhat often, and it's pretty fair imo. Compared to all the other adaptations, it certainly seems to fall short on an emotional level: the musical has entire songs going in depth about the characters feelings and relationships, the 2015 jdrama is. Insane and has its emotional moments in spades (because it's a TV drama, which are more focused on portraying emotional conflict and the like), even the 2006 movies has its emotional beats and L Change the WorLd is. Well. Oh Man.

Anime Light to a lot of people is like. Light but he's "already evil" (which I have my own thoughts on but I digress). Light but after using the Death Note for like 2 minutes he's already like "fuck yeah time to kill criminals". Basically the anime doesn't take as much time to delve into his less cynical sides or really delve into his already vague and harder to decipher feelings in general, he is noticeably colder from the get-go here, etc.

But that's part of why I think episode 25 manages to stand out so much tonally (apart from it being, y'know, the episode L literally Dies). I love the episode so much and could probably rant for hours about how much I love the artistic choices made in it but what I'm trying to get at here is that it's one of the very few moments where the show tries to go deeper into specific character's emotions, and one of the very few moments where the show Attempts (emphasis on "attempts" because, well, you'll see in a bit) to get more in-depth into Light's feelings apart from his cynicism/apathy/justice. ness.

L in these two scenes in episode 25 is, well, pretty damn open about how he feels. It's usually interpreted as him knowing that he's going to die, and you can see it. He visibly looks/sounds lost, somber, etc. He never really had much to hide around Light to begin with (since he doesn't really care about hiding himself the same way Light does) but especially not now and it Shows, and I personally thought it was pretty cool to delve into his thoughts/show how he feels this way. The somberness can be felt throughout the entire scene, even people who don't already know the plot of Death Note from the manga could probably tell that he's about to die.

In the manga, once L starts suspecting Misa again and Rem realizes what Light is trying to do, it goes straight to Watari and L's deaths, but the anime instead gives a distinct and unexpected pause in the middle of this where L contemplates his own death. It's fucking great, and the shift from straight action to slower emotional weight makes these scenes stand out a lot, since, like I said, the show usually focuses more on the former. But it's kind of ironic, too.

Not only does the anime open up L's feelings more in these scenes, but it also tries to dig deeper into Light's feelings as well through L. And it's really funny honestly because while, yes, these are the more "emotionally open" scenes of the anime Light still manages to be Incredibly avoidant and contribute almost nothing to the entire ordeal.

L is visibly upset -> "Yeah Ryuzaki, you're not making any sense at all" (Not addressing the obvious conflict from L)

"Tell me, Light. From the moment you were born, has there ever been a point where you've actually told the truth?" -> "[The most stale, over-explained, avoidant answer to a "yes/no" question that you could ever hear + blatant attempts to reframe the question]"

(L's half-smile here kills me) "I had a feeling you'd say something like that" -> [Nothing]

"I'm sorry" -> [Nothing]

"It'll be lonely won't it? You and I will be parting ways soon" -> [Nothing]

^ From this point Light continues to say literally Nothing for the rest of the scene. I'm not even joking, from then on the rest of Light's voicelines are reduced to nothing but vague noises of confusion.

Everytime L calls Light out as a person ("Has there ever been a point where you've actually told the truth?" / "I had a feeling you'd say something like that." / "Won't it be lonely?") he doesn't actually acknowledge anything. Out of those three lines, he only answers verbally to if he's ever told the truth, and even then it's the most blatantly people-pleasing answer ever, as it usually is with Light. And I don't think it's because Light just. Doesn't care about any of what L's saying at all, or that he doesn't know what the hell he's talking about (questioning Light's authenticity as a person, saying it would be lonely when they part), instead he's choosing not to acknowledge any of what this means about himself or him and L at all. He's like a fucking wall.

And like, for the truth question in particular, the show makes sure that you know it's not something that Light just. Doesn't care enough about to answer. The hard cuts to silence are a very rare but extremely effective way that the show conveys an extremely important moment (see: Light regaining his memories, Matsuda noticing Light opening the warehouse door before he escapes (not as much of a "direct" cut to silence but still)), and cuts to multiple angles/framings/zooms of the exact same shot are also used for the same purpose (see: Light hugging Misa when she was crying, Matsuda aiming his gun to shoot Light, Light regaining his memories Again). Just like the scene where Light gets his memories back, the moment L's question finishes the show utilizes both. That question cut Deep. There's is a solid Almost 5 seconds of silence before the sound of the rain gradually starts fading back in, and honestly that should be telling enough as is (but of course Light doesn't actually admit that. Or anything at all really, so). Oh also another fun detail! We do not see Light's face At All (except for the shot where you can see his mouth moving but not his eyes), for the Entire time that he's going on his spiel to L. We Will Be Revisiting This Later, by the way. This is not, in fact, the first time you're going to see this detail from Light.

The only sort of reciprocation that we see from Light during Any of these two scenes is when Light dries L's hair while L dries his feet. Biblical meanings/references aside it's interesting because it's the only time he directly does anything "for" L in these scenes, but even then he doesn't try to pass it off as anything meaningful really the same way L does ("You're still soaked", a purely neutral and factual statement. It doesn't Add Anything compared to L's. Sin atonement loneliness grieving stuff. While Light is showing his own reciprocation to this more personal moment he also tries to keep it impersonal enough that it doesn't actually have to mean anything deep). And when L says "I'm sorry" after he once again gets no response from Light. It's also after this that L gets that pained look on his face, like he knows that at this point he's not actually going to get anything meaningful from Light (again, very significant and rare from L in the show. We've seen him in distress (see: when Ukita died, hell, when Watari dies), but even then he mostly manages to keep his usually neutral expression), we never see him "look sad" like he does here):

I just think it's interesting that this is one of the few scenes in this particular adaptation of Death Note where they try to open up the character's thoughts/feeling (especially considering the fact that they. lowkey blunder in adaptations of original scenes from the manga), and L himself is being rather open (not that he ever really tries to hide what he thinks nearly as much as Light), and yet all Light contributes to it in return is like. Actually nothing. Bro fumbled it. There is no resolution to any of this, to any of what L asks at all, to any of the many opportunities for a meaningful conversation, and the only thing even relatively close to an answer that you can get from Light is what you can infer from how he acts in the episode after L dies, where he's just going through the motions, but hardly acting as if he's actually living at all.

(Honestly I think the transition from this scene with the taskforce to the subsequent scene with Misa says enough on its own. Light's expressions and tone says everything:)

(Oh sidenote but. This shit again:

"Light, this is our first date in forever. can't you enjoy yourself a little more?" ('Why don't you seem happy? We can finally be together since L is dead') -> No response, Light instead changing the topic to him wanting to move in with Misa without changing his mannerisms at all

Also there's that one detail again. You pretty much don't see Light's expression when he speaks here at all, except for one shot of his eyes, which is quite literally the exact same shot they used when he "saw" L, just altered for the new setting. You have No idea what he looks like when he's responding to Misa, although it's probably fair to assume that it's the same empty stare he has for the whole Two Shots where you can clearly see his whole expression in the entire scene.

Something something Light Yagami bad at feelings I think you get the point though)

I guess Light's Kind of showing what he's feeling now? He'll admit to himself that it's boring without L, but no more than that. Light never actually admits to anything "significant", and L's dead already anyway, so what would that even do?

And then we get, uh. Basically nothing from Light. For the next 5 Years. Except that he joined the NPA, so, uh, yay? Good job, Light you totally nailed it! Thank you for allowing us as an audience to delve deeper into your inner thoughts and feelings as a character so we can find out more about you as a person! Very helpful! Thank you for not sabotaging one of your few dedicated opportunities to look into yourself as a person and reflect on your relationships with others and being 100% honest with yourself! We stay winning guys.

Anyway, this got way too long for a scene that's over a decade old, and I've probably just said everything that everyone else has already said in this fandom before. But unfortunately this has been living in my head for way too long and I must scream. I just think this episode's neat is all :)

tl;dr Part of the reason why the rain/foot scene (tbh episode 25 in General) stands out so much is because the Death Note anime specifically was a bit robbed in terms of its more emotional character moments compared to the other medias, which makes more somber/introspective scenes like the ones in episode 25 stand out a Lot in comparison. But it's also incredibly ironic because it's one of the few moments where the show (or specifically L) tries to look deeper into Light's character, but because he is so avoidant for the entire duration of these two scenes he adds basically nothing at all. It's almost funny. Mostly sad. It's also very gay. Aand post

Okay actually nevermind one more thing I talked about how the jdrama is supposed to be more emotionally in-depth because it is a TV Drama and just for the record, same thing happens there! I could probably do an entire analysis of the Blue Scene in this context like I did with episode 25 but I'd literally be here forever, so uh, just take this iconic line as my main example:

Same Thing. L's statement "I wish we could have met some other way" is personal. It's his own wish, his own regret that he is expressing to Light. While Light's reply obviously has that same regret implied it's also phrased in a specifically impersonal way. It's closed off. "This is the only way we could have met" it closes off the topic and simply renders L's wish as ultimately futile. Light does not say that he Also wishes he could have met L a different way even if it was likely impossible, instead it's a cold statement of cynical fact.

Idk just. Something something L being able and Willing to be more openly sentimental/emotionally open towards Light/about Light vs. Light's inability to be honest with anyone including himself and his own nature preventing any form of meaningful reciprocation. Something something self-sabotage, y'know the drill. God don't even get me Started on how sincere L's tone is when he says "It'll be lonely won't it?"(at least in the eng dub) in the anime I could talk about his tone in that scene for ages. Also yes all of this relates to L Change the WorLd too by the way. Don't ask how it just does okay.

I do think that scenes like these (rain/foot scene, The Blue Scene. Uh. L Change the WorLd The Novel Adaptation) show, at least in those adaptations, that L does genuinely care for Light, and show that he values him as a friend not just in the mindgame-equal sense but also just like, a more sincere sense you know. Idk if that made any sense and that's a whole other topic for another day but you guys just have to believe me on this one alright please please believe me buries head in hands. Okay post over finally thanks for coming to my tedtalk hope you enjoyed my very-unnecessarily long analysis of the week

[charon-cries]

when OTHER people try to distract or comfort themselves, they call it "coping" and "self-soothing," but when i do it, it's a "mental compulsion" and "you have OCD"

[myrmica]

having finished rewatching s4 and being past the vitalasy goodbye stream in s5 is so miserable what do you mean there's no more vitalasy. the fact that vitalasy leaves and that same day everything starts moving again, that same day zam has that conversation with planet where he keeps laughing mid sentence and going "i don't know how to do this anymore it's been so long," and in that stream bacon and zam describe it as if the wormhole had broken the fourth wall permanently, so now they have to open up to the audience in ways they hadn't before, but that's not quite right. the wormhole opened a door sure, season 4 changed things. but during wormhole zam slammed a door shut on vitalasy and that door stayed shut until this precise moment. so he and vitalasy never get to have the kind of conversation about their past vitalasy needed from him while vitalasy was still there, because the shell only starts to crack open the moment vitalasy is gone. vitalasy exits the stage leaving it all necessarily resolved off screen, leaving a book zam keeps private from the audience. it allows vitalasy to come back in s6 and say "we worked it out behind the scenes," and for that to be all you need to know. vitalasy is no longer a character whose history with zam keeps mattering to him, informing new choices and new problems. but zam is. zam remains a character with all of that history intact, who thinks about it, and uses it as a point of measure for other relationships in his life (or sometimes it seems for relationships, period), who alludes to it in conversation, who remembers it even though at one point he tried pretty hard to forget. so much did happen between them and it still doesn't feel like enough. it just gets cut off, and leaves behind this constant looming possibility space. makes you think well, now there might finally be enough distance from it all that they could really talk about it, that it might be okay. but vitalasy isn't here. and when he visits they never get more than a moment alone together, anyway. what is zam's memory of vitalasy; the things he has accepted and the things he still doesn't think about, the parts of it that remain warped in his memory; what is he guilty about and what is he still mad about; how would he describe eclipse to someone who wasn't there in s4 if he had to really sit down and go through it all; what would have happened if he did give vitalasy that apology heart during the mace trials, if they did get more than a moment alone together. if vitalasy was still present. if there was ever a reason to talk about him. and vitalasy's ghost is overwhelmingly present in s5. he leaves and that's the catalyst. destroying what's left of vitalasy on the server is always the worst thing zam can threaten, and then zam is banned fighting over vitalasy's grave trying to make good on that threat. and they never, ever, ever get to talk about any of it. all of those stupid hours of conversation in season 4 and then nothing at all forever. they worked it out but you don't get to see that part. vitalazam world. i hate everyone else on this minecraft server fuck all of you for real. whenever vitalasy isn't on screen you should be asking "where's vitalasy."