#and the characters being like. pretty simplified?

[entropyvoid]

@labyrynth Imma more heavily push back on that pushback because while you do have a point that western and Chinese audiences in general have pretty different ideas of what’s masculine and what’s feminine, my point is that Aventurine’s design, (and much of Penacony in general) is pretty clearly heavily based on 1920’s America, and I think deliberately mixes specific aspects of both men and women’s fashion from that particular time and place, when masculine and feminine fashions were very much separate. To be more specific, his design slaps a lot of details, ornamentations and overall motifs you would have only really seen in women’s fashion on a masculine silhouette. (This still applies despite him not being from Penacony - his design is still very much meant to evoke it, he is still considered a Penacony character, and I’d argue that aside from just story reasons literally all of the playable Penacony characters being from elsewhere is meant to be reflective of how a large part of the US in that time period, especially in big cities on which Penacony was based (coughNewYorkcough) were absolutely chock-full of first and second gen immigrants because up until acts passed in 1917 and 1924 implemented literacy tests and heavily restricted immigration, all you had to really do to become a US citizen was just show up on a boat but I digress.)

Also it gives me an excuse to blab about fashion history and character design in general. A lot of the links I’ve provided go more into detail and provide visuals, I’m largely just summarizing and picking out what I think is relevant.

We’ll start with the most obviously masculine aspect of his design, which is his silhouette. He’s wearing a three-pieced suit, a long overcoat, (none of which ever really looked anything like what Aventurine’s wearing but we’ll circle back around to that,) and a fedora, all pretty normal menswear stuff in the 20’s and a good while after. Of note I’d like to point out that mens fashion (like women’s fashion, but not as dramatically) became a lot more structurally simplified in this period, with the button count on suits sometimes going way down to 1 or 2 buttons, which is pretty much what Aventurine’s got going on. [https://fashionhistory.fitnyc.edu/1920-1929/ and https://vintagedancer.com/1920s/1920s-fashion-men/]. …Tumblr wouldn’t let me link it the same way I did everything else, for some reason. Damn jank-ass webbed site.

Flapper fashion included a very large variety of outerwear, but I’d like to direct you to look at some of the fur-lined winter coats here, and then maybe take another look back at Aventurine’s coat.

Feathers were a very common adornment in women’s fashion at the time, particularly on hats and in feather boas. Peacock feathers were a popular choice. (As well as ostrich feathers, particularly for boas.)

Peacocks as a motif in general. Since Japan opened its doors to trade in 1858, a lot of new inspirations that western artists and designers took from slowly seeped in, the peacock included amongst them, wherein it very quickly became associated with beauty, exotic luxury, and vanity. [x] At the beginning of the 20th century it began to appear on accessories, [x] and starting in the 1910’s, female stars began dressing as peacocks on stage, and “the male bird became a symbol of exotic femininity and fantastical extravagance.” This was despite the long-held superstition (in western theater and in general) that peacocks were bad luck because they embodied the evil eye, [x] though the opposite holds true in Chinese culture, where they symbolize good luck, as well as beauty, dignity, and heavenliness. [x] In the context of Aventurine I find this especially interesting, because frankly, I’d argue he’s really got all of the above going on rather than one or the other.

I’d argue that just because a character is made by a Chinese game developer, that doesn’t mean that western symbolism, sensibilities, and influences don’t come into play, especially when the character is pretty explicitly based on/inspired by western culture and they know the game’s got a worldwide audience. Take Dr. Ratio as another example - he’s obviously Greek themed and his outfit evokes a toga. The swirl pattern all over it is probably a golden ratio visual pun. He’s wearing a golden laurel pin in his hair, a symbol of honor and achievement worn by artists, athletes and scholars for thousands of years, and it’s got the same number of leaves on it as he has PhDs. The little gem on his chest is tyrian purple - a color historically reserved for royalty, reflective of him having an incredibly distinguished status. He’s got an owl on his shoulder, which is a symbol of Athena, Greek goddess of wisdom. Interestingly enough, according to that thing I linked earlier that explained a bunch of the symbolism of different birds in Chinese culture, it would seem that owls are a bad omen, because of their big scary eyes and the fact that their call sounds like a word for gravedigging in certain dialects. And honestly the whole not being recognized by Nous thing could be seen as ill fortune, while overall he could easily come off as negative or gloomy, especially if you’re playing with the Chinese, Japanese, or Korean dubs, where his voice is a lot more… I guess stoic? (I love English dub Ratio but he is a lot more… emotional sounding? And perhaps that too is something that more suits broadly western sensibilities. Idk.)

Point is, though Chinese symbolism may not have been thrown out the window there, he is nonetheless clearly heavily influenced by the symbolism of the culture he’s inspired by, with both fused to make something that works for both audiences. I don’t think Aventurine is really any different. I think to ignore the feminine aspects of his design within cultural context assumes that the Chinese character designers (and the writers they work with) just didn’t do their research well enough and slapped masculine and feminine fashion together by complete and total accident, which I think does them a disservice, especially when they pack so many designs full of meticulously researched little symbolic or cultural details.

I also think that the issue of trying to get queercoding past Chinese censors seriously complicates any discussion of a given character’s masculinity/femininity or gender in general, and Hoyoverse has like, a whole history with tryna depict queer people anyway (original Bronya/Seele HI3 comic kiss, anyone? Chinese government specifically saying no femboys allowed and then explicitly naming Venti, anyone???) But like, that’s a whole nother can of worms.

I spent literal months going “man I wish they’d release a character with a flapper-inspired design for Penacony since it’s inspired by 1920’s America and whatnot” whilst maining and constantly staring at Aventurine the entire time before it clicked for me that he’s the resident flapper and his outfit is basically a 50/50 fusion of both masculine and feminine 20’s aesthetics actually and that’s like pretty cool

And then I went “but what if we dialed the flapper aesthetic up to 100” just for funsies because I wanted to see what it’d look like. So here you all go

[theoldkyokodied]

Hello! I really love your art! I was wondering if you have any tips on how to capture the person the facial features of the person you are drawing so well?(!) Your Billy and Stu are is amazing! Although it is in your style (which I absolutely adore) you still keep their likeness/resemblance which is very hard for me to do when trying to draw them in my style! (Sorry if the wording is confusing, any tips?) Thanks!

Ah thank you so much and sorry for taking so long to reply, but I needed to figure out how to answer this.

I have put some general tips together, but I need to point out that none of these replace the time investment of learning art. It is merely a suggestion of direction for practice, and I don’t want anyone to feel discouraged if any of these tips don’t immediately make them into a master of arts. Art practice is not easy and it can be frustrating to not be up to your own standards yet, but you will get there! :) In the meantime: be kind to yourself!

That said, let’s get to the tips I can share:

1) Use references!

I usually create a reference sheet for any character I want to draw more often, with their face in lots of different angles. Being able to know how, for example, someone’s nose looks like from the side and from the front can be essential when it comes to recognition. You basically want to be able to create a 3 dimensional object with these references. I tend to need the references less the more I draw the character, after a while i just memorise their key aspects for drawing them from most angles :)

2) Figure out key-features of a person

Try to figure out how to simplify someone in a drawing. What are their most striking features that NEED to be included? Sometimes it helps when you try to think of what features a caricaturist would accentuate in a caricature of them. Here you have some features that I personally try to focus on when I draw billy:

As mentioned in the bottom right corner, the placement of these key-features is also important. Try to figure out where things are placed in relation to other facial features and mind their size as well. this becomes easier the more you do it!

If you struggle to find out what features are important you can also look up other fan-artists stylised work you like and try to see what they chose to highlight :)

3) Do studies!

4) focus on values and contrast before considering color

doing a study without a sketch by blocking in shapes can help you figure out the planes of a characters face

as you can see here, stu’s eyebrows kind of blend in with the shadows of his brow bone, which is why I usually draw his eyebrows pretty light/in a color that doesn’t have high contrast with the skin tone, it makes him instantly more recognisable in my opinion

5) Draw (a lot)

I have been drawing basically every day since I was a child, but my ability to actually draw someone recognisable has only developed in the recent years. And I don’t think I’m done with learning. In the undying words of Bob Ross: “Talent is a pursued interest. In other words, anything that you’re willing to practice, you can do”.

I hope my tips can help a bit and and perhaps lend you some motivation for the never ending practice that every artist has to face :’) <3

[remxedmoon]

here's a philosophical conundrum for you, siffrin.

if you don't have a home to go back to, what kind of person does that make you?

if you don't have memories of your own childhood, can you still consider yourself human?

if you have forgotten something as important as your country, your childhood, your family, your own name, then are you even a person?

if something is forgotten by everyone, then has that thing ever existed?

(effect works best when zoomed in!)

teehee :3

sorry odile’s part of the mdp fight has been pinging around in my brain for like. months now. i’ve had the idea for this drawing for a while. this is also partially based on isa’s act 4 friendquest (without doing bad touch) where siffrin mentions that they didn’t really have an identity before they met the party!! i wanted to play around with transparency :3333

also, for once, i’m actually putting the colored version down here! idk! i felt like the greyscale version kinda conveys the Mood a little better?? i like both tho!!

[gamebunny-advance]

"Fluffier"

How could I *possibly* make him any fluffier?

[averlym]

some very very quick costume shorthands!

[wheucto]

wanted to draw a cat. pretty satisfied w how it came out

[stardusthuntress]

So I finally watched the 2D clone wars show, and I gotta say, it’s PHENOMENAL!!!

I now adore every second of it, in all of its sassy, oversimplified, primitively scripted, 2D glory!!!

I LOVE how Kenobi spends practically the whole time 100% done with everything, Anakin really is a disaster at heart, half the time the animators zoom in on something, just to start at a picture of a droids face while it talks - with zero motion whatsoever, Windu’s rocket punches, Yoda’s dramatic expressions, PADME and the marriage drama, the bazooka ARC (that guy had tired Rex energy, I LOVED it), a very different perspective of the moments right before Kenobi and Skywalker enter the battle of Coruscant, and it clearly was so inspirational for so many other SW shows!!! Not to mention how it flushes out so many things I’ve always wondered about!

And this is where the tradition of warning Anakin of his fate begins! And he still doesn’t get it! AND he’s 100% dramatic ALL THE TIME!!!

It’s amazing!!!

But it does bother me how many of the clones are truly treated as disposable! It’s like the only ones that make it out of the conflicts are the Jedi and the Sith! They just got mowed down left, right, and center!!! It was so cruel to them!!! And they mostly avoided giving ANY of them names!!! Cody was in it, and 1 other named guy but I couldn’t figure out what his name was. The Commander in red who led the ARCs! They were the only clones that (mostly) survived!!! It was so sad to watch them all just get disposed of so quickly and easily! They didn’t have to do that!!!

[fallloverfic]

There are two versions of ORV: the original serialized version and the revised version, and the revision is what the manhwa is based on (it's the same for singNsong's other completed novel, The World After The Fall, which was revised after publication, and it's the revision that's being used for the manhwa adaptation of TWATF). One of the ORV arcs that was most heavily edited for the revision was the Peace Land arc. But the manhwa also adds/removes things as it goes because that's kind of the nature of adaptation.

The popular English fan translation of the novel is the unrevised version. As far as I'm aware, no one has fully translated the revised version into English. It's one thing people are wondering about with Yen Press' upcoming English translation: are they translating the revision or the unrevised version? It would make more sense that they'll do the revision because that's what singNsong have apparently said is their ideal version of ORV, and it's what's used for the ebook version of ORV.

Hi! I hope it's okay to ask, but I really want to read ORV and I'm.. a bit confused about something? How or where exactly do I read it, and which version of ORV is the one people usually recommend? Is there even a difference? I'd appreciate any and all help!

no worries! redirecting you here

as far as i know there are two versions? one is translated (the one i am directing you to) and the other is an edited version which may not be translated? and may or may not be the base for the webtoon? with some scenes added and removed? take whatever i say with a grain of salt though, i got handed the file in a dark alley by an ill meaning friend. she was out for my blood apparently.

[hattiestgal]

If you don't mind my asking, how do you go about drawing fat? :3

JUST THE EXCUSE I WAS LOOKING FOR

So, for me personally, a lot of the time when I draw fat characters, I'm not looking to specifically capture the specifics of fat as much as the feel of fat. Bulkier, rounder shapes in the right places that has a feeling of weight to em! A lot of that is intuition and simplification at this point, but it all works on the same frame as just any ol' person. Like take this-

For example. This is the basis for any body shape, not just the more average one that it may imply. Sure- it can be that average body shape:

But also a fat one too!

And a big part of that is knowing where fat usually tends to bunch up on the body, so lets take a look piece by piece! (Please keep in mind this is very simplified, and not completely precise in some parts)

THE FACE: Cheeks (in purple) and especially the chin (in light blue) are the places where a lot of the fat is gonna wanna gather and round out on your face! Additionally, theres a small pocket of fat beneath the cranium on the backside of your head. It's small, but it is there. I believe fat can build up elsewhere like the bridge of your nose and forehead, but generally speaking, you're gonna have a whole lot more buildup in other places first.

THE TORSO: A lot of the fat built up on the torso is gonna be sent to your tummy. More cushioning for vital organs, mostly out of the way, it just makes sense. Additionally, the lower backs fat builds up and joins with a patch of fat on your sides that forms what is typically referred to as the love handles to make that double belly look. Along with this, the immediate next target for the torso is the breasts, followed by the upper back!

THE ARMS: For this limb, a VERY notable amount of the fat present builds up on the tricep and bicep areas, lessening once you get towards the flexor and extensor areas. You can almost think of the arm as a sort of triangular shape, wide side starting from the shoulder and tapering towards the hand, which itself mostly builds up fat around the back of the hand and the fingers. The shoulders themselves don't build up too much fat unless you got a lot

THE LEGS: And finally, you can think of the legs having pretty similar curves to what you're probably already used to thinking. The front of the thighs getting a big buildup, along with the back of the calves, the other parts being flatter in turn. As far as the feet go- similarly to the hands, the top of the feet, along with the heels get most of the buildup, as fat on your soles would impede mobility. The glute, hip and crotch area will also especially build up fat, lending to the same triangular shape that you can see in the arm!

A big thing to note with fat is that it tends to taper off towards joints. Your knees, elbows, shoulders, hips, and all the other places are gonna have significantly less fat so that you remain mobile and flexible, as that's important!

Now that we have an idea of where fat builds up on the body, you might have something that looks kinda like this

Which yes, does demonstrate a solid understanding of the places fat builds up, lacks the weight you're probably trying to convey, which brings us to out next point! Fat is well... heavy! Gravity is what gives fat much of it's shape, especially as you tread towards larger and larger bodies.

This is demonstrated really well on the arms especially-

Those big ol' bits of fat'll really start to sag when left hanging, and they will squish like hell if they run into something. I like to think of these bits of fat as big ol' ovals that squash and stretch depending on if there's an obstacle in their way or not

These are the important shapes to remember when it comes to the weightiness of fat! If you take all of this into mind, you should be getting something a lot closer to that shape you've been after!

Oh, and always remember that fat bodies come in all variety of shapes and sizes! Play around with a whole lot, and seek out all the resources you can! it'll really lend to your knowledge when it comes to this kinda stuff!

And as I always recommend when it comes to learning art- look at what your favorite artists do with fat bodies. See what you really like about the fat bodies they draw and try to replicate it in your own work, I promise you it's one of the most helpful things ever.

This is like the most basic of basics when it comes to drawing fat bodies though. If there's any additional thing about fat bodies, or maybe you want clarification on something, don't be afraid to ask! If there's enough to cover, I'll make an addition to this post!

[deerspherestudios]

I’m super curious about Atom!!!! Firstly, they’re so cute :(((( I would be so nice to them right off the bat. I could match that energy (maybe not the…liquefying people part, but I can Definitely meet the upbeat “get to know you” energy!!!!)

But I’m also curious about their little “worm transform-y” ability. There are a TON of implications to what they said about it, and I’m very interested to know which of those implications are true

So maybe I’m taking Atom too literally, but I’m pretty sure at one point they said “I can make your air.” Which, they WOULD need to make MC air, if they were to keep you in space forever. Air is limited.

But you can’t breathe in worms. So that means Atom’s worm (body?) transformation legitimately BECOMES whatever they will it to. Not just imitates. That dog food wasn’t worms, it was dog food. And the air isn’t worms, it’s air!!

And then that stretches into other questions. Could Atom take any form they wish? What would happen if they transformed all their worms? Can they feel when their worms (body??) are being transformed?

You don’t have to answer that slew of questions at the end lmao—maybe I’m reading too much into it. But!! I LOVE Atom and all the implications that their existence holds. I had a lot of fun playing the game :DD

Aaa I'm really glad you like Atom as much as you do!! I don't know if it's just new blorbo energy but I get excited to talk about them, especially in detail like this haha! I'll try to explain below the cut about their ability to create things (tw// it's long!!) but to keep it short, you're actually correct!

TLDR: Atom reconstructs their worms into different forms of matter (whether solid/liquid/gas) to produce whatever you need to survive. Because, uh,,, science. <3

Here's the lengthy explanation of what Atom can do. I'm not smart enough to explain it but I'm stealing this from another website:

Transmutation or nuclear transmutation is a process that involves a change in the nucleus of an atom. When the number of protons in the nucleus of an atom changes, the identity of that atom changes as it is turned into another element or isotope.[1] This transmutation process can be either natural or artificial.

Simplifying it further for my character, when Atom talks about being better than a planet, they kinda are! They can make anything as long as they know what it is (I've yet to come up with 'how' they discover new elements,,, it's implied in-game but I wanna flesh it out more; ask me again later keheh), and the worms that make them up is an unlimited resource/material for those exact transmutations. And if something turns into waste, like the rejected dog food, they just crunch them up to be re-used all over again.

Remember what they said about being your 'angel'? Not to be too on the nose but in a way they turned the Bidadari into your own personal terrarium, with it being the ecosystem keeping you alive in space. Which, in my personal opinion, makes the ending much more terrifying.

Here's a lightning round to answer your questions because I don't know when I'll get these kinds of questions again!!

Could Atom take any form they wish?

Nope! They're still just worms! When they 'make' something it's no longer a part of them.

2. What would happen if they transformed all their worms?

Highly unlikely to happen, but let's say for experimentation's sake Atom is forced to use up all their worms and the end result is separated from it so they can't absorb it back into themselves like the dog food. It has to leave one single organism behind, but it can't really do anything. That single organism eventually will multiply all the way back to its former (mass wriggling) glory.

3. Can they feel when their worms (body??) are being transformed?

Nope! They don't really feel anything, at the most they feel pressure and temperature changes but that's it.

THANK YOU FOR COMING TO MY TEDTALK HAVE A NICE DAY! HERE'S YOUR REWARD <3

[yannisdesk]

On Arcane & Antivillains

One thing I really enjoy about Arcane is how it handles antivillains.

For one, most of the characters (main ones) would actually fall into the category of antivillain at one point, or in the case of our two protagonists, become one. Arcane is arguably ripe with them.

An antivillain is essentially the opposite of an antihero. Simplified, antiheros do good things out of selfish or questionable motives, antivillains do things that are objectively bad or evil, but for noble reasons or for a greater cause. Another term for them is "sympathetic villain" however that term is too vague (there are villains out there who are sympathetic, but are none the less traditionally evil and therefore do not qualify as antivillains), and "antivillain" is a much better term mirror to "antihero." A common thread I've noticed among antivillain characters is some level of a Machiavellian approach to achieving their goals - the ends justify the means type of philosophy is something you'll always find characters that fit this category. At the very least, they dabble with it. In their eyes their actions are always justified because they're fighting for a good cause.

To put things into perspective, I'll use two examples. Harley Quinn shifts around, but she is frequently an antihero, take her depiction in both Suicide Squad movies. She does take down bad guys, however she's not doing so out of a sense of altruism, but to get a reduced prison sentence. Very cut-and-dry example of antiheroism.

On the flip side you have Magneto. Now from what I've seen (I've dabbled in the comics, but haven't dived in all the way) in the comics he gets very dark with the antihuman action. But in the Xmen movies, he definitely does some down right villainous stuff, but his intention remains the same - he wants mutants to live in a world free of bigotry and he's willing to do anything necessary to achieve that, including committing atrocities.

Now if this sounds very confusing to you and you swear you've heard these terms interchangeably or that you can think of several characters that are labeled as type A when they should be type B or vice versa, that's pretty normal. These aren't archetypical heroes and villains we're talking about, so it can be hard to categorize them, and honestly most characters in general will go back and forth or shift at one point or another, so all you need to know is that those definitions are the ones we're working with in this post.

Here are the characters from Arcane that I think suit this label, and others that I think will.

Disclaimer: this is not me hating on the characters. I love all of these characters for this layer to their character. This is not a "oh, look, this character is bad actually," post. If anything, consider it a celebration of their gray morality and how well its explored in the show.

Silco

Duh. Silco is objectively pretty evil. Setting up a drug empire that destroys your own people, getting in-cahoots with corrupt cops, killing kids, and aiding in destroying a young girl's mental health is multiple levels of foul. However, for him, all of this was part of an elaborate plan to liberate Zaun, which is being aggressively oppressed by Piltover. They were necessary sacrifices made to the cause, and worth it because it will bring forth better days for him and his people. Now obviously, a lot of his actions definitely have to do with his own ego, however the only time Zaun isn't prioritized is when it comes to Jinx, who is like a daughter to him, and even that realization comes to smack in the face late in his arc.

Sevika

I'd argue she's even more noble than most since she truly is rooted in the cause for Zaun. Not only is she willing to do some pretty bad things for the "greater-good", she's even willing to betray people who she views as unfit or incompetent. And what's even more telling is that she doesn't do this for power (which is arguably a part of Silco's prerogative). Sure, she's his #2, but he doesn't exactly show any favoritism. And Sevika seemingly isn't even trying to become the new leader of Zaun after Silco's death from the season 2 clips, but will support Jinx, despite the fact that she probably could dethrone her. She's no true blue hero, but she's not a megalomaniac either.

The Entire Council of Piltover (Minus Mel & Jayce)

As obnoxious as they are, none of them are mustache-twirling villains. As we see with characters like Sheriff Grayson (not a council member, but they share the same sentiment), they legitimately think they're protecting the city with their neglectful leadership and oppression of Zaunites. Yes, this includes Heimerdinger, who seemingly only started caring about Zaun once he was booted out of the council, so that places him firmly in antihero territory in my opinion.

Why did I exclude Mel and Jayce? Their plots are actually upward in terms of morality, especially Jayce who by the end is closer to being a traditional hero by prioritizing peace and progress over the status quo or war, and actively makes the first move of trying to right Piltover's wrongs. Mel's arc has also moved this direction as well, as she went from arguing that Jayce and Viktor should build Hextech weapons in case of war with the Zaunites, to fully embracing peace. You could argue that Mel wanting the weapons means she was at some point an antivillain, and I might agree, but as it stands, she's firmly in the clear.

So, why are the rest of the council still considered antivillains? Honestly, we just don't know much about their motivations to say. They ultimately did a good deed in voting for peace, but you know, one good deed doesn't wash-out the bad and vice versa. They're not even on thin ice for me, they're still fighting for the surface.

Marcus

Questioning your actions does not mean you can't be an antivillain, and Marcus is a good example of that. He's is kind of like Caitlyn if she were way less compassionate and very incompetent. Marcus does not think his actions are evil, according to show runners he only places Vi in Stillwater to protect her from Silco; he gets involved with Silco because he wants justice for the building explosion and it goes out of hand. That said, he also threw a child into a dangerous prison with no charges and with the intention of keeping her there for life, and worked with a kingpin who was actively antagonizing his own people while reaping benefits from an abusive system. So yeah, Marcus falls more into being an antivillain than full-blown villain, he's still firmly an antagonist though.

Ambessa

I know it's very popular in the fandom to call Ambessa a traditional bad-guy type of villain, but she is actually very nuanced. For one - she does not see her actions as evil, nor are her motivations behind doing them rooted in it. Ambessa, as she states in Mel's flashback, was raised in the Noxian way. Her grandfather literally made her search the dead bodies of the people they massacred when she was a youth, and she was indoctrinated to believe that this was in the best interest of her family and the Noxian people. By showing strength and ruthlessness, she's telling the rest of the world: "Stay away from House Medarda and Noxus." Hence, why Kino's death wrecks her, because she values herself over how effective she is at warding people off from messing with her family. Her main reason for getting involved with the war between Piltover and Zaun will 100% be because Mel's life was nearly lost due to Jinx's bomb, and this is coming straight off of her son's death mind you. So, while Ambessa may definitely be one of the most ruthless people on this list, she is not at Palpatine levels of evil yet, not by a long shot.

Jinx

You guys saw this coming, right? This barely needs an explanation. Jinx grew up in the Lanes, was a victim of Piltover's oppression multiple times throughout her youth, was willing to fight for their freedom as seen in episode 2, and in the end, that desire, along with her being adopted by Silco, manifested in her doing multiple acts of violence, including terrorism against Piltover, which frequently hurt people who weren't guilty of anything. (No, blowing up the building in episode 3 doesn't count as one of her evil deeds because it was an accident.) We understand completely why Jinx does what she does, even though it hurts to see her slip farther and farther into this mindset.

Vi

Way more subtle (for now) but I'd argue she's there come episodes 8 and 9. Hell, you could argue that her arc is about her sense of morality breaking down due to realizing how impossible the situation between Zaun and Piltover is, and embracing an "ends justifies the means" type mindset that Vander tried to sway her against back in episode 2. Wanting to stop a kingpin from using this new dangerous drug to destroy your city and sister? A noble cause, indeed. Not really caring that (or being passive over the fact that) children die in process because of their approximation to said bad guy? Yikes. [EDIT: Since we're on this topic: here's a link to where I explored this aspect of her character. I did this a while ago, but I thought it best to include it here too for added context). Now, I know what some of you are going to say - how is this any different from, say, Steve Rogers telling Wanda Maximoff that sometimes there's collateral damage when doing hero work? The difference is that Steve didn't argue that those people had it coming because they're associated with the bad guys/or in their way, which Vi does. That's some dangerous conviction right there, and we'll probably see that elaborated on in season 2 given that she's becoming an Enforcer which is a position that lends itself to abuse of power (and if it goes anyway like things do with her game counterpart, she will engage in police brutality and not see an issue with it, but given that Arcane's Vi is way more well, nuanced, than her game counterpart I don't think it will go on for long). While we're on the topic of Vi, according to her prison records, she had a notorious reputation while doing time to the point that I find it funny Silco didn't put 2-and-2 together that the girl with short pink hair beating the shit out of and attempting to murder all of his goons that went to Stillwater was possibly the same girl that wiped the floor with those same goons the night Vander died.

Potential Antivillains of Season 2:

These are characters that I predict will become antivillains at some point during season 2 based off of where their season 1 arc left and clues from season 2 teasers and clips. This is not me saying for sure this will happen, only a prediction. But if it does come true, I will gladly collect $5 per accurate plot point.

Viktor

Two words: glorious evolution.

We all love Viktor. We all love good-guy Viktor, and we will also more than likely love not-so-good-guy Viktor due to how complex that arc will be. If it will go anything like his game-lore (which I suspect it will) his noble intentions will never leave him, just simply evolve to include some less-than-heroic actions and justifications. He still wants to improve the undercity, and well, humanity overall, with hextech, motivated by the injustices he's been put through his own life and his illness, but he will go about it in some very unorthodox ways, and his arc in Arcane is about him confronting if he wants to "evolve" his morality for the sake of his ultimate goal, which is progress. Viktor would definitely agree with the sentiment expressed by Gloria Steinem (character depiction, not a real quote) in Mrs. America - "Revolutions are messy, people get left behind."

Caitlyn

I'm pretty sure she actually will become apart of the antivillain roster in season 2, but noting is for certain. Caitlyn is perhaps the saddest version of this there is, because we see where she starts out. She doesn't want to be like everyone else in her circle, she tries to break free and be better. She wants to do good by both Piltover and Zaun. She has hope, gentleness, and doesn't place herself above even those who occupy the lowest levels of Zaun. She puts herself, her status, and her life on the line to discover the truth, and comes out her time with Vi steadfast in wanting to help heal Zaun. She can be a little naive and ignorant, but she never does so with malicious or ill intent. She is the kindest person in Arcane.

But, given that her mother was killed in a terrorist attack set off by the new Head Zaunite in Charge, things will change. As we see, Caitlyn becomes a sheriff on the Enforcer squad, and now her goal is no longer to sow peace between Zaun and Piltover, it's to avenge her mother by assassinating Jinx. Of course, this will be due in part that Caitlyn thinks snuffing Jinx out will solve the problem, which will be ironic and hypocritical because she told Ekko that getting revenge on Silco won't solve anything in Zaun, but now that she's in the same predicament, the tables have turned and now diplomacy is off the table. She still has that hero-complex, as she lives by the lessons of Sheriff Grayson, but now it's with a twist. The idealistic Caitlyn who believed in giving peace a chance through reform is gone, and she now believes that there's little to no cost too great for her to achieve this, even if that (possibly - again season 2 hasn't come out yet, so we shall see) means hurting innocent Zaunites. And what's scary is that Caitlyn has the intelligence, dedication, talent, and efficiency to pull it off. Truthfully, I believe we won't just be getting Sheriff Caitlyn in season 2, but also Dictator Caitlyn.

[truthandadare]

S2’s Mistreatment of Zaun’s Independence

Season 2 was a mess; rushed, badly paced, weakly written. A show once rich with discussions of systematic oppression, brutality, and the dangers of scientific exploration felt reduced to a good vs. evil backdoor pilot (s). Breathtakingly animated yes, and there were still moments I enjoyed and forgave—but we can enjoy groundbreaking artistry while also being critical of its flaws, especially when those flaws include social issues.

Paint the Town Blue: Enforcer Violence

Season 2 we’re meant to feel bittersweet if a little triumphant when Vi dons the uniform of an Enforcer. She remains complacent as Cait uses weapons of torture on the people of the Undercity. Vi sheds her uniform not because of any ethical disagreement over the actions of oppressors but because of the desolation of a love affair. An identity shift so vast it left her feeling morally anemic.

In the final act, much like Vi, Zaunites button their new Enforcer uniforms for “the greater good”. The tone of the hand full of Zaunites crossing the bridge to join the fight against Noxus was one of heroism, of martyrdom.

Season 1 gifted us a nuanced theme of systematic oppression and cycles of brutality among enforcers. This is an unsubtle mirror of our world’s history of police violence, and as an American seeing the topic explored so vividly was a gut punch in all the right ways. Season 2 left me puzzled….did we just want to see Vi in her predestined fate as an Enforcer? Yikes!

Simplifying Silco

As much as I could gladly spend an evening with the pretty flashback, AU, and dream images of Silco, there is no escaping the mischaracterization and simplification of his character, specially as a passionate revolutionary.

Finding Vander’s letter would have made no difference. Just as an apology from Piltover would have never been enough to warrant forgiveness. He and Zaun weave together so easily in my mind. It’s easier to imagine them defanged, a “good guy” left heartbroken who just needed to let it go or else become a drug invested wasteland.

Its harder to reckon with a the poisoned man, the betrayed man, the man of rebellion and desperation. Season 1, he was a man of moral grays, pride, textured by his willingness for violence and extremes to achieve freedom for Zaun. A man who, beyond his own tragedies, knew the complexity of blame.

Violence is a cycle…yes, but by simplifying cycles of violence and placing sole blame to those unable to walk away is reckless. Cycles of violence are often birthed from subjugation, and they fester and grow as persecutors convince victims that they are the ones to blame.

The Nation of Zaun

Of all its failures, what I find the most difficult to swallow is the mistreatment of Zaun’s *not* independence and the message of forgiveness above all else.

Sevika, Councilor Sevika, is voiceless in the last Act. Not simply in her lack of lines, but in the complete mishandling of what she stands for, who she stands for. Zaun is left with one, rather reluctant and lonely Councilor at a table that was never built for her. She will remain voiceless, drowned out by the voices of those who see her fighting against Ambessa as a testament to her being “one of the good ones” as “forgiving”.

We are not meant to forgive our oppressors. Stuck beneath the boot we do not thank them for allowing us a gasp of air. Such a message in widely distributed media in a time when fascism has its head raised high, is dangerous. Yes, it’s a show based on League of Legends, but it’s also art. Art is transcendent, it reflects our world and our truths. It has power.

Instead of using this power, Arcane Season 2 had a sincere disinterest in revolution. Nuance cast to the wind to be replaced with elementary concepts of good victorious. A watered-down hoo-rah.

My hope is that this fumbling will start more conversations about the importance of thoughtful storytelling in our modern media. Continue to have those hard discussions.

[electricsoul-rpg]

Netflix's 3 Body Problem

I tried watching Netflix’s American adaptation of Three Body problem. I watched five episodes and boy, is it painful.

(Full disclaimer: I really liked the Chinese adaptation by Tencent, I read the book after I watched the drama, and I am a European of Chinese descent, so I am definitely biased.)

The general whitewashing and westernization of the story is already pretty bad. Why take a Chinese story if you’re going to make it so blandly American?

Everyone is horny and thinks about sex, relationships based on ideals are reduced to attraction and sex. Everyone is so vulgar and crass. IQ seems very low.

Ye Wenjie. What did they do to Ye Wenjie. She’s a brainless horny fanatic woman now. And Shen Yufei is replaced by a generic unhinged lady. All the scientists seem supremely dumb.

White characters explain or emphasize things in Chinese, for Chinese people, when their Mandarin is bad. Not gibberish bad, but still pretty bad. Please just use English, your white actors clearly can’t speak Chinese. Your Chinese characters can understand and speak English. Don’t hurt our ears like this. It might be cool and exotic for the average Western audience who doesn't understand Mandarin but it’s cringe and painful for us.

A small thing but since I lost my father a few months ago, it struck me pretty hard. What was that altar in Clarence Shi’s house? Just two big pricey candles and one stick of incense? This is so cold and lifeless. Where is the FOOD??? The drinks??? The flowers/plants??? You're calling your wife and you're leaving her starving and depressed!

(For info, a normal small home ancestor altar should look more like this. As you can see : FOOD. Take care of your ancestors!)

The cast and setting is supposed to make this adaptation more "international"...but two British dudes decide everything when, in the novel and the Chinese adaptation, it is truly an international decision and an example of global cooperation. Five Oxford alumni of different skin color does not make this more international!

And so so so so many more things that are wrong. I feel like there is not a single Chinese brain cell in this.

All in all, I did not expect anything good, but I am still disappointed. It is so bland. No build-up. No mystery. No menace. No ambiance. Nothing. Everything is said straight to your face. They must think the audience is stupid, I guess.

Watch the Chinese adaptation

Did you like the ideas behind the Three Body Problem, either the book or the Netflix series? Are you ok with reading subtitles and watching something not in your language? Are you ok with seeing something set in another culture, with another culture's codes, not simplified and westernized for your sake? Are you ok with not being able to binge-watch it in one weekend? Are you ok with more complex characters, a slower-paced plot? Then try the Chinese adaptation. It's on Youtube and Viki, with subtitles. Legal and free.

[hyuburt]

I think Fantasy High would look good animated in the total drama style since they’re both chalk full of chaotic sweaty teenage energy. Here are the bad kids on their first day of school

[ID: Two images of the same lineup of characters, with the top one being the colored version and the lower one being the line art. They depict the six main characters from D20′s Fantasy High from tallest to smallest; Gorgug, Fabian, Kristen, Adaine, Fig, and Riz. They are all drawn and colored mostly in line with canon, with some slight variations to accommodate the total drama style. Gorgug’s eyes were stylized into two white dots with slight bags underneath, and he is standing upright with his hands nervously brought up to his chest with a slightly timid expression on his face. His hoodie is a slightly de-saturated purple with grey sweatpants and purple sneakers. He has dark green skin and black wavy hair that falls above one eye. His wobbly, down-turned mouth has a tusk poking out of the higher side (he normally has two, it’s just the way his expression was drawn made it so only one was visible.) His face shape and nose are rounded to give him a softer appearance and there are two little lines indicating the beginning of teenage stubble on his chin. Next to him on the right is Fabian, who stands with his arms crossed and his head turned haughtily to the right, a smug expression on his face. He is wearing his red owlbear jacket with white sleeves, greyish brown loose workout pants, a black undershirt, and red sneakers. He has brown skin and swept back white hair that is shaved on the sides. His nose slopes downwards and he has two eyelashes under both eyes to denote that he is a fancy, pretty boy. He is drawn with a strong, square jawline and a build that is both muscular yet nimble.To his right is Kristen who has a stocky, more rounded build and is wearing a rainbow tie dye shirt with a simplified corn logo in the center, denim shorts, green flip flops, and a rainbow bracelet. She has curly orange hair that curls around her round face, light tan skin with freckles, bushy orange eyebrows, an upturned nose, and dark green eyes that are upturned in a smile. To her right is Adaine, who is slouched slightly with her arms crossed and an unhappy expression on her face as she looks off to the ground. She is wearing blue circular glasses over her round blue eyes, her blue two-piece hudol uniform, knee-high grey socks, and black mary jane shoes. She has light brown skin and short, straight blonde hair swept back from the front of her face in a widow’s peak. She has a small, pointy nose and a circular face with a small pointy chin. Above her is a version of her face without her glasses. To her right is Fig, who is standing proudly with one hand on her hip and the other in a finger gun. She has light reddish skin and brown hair in a braid that has a bright purple streak in her bands and at the end of her braid like it was dipped in paint. She has a long, pointy face and a slightly hooked nose. Her eyes are a dark pomegranate color and slightly upturned. She is wearing purple lipstick, a short leather jacket with a cropped grey shirt underneath it that has a picture of a horned skull on it, a black choker, fingerless gloves on both hands, a plaid skirt and belt with black leggings underneath, dark brown boots, and a single fishnet coming up to her calf on her right leg. To her right is Riz, who is holding a magnifying glass up to his face with one eye squinted to see through it and his other hand on his hip. A single fang peeks through the corner of his small smile. He has a green tail that swishes in front of him. He is wearing his signature brown cap and two piece suit with mauve pants, vest, and tie. His skin is light green with freckles under his eyes, his eyes are light greenish-yellow with slits for pupils, and his hair is dark green and swept back under his cap. Above him is a version of his head without his cap, showing that his hair is swept back from the front and curls away from his face, giving him a windswept appearance.]

[oobbbear]

Hi!!!!!!

I really love your art and I was wondering if you had any art tips?

I'm pretty good at drawing realistically, but I struggle with more stylized or cartoon-y stuff...

Here I’m going to talk about the two, in my opinion, the most important aspects of stylization is: ‘Simplification’ and ‘Exaggeration’

First, simplification,

I took this picture of a man holding a hammer, if you just look the silhouette, it is very complicated the pose is stiff

Try summarize the pose with only two simple lines, one representing the head, torso and the leg, the other representing the arms. This is the line of action. Now you got the two lines, play around with it try make it flow better. (Google ‘line of action’ you can find a lot more better examples)

The next step is to simplify the previous drawing throw away all the bumps and little details, take what you think is the most important and draw it based off the line of action you just acquired. this step might take a lot of practices so look at tutorials and draw a lot you’ll get there (Go on YouTube and search ‘life drawing tutorial’ they teach this step really well)

This is how you simplify a complicated pose! I’ll talk about how to simplify character after the next point

Second is exaggeration

I’m using the same photo here again blocking the person black so we can see the silhouette clear. This time we’re not finding the line of action, we’re reducing this person into a simple shape, to me, he looks like a rectangle.

great, now we try drawing this man with only rectangles

After blocking out the simple rectangles, exaggerate them, make the big ones even bigger, the small ones even tinnier.

Make the main focus of the drawing clear and easy to see, the audience needs to be immediately on that thing the moment this drawing shows up! What’s the focus point of the drawing? The hammer, it’s too small for one to find so let’s exaggerate it make it huge.

Tada, now you have a clear and cartoony silhouette, the rest you can fill in however you like

To cartoonify a character is easy, similar to how you cartoonify poses, you take out the little details and leave what you think is the most important, the things that makes the character unique, and exaggerate them

((Here I’m using a genshin character because their character designs are known for being a hell to animate (genshin fans don’t come for my ass this is only for educational purposes))))

I’m… not the best at explaining things so if you can’t understand any of these please let me know!!!!!!!!!!

[eyrieofsynapses]

why Aurora's art is genius

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

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

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

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

All positive feedback btw! No downers here. <3

---

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Additionally, the misting here:

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

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

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

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

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

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

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

A handful of miscellaneous notes on the second panel:

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

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

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

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

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

Third panel gets paragraphs, not bullets:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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