#but that's not how structural color works

[samsimisauser]

Sorry to go back to this, but now that I have a free moment I am going to bore you some more. I’m sending you this here because there’s a character limit in replies.

It seems like a lot of blue colours in nature (not plants which contain a anthocyanins which is I think what they say the Na’vi from Avatar have, but they’re plant like aliens.)

Looking at natural living creatures with blue colours, it appears that they are not blue pigments but are considered to be structural colours. So the question of blue is actually less of a biology question but physics https://pubmed.ncbi.nlm.nih.gov/16449568/

A good example of this is the Blue Morpho Butterfly which is has a brown pigment. Blue morpho butterflies had a distinct structure that are called “diffraction grates” that causes the light to scatter, and appears iridescent blue to our eyes.

You can actually see these under a microscope https://www.uvm.edu/~dahammon/Structural_Colors/Structural_Colors/The_Blue_Morpho_Butterfly.html

Similarly the blue feathers of a bird are also structural colours, and blue because of the way light scatters on the keratin. When the light hits the feathers the red and yellow wavelengths cancel each other out, leaving the human eye to perceive it as blue.

However, beta-keratin is only found in reptiles and birds. Alpha-keratin on the other hand is found in all vertebrates and is what human hair is made up of. These two forms of keratin are structurally different. Alpha-keratin are helical and beta-keratin are parallel sheets. https://www.researchgate.net/figure/Secondary-structures-of-keratin-protein-beta-pleated-sheets-and-alpha-helix_fig1_329169109

This doesn’t really explain anything, but some context behind the colour blue in nature is rare because it is not actually a naturally found pigment (except for rare cases) but is a product of light scattering due to structural properties of the animal.

So as a scientist, my natural instinct is to consider your hypothesis and then propose additional observations to confuse everybody.

So from the structure of beta-keratin and butterfly wings, and now that my free time is running to an end so I can’t really examine other examples, I wonder if this has anything to do with ridges and planar structures.

So what if instead of collagen, which is usually found on the scalp-end of hair follicles on hair, the blue of Marinette’s hair and other people blue-hair ancestry have some mutation that causes a structural change in their keratin structure that forms small planar ridges that scatters light in such a way that the hair appears blue?

Just spitballing. Thanks for listening!

Probably Correct!

The reason i went with Collagen instead of Keratin is that i forgor found "evidence" (hairdresser manual from 1890) of Blue hair growth after long term exposure to Cobalt/Indigo (thus pigments). Structural Color is the most likely reason why hair would be blue, all the things that can be naturally blue on a human appear blue because of structure.

I then looked for Blue in other animals, preferably Mammals, preferably Primates. I did not find evidence for Blue Keratin in Mammals. So we have evidence for Blue Collagen in a close relative of Humans, and none for Blue Keratin in any Mammal.

Realistically it probably would be caused by a difference in Keratin, arrangement instead of a protein where its not supposed to be.

[sirgawainofgalifrey]

I've made a discovery

You know this picture

Yeah, well, taking a closer look, not counting Ravage (cause Megs is holding him as well) there are 3 people sitting on other people's shoulders

Rewind and Chromedome

A canon relationship

Tailgate and Cyclonus

Also a canon relationship

And Swerve and Ultra Magnus

TLDR; Swagnus is Canon

Thank you for coming to my Ted talk

[axolotluv]

What's with art communities and forgetting people can just do things for fun and not be professional about it??

[anony-mouse-writer]

so I went on a whole research rabbit hole about gunpowder and barium and barium sulfide before i remembered that chlorophyl is green because of magnesium and anyways, creepers have magnesium blood and thats why they explode and also are green.

[helicoprinus]

i wish vacationing to another flight didn't come with a 1500g price tag. i'm partially considering switching flights but i don't want to go through the whole deal only to find out i don't like the new one and want to go back but have to wait 6 months And scrounge up *1500* gems on top

(tags of this post veer into a personal vent about my first time being a sheet attendant, just a head's up)

[abra-ka-dammit]

i wish the ppl posting CSP brushes in the assets store would give more demonstration of how the brush actually works in practice rather than here is what a stroke looks like on a white background and here is a fully rendered and finished piece that i used this brush in somewhere

like....how did you use it to accomplish what you did? whats the point of giving us a tool with no instructions on using it? am i just needy???? are we just supposed to pick up on it? are we just supposed to futz around with it and hopefully produce something we like despite probably never figuring out how to use it as the original creator intended??? is that how art is?

[coldnutparadise]

pov:u go into blue pe/riod goin haha i too went to art school n then u come out of the otherside holding ur head at "why did u choose art sen/sei" "i just chose a hell i could live with" and "do you even like art?" and "everybody is telling you about closure and how to move on from grief, but there's nothing wrong with holding that grief forever for the rest of your life" and "if u give it ur all and still fail, you should off urself?" and "does it even matter if your work is popular - isn't it enough for it to resonate with just the one person bc it moved them so deeply-"

[chronicbitchsyndrome]

i have been in community with profoundly developmentally disabled peers and peers with brain damage my whole life, bc i had a childhood diagnosis. i have also been leftist my whole life; my mother was a marxist and raised me that way, and while their politics were absolute dogshit, they were lefty dogshit.

my entire life, i have seen leftist educators throw mentally disabled people away as "lost causes" because they couldn't engage with the material the way it was being presented. leftist outreach and education does, genuinely, have a massive lack of accessible material. to be blunt, people are not interested in retrofitting their leftist outreach to be accessible to people who learn best through episodes of sesame street.

as in, i have repeatedly faced outright laughter and cruelty over the idea that this could be a priority. or even something that we consider doing at all.

"people who are that mentally disabled don't need to know about these things," the kindest interpretation goes. ("people who are that mentally disabled don't interact with the world, anyway, they're all in institutions or monitored 24/7 by their parents," the uncharitable underlying assumptions go. "they wouldn't be a worker who needs a union. or a library attendee. or a member of the community garden. or a volunteer at the food bank. or or or")

the people i have seen this hurt the worst, over and over again, are profoundly mentally disabled people of color whose lack of access to accessible antiracist education is causing real danger in their lives. institutionalized disabled people of color who have learned racist ideology and behaviors from white authority, whether they were adopted by white families or incarcerated in care institutions run by white staff. who are treated lower than garbage by leftist educators, who view them as "lost causes," as unworthy of time and effort and attention, as deserving of their abuses because they... what... internalized the abuses that make up every aspect of their lives since birth?

i see people saying things in this conversation like "disability isn't an excuse for racism or transphobia or whatever, people have the obligation to improve themselves." oh, believe me, i have seen again and again how many privileged disabled people utilize their disabilities to punch down on others, try to escape accountability for their punching down by citing disability. but individual weaponization of identity is just that: weaponization of identity.

the power structures at play are what they are. it is a noble and admirable goal to want leftist outreach and education to be more accessible to all. if that is truly your goal, you must eventually reckon with the existence of people who do, actually, really need it presented in a picture book. or an episode of bluey. or a conversation where you only use examples of people they know in real life, using things that happened to them personally. the existence of people who cannot grasp forms of abstract reasoning, who need information presented as rules, or as guidelines, or as categories. the idea that yes, fully grown adults who need daniel tiger to explain racism to them are human beings who not only deserve access to that very thing, but who also deserve to be a part of leftist spaces and benefit from leftist organizing. are people for whom it might be INTEGRAL they get to be a part of leftism. are victims of racism themselves and suffering without access to antiracist spaces and community and support.

and you will need to reckon with the abject cruelty of your peers who laugh and mock the very idea of this. you need to reckon with the fact that a lot of people you respect, a lot of leftists doing genuinely good work, will respond to this by making fun of the people you're serving, even outright telling you their violent fantasies about these people. that is the experience of organizing in leftist spaces for profoundly disabled people. that is why so many of us burn out so fast. there IS a structural problem with mentally disabled people being seen as disposable and not a part of community. and it is EXTREMELY present in leftist organizing and outreach efforts.

[zosanbrainrot]

part 06!! and the end of Act 1

01 02 03 04 05 06

OK SO THAT'S THAT

I don't have anything else storyboarded right now, I have the dialogues for Act 3 written down, but for the 2nd Act I'm gonna have to rewatch parts of WCI. I'm also thinking of a different approach, more like a series of illustrations not a comic, but idk yet, I'll have to rewatch and see!

It's not like I'm actually using a 3 Act structure as in 'a method of writing a story', I don't know how to and I haven't tried learning that (YET). I just think its neat and reflects how I divided my artistic process. I've always seen this story in my head as 3 parts.

And before I delve into part 06, I can't stop myself from saying that....... part 05 really needed another closeup on Sanji's face. If I ever try and repost it to another site then maybe I'll add it (between the panels of Ichiji & Zoro and the closeup on the spear, it would help the rythym but also strengthen the emotional connection, before Sanji shuts himself off)

Anyhow part 06

Most panels were a breeze, but the last two, my god, I just couldn't get them right for the longest time. In the end my favourite panels are the closeups of Luffy and Nami, I should really draw them more.

Here's how this panel in particular went:

I did like how the pose was looking in my first rough pass, the face is scrunched, the shoulders are high with tension, the direction is consistent

Couldn't execute it though... I think in the first rough sketch the camera is looking at Luffy slightly from above? Like he's leaning into it. That's why the shoulders can be so high up, but I didn't realize what it was when trying to clean it. So when cleaning the sketch I drew the head on the same level as the camera which made the whole pose look flat, also in this weird angle, like it's not fully 3/4, but it's not facing forwards either.

I didn't know what wasn't working, so I doubled down and tried with the lineart, but it didn't magically help. It just looks like he's slouching.

4. so I tried to rethink the pose and commit to a 3/4 view. I like that more of the neck is visible now, you can feel that he's leaning forward with the scream, but I think I could have pushed it a bit more still

5. with linework I made some small changes, like a bit shorter hair, smaller nose and the eyes pushed back a bit. I also added the scratches and filled in the black parts

6. added flat colors & shading!

Last panel with Sanji was even harder to draw hehe

so I thought this would be easy bcs I wanted to basically redraw the panel from the anime

that's why my rough sketch was extremely rough, I didn't think about it much

and then I had so much trouble with it lmao You'd think that it would be easier when you're covering the character's face, but I was in this undecided space of on one hand wanting to show the pain on Sanji's face and staying truthful to the anime scene on the other. I also found it super diffucult to show the emotions without the eyes

4. The pose in 3. also wasn't working so I tried to make him more slouched, like he's curling in on himself more, it was definitely a better direction. I tried going into lineart from here but I didn't like how the fingers were turning out

5. So I decided to get a new ref and took a picture of how I'd make this gesture myself. With this pose I also changed the position and angle of the face slightly, bcs it would have created a very small space between the hand and the nose and I wanted the two shapes to connect

6. I really liked the hand, but was having trouble with the hair, it felt too short, still couldn't get the face right either

7. so I elongated the hair and worked on the face some more and was finally happy with what I had!

8. added colors! At first I had it colored like the other panels, color just on Sanji then gradient on the bottom helping it fade to black, but it wasn't sitting well with me. Maybe because the space above his head was too big and I didn't want to have a background here and also wasn't adding the little floating pieces to the carriage scene (these were reserved for the grass battlefield)

9. SO! I made Sanji's figure darker and also added a darker shade to the whole scene and I think it ended up working really nice. Like he's drowning in the darkness, the only element piercing through it are Luffy's words. It also just fills up the space better lmao, feels less empty visually

Its gonna be A WHILE, before I have updates for this, I'm gonna have to start with the rewatch anyway. Right now I'm gonna have to focus on finishing my extra pieces for the @rdtriozine !! If any of you read this far you may as well check it out lmao I have a full illustration spread there and gonna have spots for a fic too ❤️ I just need to draw them!!! AGHHHH

[mightaswelljxmp]

hm ok so interestingly, bdubs’s courthouse is built on an odd number of blocks. note the roof of the facade coming to a point, but more importantly, the nine pillars….

you don’t use an odd number of pillars. like ever.

let me get this out of the way first: i get why you’d build with odd numbers in minecraft. i usually do it myself, to not run into problems like double doors or two-wide pointed roofs or frustrating spacing/symmetry between decorative elements. however. to not even out the design of something so unequivocally done in every other example of columns and pillars…. fascinating implications…

every other example guys. every other building with columns like this has an even number of them.

doing so sets the line of symmetry at an invisible point between two pillars, an even number on each side. but an odd total number of pillars makes the central pillar itself the line of symmetry. this does a couple things.

one, it upends the sense of community and equality. which i know sounds crazy, but really, a group of columns are all put there to hold up a structure. there’s no focus on one because they are all are working as supports.

symbolically, at least when first used in ancient greece, pillars represented people. and it makes sense for courthouses, especially, to want to show an even, fair, equal number of people on each side. no focus on any one, no inherent bias right off the bat just looking at it.

with an odd number of pillars, though, one will always be placed front and center.

and THEN. and then you walk in the courtroom itself (also odd-numbered blocks) and you are immediately opposite the judge, bdubs, located exactly centrally. and true, courtrooms are often set up like this anyway. but bdubs ups the ante and reaffirms that no, focus is on him by staging it all as a daytime court show, boom mic just over his head, cameras pointed in, spotlights on him.

literally by design, it was not built for justice. it’s built for show, for entertainment. and just look at the credits to know exactly what sort of message you’re supposed to be getting from this show.

the biblical story he used, with king solomon. it’s about king solomon. isn’t really about the trial itself, or the babies, or the women. it’s about showing (off) how wise and just he is. that’s the point. hm. interesting.

now, getting to the second point that etho also picked up on: it feels like a prison.

it’s not just the color palette. when your eyes naturally draw to the center point, you aren’t seeing an open space. instead of feeling like an arch or gateway or otherwise some kind of opening, the pillar there makes it feel closed off. the overall effect is that of prison bars. not pillars lining the entrance to a place of order or a temple. bars of a cage, a cell.

imagine the lincoln memorial were set up with 11 or 13 pillars. he’d look so much more trapped in there.

having a central pillar blocks the entrance. it’s not welcoming. you have to go around it; it’s immediately inconveniencing you. and when you go to leave, it’s there blocking you again.

this courthouse was not designed and built to be fair, nor accomodating, nor equitable, on any terms. even if unintentional, i wouldn’t call it so much coincidental as i would… subconscious.

after all, y’know. form follows function.

[vetyr]

hi, i ireally love your work and i don't know if you've answered this before but, what kinds of studies do you do or how did you learn color theory? i wanna get better at rendering and anatomy but im having trouble TT TT

Hi! Long answer alert. Once a chatterbox, always a chatterbox.

When I started actively learning how to draw about 10 1/2 years ago, I exclusively did graphite studies in sketchbooks. Here's a few examples—I mostly stuck to doing line drawings to drill basic shapes/contours and proportions into my brain. The more rendered sketches helped me practice edge control & basic values, and they were REALLY good for learning the actual 3D structure behind what I was drawing.

I'd use reference images that I grabbed from fitness forums, Instagram, Tumblr, Pinterest, and some NSFW places, but you could find adequate ref material from figure drawing sites like Line of Action. LoA has refs for people (you can filter by clothed/unclothed, age, & gender), animals, expressions, hands/feet, and a few other useful things as well. Love them.

Learning how to render digitally was a similar story; it helped a lot that I had a pretty strong foundation for value/anatomy going in. I basically didn't touch color at all for ~2 years (except for a few attempts at bad digital or acrylic paint studies), which may not have been the best idea. I learned color from a lot of trial and error, honestly, and I'm pretty sure this process involved a lot of imitation—there were a number of digital/traditional painters whose styles I really wanted to emulate (notably their edge control, color choices, value distributions, and shape design), so I kiiind of did a mixture of that + my own experimentation.

For example, I really found Benjamin Björklund's style appealing, especially his softened/lost edges & vibrant pops of saturated color, so here's a study I did from some photograph that I'm *pretty* sure was painted with him in mind.

Learning how to detail was definitely a slow process, and like all the aforementioned things (anatomy/color/edge control/values/etc.) I'm still figuring it out. Focusing on edge control first (that is, deciding on where to place hard/soft edges for emphasizing/de-emphasizing certain areas of the image) is super useful, because you can honestly fool a viewer into thinking there's more detail in a piece than there actually is if you're very economical about where you place your hard edges.

The most important part, to me, is probably just doing this stuff over and over again. You're likely not going to see improvement in a few weeks or even a few months, so don't fret about not getting the exact results you want and just keep studying + making art. I like to think about learning art as a process where you *need* to fail and make crappy art/studies—there's literally no way around it—so you might as well fail right now. See, by making bad art you're actually moving forward—isn't that a fun prospect!!

It's useful to have a folder with art you admire, especially if you can dissect the pieces and understand why you like them so much. You can study those aspects (like, you can redraw or repaint that person's work) and break down whether this is art that you just like to look at, or if it's the kind of art that you want to *make.* There's a LOT of art out there that I love looking at, probably tens of thousands of styles/mediums, but there's a very narrow range that I want to make myself.

I've mentioned it in some ask reply in the past, but I really do think looking at other artist's work is such a cheat code for improving your own skills—the other artist does the work to filter reality/ideas for you, and this sort of allows you to contact the subject matter more directly. I can think of so many examples where an artist I admired exaggerated, like, the way sunlight rested on a face and created that orange fringe around its edge, or the greys/dull blues in a wheat field, or the bright indigo in a cast shadow, or the red along the outside of a person's eye, and it just clicked for me that this was a very available & observable aspect of reality, which had up until that point gone completely unnoticed! If you're really perceptive about the art you look at, it's shocking how much it can teach you about how to see the world (in this particular case I mean this literally, in that the art I looked at fully changed the way I visually processed the world, but of course it has had a strong effect on my worldviews/relationships/beliefs).

Thanks so much for sending in a question (& for reading, if you got this far)! I read every single ask I receive, including the kind words & compliments, which I genuinely always appreciate. Best of luck with learning, my friend :)

[futurefind]

"Explain Nasuverse mage Rea w.o explaining Nasuverse mage Rea:"

(Loose translation anyway:

if runes are used as supplemental magecraft like nails or screws, Rea uses them as brick n mortor for entire structure (and it WORKS)

unintentional (if unspoken) speciality in magical circuits construction and, with proper study, magecraft effecting the soul and outright Concepts directly

(FGO Rea absolutely works on an anti-Servant magecraft by targetting the 'thread' that allows that incarnation to have been summoned from the throne in the first place (ie via excising the cause and effect that allows them to have been summoned in the first place, for that summoning)

(Lesser example of this is FGO!Master subverse being incentived to develop 'artificial nerves' Mystic Code for when her Crest bs acts up, ie every rayshift, to mitigate how much it kneecaps her in the field)

she's an American magus that only spent time in Mage's Association for politicking/pawn reasons, and because she's so humble and friendly she has no idea how op any of her bs actually Is. she tries to explain/share it to people and it goes in one ear and out the next

[whispers-whump]

Some writing advice

that I like to use when I write. None of this is meant to be taken as hard and fast rules, they’re just things I like to do/keep in mind when I’m writing and I thought maybe other people would enjoy! <3

Never say what you mean

This is an offshoot of the very common “show don’t tell” advice, which I think can be confusing in application and unhelpful for scenes where telling is actually the right move. Instead, I keep the advice to never say exactly what I mean in stories.

By using a combination of showing and telling to hint at what you really mean, you force your reader to think and figure it out on their own, which makes for a more satisfying reading experience.

You might show a character getting angry and defensive in response to genuine care and concern. You could tell the audience that the character doesn’t see/talk to their parents often. But never outright give the real meaning that the character feels unlovable because of their strained relationship with their parents and as a result they don’t know how to react to being cared for.

Your readers are smart, you don’t need to spoon feed them.

Be sparse with the important things

You know how in a lot of movies there’s that tense scene where a character is hiding from something/someone and you can only just see this person/thing chasing them through a crack in the door? You get a very small glimpse of whatever’s after the character, sometimes only shadows being visible.

Do that in your writing. Obscure the important things in scenes by overdescribing the unimportant and underdescribing the important.

You might describe the smell of a space, the type of wood the floor is made of, the sound of work boots moving slowly across the room, a flashlight in the character’s hand. And there’s a dead body, laying in a pool of blood in the far corner of the room, red soaking into the rug. Then move on, what kind of rug is it? What is the color, patterns, and type of fabric of the rug?

Don’t linger on the details of the body, give your reader’s imagination some room to work while they digest the mundane you give them.

Dialogue is there to tell your story too

There’s a lot of advice out there about how to make dialogue more realistic, which is absolutely great: read aloud to yourself, put breaks where you feel yourself take a breath, reword if you’re stuttering over your written dialogue. But sometimes, in trying to make dialogue sound more realistic, a little bit of its function is lost.

Dialogue is more than just what your characters say, dialogue should serve a purpose. It’s a part of storytelling, and it can even be a bridging part of your narration.

If you have a scene with a lot of internal conflict that is very narration-heavy, breaking it up with some spoken dialogue can be a way to give some variety to those paragraphs without moving onto a new idea yet; people talk to themselves out loud all of the time.

Dialogue is also about what your characters don’t say. This can mean the character literally doesn’t say anything, they give half-truths, give an expected answer rather than the truth (“I’m fine”), omit important information, or outright lie.

Play with syntax and sentence structure

You’ve heard this advice before probably. Short, choppy sentences and a little onomatopoeia work great for fast-paced action scenes, and longer sentences with more description help slow your pacing back down.

That’s solid advice, but what else can you play with? Syntax and sentence structure are more than just the length of a sentence.

Think about things like: repetition of words or ideas, sentence fragments, stream of consciousness writing, breaking syntax conventions, and the like. Done well, breaking some of those rules we were taught about language can be a more compelling way to deliver an emotion, theme, or idea that words just can’t convey.

Would love to hear any other tips and tricks other people like to use, so feel free to share!!!

[juubli]

Here are some of process snapshots of this piece of Astarion in Baldur's Gate.

I am a messy painter and I often adjust and change the designs as I paint. (Mostly because I don't have the patience to do proper line art haha)

I start out with a rough sketch, I usually sketch ideas out on my ipad and move to my cintiq to work with colors.

Next I block in rough color thumbnail. I keep this part messy as I just want to figure out the value structure and the overall mood.

At this point, I have collected a myriad of screenshots and reference images from the game, pinterest, and also from artists work that inspires me.

With the references on one screen, I start to paint the details, I work from foreground to midground to background. (Sometimes I'll bounce between the depth when I get bored from painting one thing for too long)

Sometimes after I block in the colors I'll make adjustments. I didn't like how warped the perspective was getting on the building on the screen right side, so I adjusted the vanishing point and added more tiers to the design. I went back into the game and looked at more how the stairs were designed and figured it out more thoroughly with a sketch on on top.

I think sitting down and doing the details is the most time consuming part. I still want the focus to be on the character despite all the detail going on the background. At this point I'm toggling on black & white filters constantly to check the value, grouping everything in the background together, making sure the lighting frames the subject in focus. At this point I realized, I forgot to paint Astarion's hair LOL, and that the bg was getting a bit too detailed, so I used a more textured brush and painted away some of the edge details of bg buildings.

Last, I make final adjustments, and I make a overall lighting/fx adjustment folder. Adding in some noise, adjusting the contrast, color balance, and lighting over all and call it done!

Link to Print shop!

[mangonatural]

keep thinking over and over . what if i "ported" the jimmy dress up game to meiker

[emo-batboy]

Battinson and the JL ft. His Eventual Identity Reveal

(If you’re just here for the cutesy bits, skip to Attempt #2. Otherwise, STRAP IN CUZ IT’S A LOT)

Bruce Wayne of Matt Reeves’ The Batman is not the founder type.

He wouldn’t voluntarily join a book club, much less join a league of super powered vigilantes whom he does not know personally.

So in this universe, you probably wouldn’t call him one of the three Founding members.

But he’s still integral to the formation of the Justice League

It starts out with a friendly visit :)

Bruce is patrolling on a random night in Gotham when he notices a weird thing in the sky. It’s floating just far enough behind him that a less vigilant person wouldn’t have noticed, but Bruce is always watching his own back, and he takes it as a threat.

He strays from his usual path and then heads to a warehouse roof before turning to face the threat.

It’s Superman. All smiley and dressed in primary colors. The strongest, most powerful being on Earth just floating over like he wasn’t stalking Batman a second ago. Bruce does not like that.

“What do you want with Gotham?” He asks. “I don’t,” Superman says. “I wanted to talk to The Batman.” So this is some kind of fight? An intervention? A warning? Then Superman frowns. “You…are The Batman, right?”

Bruce only nods as he considers his options, but he can’t really do that when Superman has super speed, super sight, super strength, super breath, super lots-of-things-that-Batman-probably-doesn’t-know-of.

Then Superman surprises him by landing on the roof and giving him this pitch about a superhero group.

Superman and a few other vigilantes have been bouncing around the idea of teaming up together so they can help one another protect their cities. And The Batman was a “perfect candidate.”

“I’m not joining your club.” “It’s not a club. It’s a league.” “What’s your mission statement, then?” “A what?” Bruce fights the urge to roll his eyes. He still doesn’t trust this guy. “Take your league idea back to the drawing board then we can talk.” He does not intend on talking.

But two months later, Superman is back. This time, he brings another super powered vigilante named Wonder Woman.

She smiles, politely approaches him, and says “Superman tells me you want to learn more about our league.” That is not what he said, but he doesn’t bite.

Bruce can’t decide which they remind him of more: college recruiters or cult leaders. But because Wonder Woman genuinely seems to care about seeing this project through, and the roster she has of current like-minded vigilantes is impressive, he lets her talk.

And to give her credit, she definitely thought out the logistics more. It almost makes up for the time they’re wasting.

Okay, fine. They’re still way behind on concept, and it’s pitiful. He actually feels bad.

They obviously care! They just have no idea how to run a business like he does. Is it a bit cynical to think of this league of Justice as a business? Yes, but that’s the only way he can even conceive this happening and working.

Bruce asks about their organization’s leadership structure, and that’s when Wonder Woman falters a bit. “We want to work with each other, not for.” Bruce bites his tongue on that subject.

He asks about their scope of work. “We want to help as many people as we can, but that can be ironed out later.” Bruce bites his tongue on that subject.

He asks “Who’s funding this?” She answers, “We have a few members willing to pitch in, but the majority will have to come from generous citizens.” And that’s when he just stops asking questions. Because what?

If he could cry the grease paint off, he would.

They can’t just think every super-powered vigilante is going to sing Kumbaya and braid each other’s hair. There needs to be checks and balances within the organization to avoid tyranny and corruption. They need a reliable source of donations (that doesn’t immediately out Bruce.) They need a proper chain of command. They need to map out their area of responsibility. They need to design a VERY strict vetting process. It’s not sunshine and rainbows. It’s hard work!

So he says he’ll think about it again and complains to Alfred about the weird super stalkers.

But for SOME reason, Alfred doesn’t see the problem

Alfred encourages him to join so he can “make some friends.” But how can he trust these people if they can’t even make a half-decent pitch? It’s like a bad episode of Shark Tank.

And “make friends?” They’re all masked

But after a week of gentle nudging (read: very firm lectures), Bruce agrees. ONLY to keep tabs on the rest of the vigilante world and possible threats to Gotham

(And without his help, they’ll probably butt-dial Lex Luthor the nuclear codes or something)

And he is damn well going to figure out who these people really are before he helps them make a Super Organization.

Alfred figures out about half of their secret identities purely as a brain exercise while Bruce is out fighting crime and collecting head injuries like Pokémon cards. They figure out the rest together.

They also develop contingency plans for every single member. Just in case.

And after months of Batman being visited by random vigilantes, whom he has several choice words for about personal space—“This is my city. Go away.”—he accepts. On several conditions.

Not all of them are appreciated.

Attempt #1: “Making Friends”

After several scheduling conflicts, a lot of prep work, and a really good hype session in front of the mirror, Bruce heads on over to the first official meeting.

Batman arrives with a long list of things they need to do before going public. The first thing on the list?

Write A Mission Statement

What the fuck are they actually trying to do? Bruce thinks this is a great starting point.

And you’d think (you’d think) this Justice League thing would be easier to tolerate than the drawn-out exec meetings he has to sit through with boring, old businessmen who keep delaying things so they can hash out every little detail.

To Bruce’s absolute horror, he BECOMES the boring businessman who’s delaying things so they can hash out every little detail. He misses the boring, old businessmen. At least they knew what they were doing.

Every turn, he is argued with.

“Why do we need a mission statement?” “‘Power Structure’ feels authoritarian. Can’t we just share leadership duties?” “Do we really need this much paperwork?”

Bruce has the audacity to say, “We need to develop some sort of protocol that helps us analyze any possible threat.” But no. “Why can’t I just jump in? I have eyes.” “Jumping in without studying an opponent’s behavior could cause more harm than good,” he insists. “So what? I’m going to watch an alien monster go on a rampage through my city instead of fighting it?” “Yes. You don’t know what it’s capable of.”

Bruce already regrets joining.

All he hears is the others gossiping. “Is this guy really telling us how to be heroes?” “He’s got a major stick up his ass.” “I knew we shouldn’t have let him join.” And if that doesn’t dissuade him, he doesn’t know what will.

“How was the first meeting?” Alfred asks. Bruce scowls. “I’m not making friends.”

Nonetheless, Bruce sticks it out for weeks until they have some semblance of an organization. And, to his shock and amazement, it…kind of works.

The Justice League makes its debut, and Wayne Enterprises generously donates some money “out of spite” after Lex Luthor publicly denounces the league. (Honestly, Bruce would too if he hadn’t personally duct-taped it together himself.)

But the league starts small, just like he told them, they respond to natural disasters and public safety threats first (as per the outreach initiative) and focus on protecting communities in need (as per the mission statement.)

Yes, they still think Batman has a stick up his ass because he’s a stickler for writing incident reports, but no one else reads them so he has the right to be pissed.

He’s almost kind of sort of content with how it’s going. Even his reputation as a vigilante is improving.

That’s when another glaring difference between him and the other members appears.

Despite looking the same age as the rest of the team, Bruce is actually much younger?? Even excluding the aliens, gods, etc.

Most of his teammates are in their late 30’s, early 40’s. Meanwhile, Bruce is at the ripe age of 29 and a half.

He is the youngest by ten years.

Everyone kind of just assumes he’s the same age, though, so they make references to 80’s kids stuff that he only vaguely understands through Alfred and his business partners. He just sits there in silence like a child who snuck over to the adult table and is waiting to get caught.

So on top of the rift he (accidentally) created when they started the organization, it’s even harder to connect through similar interests. Other than punching people together.

And Bruce Wayne has a bad case of imposter syndrome when it comes to their superpowers.

He’s always in the corner brooding, and everyone’s like ummm antisocial much?

But 50% of the time, it’s because he’s thinking “I’ll never amount to the incredible heroic feats everyone else has accomplished. How can I possibly make a difference to the world if I’m already struggling to save Gotham?” Like a little emo freak 🖤

(Meanwhile, you couldn’t pay those mf’s to step foot in Gotham. This Bat guy’s crazy and he’s human apparently?! No way. Nuh uh.)

The OTHER 50% of his “brooding” is Bruce standing to the side with a mixture of concern and judgment because his teammates’ competency in certain areas is…alarmingly low sometimes.

One week, he finds himself thinking, “How do these grown-ass adults not know their way around a digital map? They’re 40, not geriatric.”

Then like a week later, it’s “These fucking war fossils don’t even know Morse code. I gotta do everything around here.”

One of the final straws is when he says, “Did they just break another fucking Keurig? Who does that, Alfred? It’s the fifth one.”

Suffice it to say, he’s not very personable. But is it his fault? Well yeah, a little bit. Like……..65% his fault.

(The remaining 35% is their moaning and groaning whenever Batman calls a meeting.)

Bruce’s irritation is totally justified.

God, he just wants to go home.

Why is he doing this again?

Attempt #2: Actually Making Friends

The first JL member to break through his cold, black exterior is Wonder Woman. She needs help with search and rescue after a sinkhole opens up near an elementary school, but no one’s available until Batman responds to her call.

He’s on the scene in less than an hour and makes quick work in securing the area. Thankfully, she catches him once it’s over. (He always runs off without saying goodbye.)

“Thanks for helping. Everyone else was just so busy. I’m glad you could fly over.” Batman mumbles something that she can’t quite hear. “What was that?” she asks. “I was busy too,” he repeats. She gives him a weird look, and he freezes up for a second as he realizes that probably wasn’t appropriate to say. “I mean…this was more important. There were kids in danger so it didn’t…matter if I was busy.”

Wonder Woman considers how awkward The Batman looks for a moment then smiles. So he really is human. “Well, thank you. The help was very much appreciated.”

Since then, several small acts of kindness and solidarity earn Batman some respect from the rest of the team.

One day, Flash complains about how boring their meetings are so Batman brings a massive bin of fidget toys. After placing them in front of the Flash, he mumbles, “These are for ADHD. They’re useful.” Flash almost cries with relief. He is very touched.

Another day, Green Arrow is severely injured in battle. Without a word, Batman leaves the fight, takes him to a safe location, stops the bleeding, and does it all while repeatedly making sure he’s awake and asking permission to remove certain pieces of clothing.

In another fight, Plastic Man’s mask is thrown off, and Batman sees his face. In a second, Batman tosses a smoke bomb, picks up the mask, and hands it back before anyone else can look. It costs them time and the element of surprise, and Plastic Man knows it, but Batman did it anyway.

A JL member’s stomach grumbles during one too many meetings. Suddenly, their little break room becomes a fully stocked kitchen with shelf-stable meal items and all the basic necessities. There’s a nut-free section, a gluten-free section, everything. The only reason they know it’s him is because anyone else would have admitted to it.

(He renovated the whole fucking thing. In one night. By himself.)

And they all see how gentle he is with children. Countless times, The Batman is spotted prioritizing young civilians at any given moment.

He has lollipops in his belt. And Bluey bandaids too.

It’s the little things that make them feel closer to him :)

And okay maybe his goddamn Mission Statement lecture wasn’t so bad

So they stop moaning and groaning

Okay, now it’s bonding time WOOHOO!!

Attempt #3: Kinda? Friends??

One day, Superman says he isn’t too fond of billionaires (because of Lex, obviously) and goes on a rant about capitalism. Bruce doesn’t dare contribute because 1) he’s the richest man in the world and 2) every other billionaire he’s met is insufferable.

(Including Oliver Queen who Bruce refuses to look at while Green Arrow “defends his city’s billionaire.”)

(And while we’re on the topic of Green Arrow, Bruce cannot forget the disappointing almost-fling two summers ago. He still holds a grudge.)

Green Arrow: “You’re all fashion nightmares. Who wears a cape in the 21st century?” Batman: “At least my facial hair isn’t longer than my dick.” GA: “What was that, Batman?” B: “What?”

Also Bruce is very attracted to Superman.

(He likes older men.)

(Yes, I am referring to Henry Cavill’s Superman.)

(Sue me.)

(But don’t get your hopes up. He does literally nothing about it.)

(Coward.)

One of the JL members complains about how sore they are after a few missions so Bruce cashes in his Monthly Attempt to Socialize and says, “Try yoga. It helps me.” “…Batman, you do yoga?” “Yes. My son got me into it….It’s good for you.” “You have a son?!” He is never socializing again.

They also learn that Batman has the smallest frame on the team. (Like yeah, he’s tall, but he’s also lanky, and everyone else is either an alien or a human dorito.)

One night, they need to sneak through the vents of some building so Bruce offers to do it. Someone says, “It’s a tight squeeze. Are you sure you can fit?” Then he just takes his cape and pauldrons and shoulder pads off and is suddenly like a foot skinnier

“Wait…is this why you’re so good at hiding in the shadows?” Bruce just glares at the Flash for a second before climbing into the vents.

(The answer is yes.)

A betting pool is started over whether or not Batman is part Bat.

In fact, several betting pools begin because no one knows anything about the guy??

Aquaman and Plastic Man go to great lengths to figure out what his hair color is.

They lose their shit once Bruce tells them he’s vegetarian.

Green Lantern: “Every time he opens his mouth, we learn something new. Next, he’s going to tell me he speaks Swahili!” Batman: “I do.” GL: “Oh, come on!”

Superman: “We need someone on the inside for this international operation to work, but that’ll take at least three months undercover.” Batman: “Don’t worry. I have connections.” S: “…In Shanghai?” B: “Yes.”

The Flash adds SHANGHAI?? to his conspiracy board

Bruce needs to stop trying to socialize. It’s better for everyone’s cardiovascular health.

A year or two in, they’re all introduced to Captain Marvel. Bruce is the first and only person to learn his true identity (kid Billy Batson) because Bruce is the only one with a kid. That way, he understands the weird Gen-Alpha humor and references.

Millennia-old deities don’t use the term Flop Era.

And, of course, they play FMK at some point.

(I mean, come on. There are like TWO mature adults on this team, but Martian Manhunter doesn’t know what’s going on until it’s too late, and Wonder Woman is busy at her day job.)

During that particular round, the celebrities are Bruce Wayne, Lex Luthor, and Kylie Jenner. Bruce does, in fact, want to kill himself, but he chooses Fuck instead because of this exact conversation:

Green Lantern: Come on, Bats. It’s just a game! Choose already. Batman: No. I’m against killing. GL: Oh, go fuck yourself. This situation is completely hypothetical, and you know it. B: Fine! Fuck Bruce, Marry Kylie, Kill Lex. GL: See? That wasn’t so hard :) Bruce:

He tried

Attempt #4: Ah shit, FRIEND?

The identity reveal comes about three years after he joins. He’s 32, has three kids, he’s been on hundreds of missions with them, the team’s over twice its original size, and there are domestic terrorists overtaking Manhattan.

Superman, Wonder Woman, The Flash, Green Lantern, Martian Manhunter, and The Batman try to extract as many civilians as possible, but now they’re being hunted. After hiding in a warehouse and considering their options, MM finally suggests that they pose as civilians, which immediately creates uproar.

Bruce, however, realizes this is the only way out.

But it’s not dramatic or badass like that one JL episode. No, instead, he thinks about it, swallows the regret, and just—

Takes off his cowl.

And the whole room falls dead fucking quiet.

Then, “Oh fuck.”

(That was Green Lantern.)

Bruce just shrugs and mumbles, “Martian is right. It’s the only way.” And really fucking hopes the grease paint hides his red face because he is not having a good time right now.

He would rather die, actually, but they need to get somewhere safe and Fast.

The others look him up and down then nod slowly. “Uh yeah.” “Okay, sure.” “This is fine.” “We’ll do that.”

The others begin slowly taking off their suits and changing into something more casual. Bruce takes his off, revealing the skin-tight compression suit underneath, and stuffs his armor in the roll-up duffel bag that’s kept in his belt.

He changes into his drifter outfit, wipes his face clean, and suddenly, The Batman’s just a normal guy. (A very pretty normal guy, mind you. His teammates have eyes.)

“We can head to my place,” Bruce says. “It’s closer, and I know the train system pretty well.” And yes, he’s pretty soft-spoken outside of the suit, but now it feels even more obvious.

Meanwhile, the others are like—

Oh. My. God.

Oh my god, he’s fucking shy. Batman is acting shy in front of us. Dear fucking god. Batman is Bruce Wayne. And Bruce is shy so Batman is fucking shy?? Bruce is pretty too. Holy fuck. He is very pretty.

And he’s so young?? Oh my god, he’s a BABY wtf?! He’s like four inches shorter. Four inches tall! They’re all towering over him without his massive boots and armor, and he just hunches over with the big duffel bag like he wants to sink into the floor, and he’s so small.

Wonder Woman wants to put him in her pocket.

Sue her.

They end up taking the train back. Bruce has on the mask and cap that hides his face (poor Superman, he really likes his jawline) and they all follow Bruce as he gets off and on several trains at seemingly random stops. THEN when they’re finally in Gotham, they head into an abandoned-looking subway station that leads them into a…cave?? WTF

And in the middle of the cave is an elderly man with a cane and a three-piece suit just lounging on a recliner. (WHAT THE ACTUAL FUCK—)

He looks up from his crossword puzzle and says, “Ah! You’ve finally made friends, I see?” Bruce rolls his eyes. “This is not a sleepover,” he gripes. “Shame. I was about to grab your footie pajamas for you.”

The man smiles at them. “A pleasure to meet Master Wayne’s work friends in person. Would you like some coffee? Tea? If you’re like him, this is going to be a long night.”

No one dares to question why this man recognizes them in their civvies

They also can’t tell if the footie pajamas line was a joke or not. After tonight, nothing is off the table.

(This is a minefield of information. Barry is having flashbacks to his conspiracy board. No one is going to fucking believe him.)

They all settle into one corner of the cave. Bruce leaves to change and comes back looking like this:

(Goddamnit, Clark is having a meltdown. His hair looks so good wet.)

At one point while they’re plotting, Wonder Woman glances over his shoulder to see Bruce checking some sort of security camera. A boy, maybe nine or ten, is sleeping in bed. “Is that your son?” Bruce clearly doesn’t want to answer, but Alfred gives him a look, and Bruce sighs. “One of them. Yes.”

Later, they have to analyze some explosive samples in the cave, and Barry, forensic scientist extraordinaire, has some choice words about the non-sterile environment.

Barry: This doesn’t look safe. Bruce: My lab is perfectly clean and functional. *bat screeches* Don’t worry about that.

For the rest of the night, they use the evidence they have to track down the organization while the rest of the JL suits up and saves NYC.

After a few hours, they’re safe to return to NYC for damage control. But Alfred refuses to let Bruce go with them. “Your sons are worried. Drive them to school, then you’re coming home and sleeping.”

Bruce clearly wants to argue, but the mention of his kids stops him. He sighs and turns to the others who are already changed. “Let me know if you need anything. I can be there in ten minutes.”

They all nod, knowing full well they will not be doing that. The guy clearly needs rest.

(Also, he is a single father of three and still goes out every night to punch robbers and crime bosses? Is he doing okay?)

Then they head back to NYC with so many questions.

But a lot of it makes sense too, actually. Maybe they just weren’t thinking about the man behind the mask enough to see it.

They learned a lot about their friend that night.

And they have a lot of bets to cash in.

FIN

Okay :D that was a lot! If you enjoyed it, please let me know. This has been simmering in the back of my head for months <3 Have a great day and drink some water :)

Hey bestie @bruciemilf