#can you tell i used a pose reference for ink but not error

[xurkitreeking]

Inktobertale day 6

prompt: hyperspeed

fr just styling on him

i know it's not really "hyper" speed but he's going pretty fast

bonus

[kupete]

Idea dump? not really?...or yeah?

(below there is context)

Sooo i have ideas of Dream and Nightmare being living in the early 1500s Spain, where instead of just being town's people the aggressor, what if it was the spanish inquisition?

Now, HEAR ME OUT, the whole tree thing, can be considered temptation, people would want the golden apples, and the whole thing... i think the inquisition would consider it heresy, later wanting to burn it (and dream) nightmare does munch munch yara yara.

But this time, Dream actually dies, years later gets canonized as another saint that got persecuted and killed by the inquisition, living again, working like the Rise of the Guardians? common idea where divine figures depend of beliefs.

Meets Ink, chill (after processing the whole thing), how Ink wants to protect the AUs from Error, thinking he is good, helping him to fight Error.

Realizes the state of the aus, Ink does not intervenes (obviously) and gets more context: In the last 500 years, there has been desperation, and pain, etc, Nightmare had being vibing, with so many people believing and trying to get safety, Dream meets with Nightmare, neither of them is happy, misgendering of Nightmare, fight bam bam, rivalry that could be solved with some talking and therapy.

I used the art for the story by Joku as a pose reference, to compare, is funny seeing a 1500s person doing the peace sign.

─ ⊹ ⊱ ☆ ⊰ ⊹ ─

★ I remember years ago when people made gijinka of dream and Nightmare, it was common making Dream a woman? i don't know if someone else saw that? well, still making Nightmare a guy and they were twins, with my vision of trans coded Nightmare.

★Why in Spain? I had understood that Joku was from Spain? or atleast living there (if thats not the case pls tell me)

★And of course, i just made the numbers, with Dream being 500 (old) so 1500, and what was the IT thing? The Spanish Inquisition.

★I would probably nerf the tree, i don't know why something so important is just...there? at human reach, so is just a collection of emotions, like condensation, instead of the origin of emotions.

★They take watch of the tree for generations, instead of just them.

★I wanted to write more about Nightmare, and how it was being trans in the 1500s without even knowing what's that, like being closeted, but my wrist is killing me, it would be the focus how that affects the relationship with Dream.

★I used the Rise of the Guardians thingy, because i personal issue i had with the original story is, why Dream became stone? it was a defense mechanism? can he do it now? i just made Dream die and live again years later.

If someone wants to make a fanfic... it wouldn't bother me you know...PLS do! i really wish there were fanfics about trans nightmare, of course giving credits if using the artwork or heavily based story.

[drstonetrivia]

Chapter 208 Trivia

Brody-Os! Part of a complete breakfast.

Magma is posed here like Senku is in the manga volumes' character introduction pages. He's also next to Senku's two best friends rather than Nikki and Yo.

I don't think it means anything but Magma did beat Senku this chapter… Is Magma the replacement for Senku? 🤔

We finally see Joel's arm, and it does seem to be fully functional given he's rapidly weaving donuts between Luna and Yuzuriha (while blushing, because he still hasn't gotten used to women).

I think this implies that broken/crushed bones heal similar to piercing wounds.

The mathlympics coincides* with the Tokyo 2020 Summer Olympics, and the little icons on the banner they faxed are based on the ones Japan used for the sports.

*Technically the closing ceremony was a few weeks ago but the manga was on break.

This panel is interesting: either they're saying this person was revived 51st in Corn City and had the number written on him, and that it stayed on his skin despite having been written on the outer/damaged layer of stone, or that tattoos don't count as healable injuries.

This could mean that the petrification only heals life-threatening injuries, as Soyuz's head scar and now this tattoo (technically the body treats the foreign ink as an infection of sorts) have stayed.

This does imply Kaseki's arthritis was considered life-threatening though…

If the number on the soldier's arm was in fact his revival number, then the population of the world is probably close to Dunbar's number already, since 51 + 75 = 126, plus the Spaniards, making the total Earth population ~150.

The corn harvest here may be telling us Corn City has been back up and running for the last 60-100 days, as that's about as long corn needs to grow. If we assume the start date is October 1st, then it would be around late November/early December now.

(It could also be much earlier if this corn was still the corn growing naturally over the last 7-8 years, rather than them planting it.)

Just for fun I compared the ring size to Kinro's thumb width and I think it's accurate, at least it is for my hand. His hand is a little smaller than I was expecting though…

(0.5 * 33.6 = 16.8mm if you want to check your own thumb!)

Just because nixie tubes are cool, this is how the calculator number display looked. Depending on the noble gas/gases they filled it with, it could be orange-yellow, blue, or purple-pink.

(They should also have 12 pins on the bottom, one for each number+decimal point+1 anode)

Gen mentions they're crossing the Indian Ocean, so I guess Math City is considered established now. The next ones are Rubber City and Aluminum City, but since they're both across the Indian Ocean from India, they could be going to either one of them. Rubber is closer, however.

The scrawny scientists are fine, but Magma is too big for his contestant podium and has to straddle it.

Magma's studying payed off, he can read numbers!

Ukyo's such a good teacher :)

The calculator itself is a 32 bit floating point calculator, has four functions (+, -, *, / ) and with a display that shows 12 digits, the sign (positive or negative numbers) and status (for example if a number is too big to display or some other error).

The name on the calculator, Senku Intelligent - 1, may be a /very/ loose reference to the TI calculators you likely used at school, though "TI" stands for "Texas Instruments" rather than "Texas Intelligent".

These candies Minami's has next to her are definitely corn syrup based, and are probably getting stickier by the minute because sugar candies should be stored in an airtight container and that looks like an open jar.

If anyone's confused by how Ryusui Bank works, I believe the plan is to add and subtract any transactions people make and save their totals on the calculator, or keep a paper record of it (=ledger). It's entirely trust based, there's nothing of physical value being traded.

The time difference between India and California is 12 hours 30 minutes, so it's probably mid-morning for the ones on the Perseus and evening for the ones in Corn City, going by the skies shown.

From what I could tell, all the magnetic memory parts were basically exactly as they described them, including the little history lesson Senku adds on page 8. There just wasn't much more to add! (I know I said this before but I loved this chapter haha)

[elenatria]

I'm truly so fascinated how you come up with these compositions, also how you are so good at the anatomy and proportions. Would you have any tips for someone on how to improve their drawings, maybe even a demonstration?

I'm a professional art teacher, however I've never made any tutorials. I guess I could give one free demo if people want to contact me in pm and then maybe have a skype session or something? Just once because I'm busy, sorry. 😅

The way I learned was years and years of practice, but the first thing I tell my students is to start tracing just to make things easier and stop being afraid of failure, whether they use tracing paper for traditional art, or layers in photoshop for digital art.

You find what you want to copy and trace it. Of course, there's the problem of finding the right angle of the character you want to draw, the right pose. So you either google the pose/clothes/background/expressions you want ("man sitting on couch", "holding hands", "men in suits" etc), take screenshots from the movie/TV show, or you have your friends model for you, and you take many many pics of them. You either print the photos or draw by looking at the screen (if you want to do free hand instead of tracing).

The hardest part is how to attach e.g. Valery's face on the bodies of your reference pics. That is learned only through trial and error, so don't be afraid to try and fail and throw away tons of paper. What I do is print out every single face/angle I think might be useful to me, so what you see in my art is a composite human figure, taking the expression from one picture, the hand movement from another, the hair from a third one etc.

I don't do tracing for my own art, I do free hand, but you can try either method and see what suits you.

As you can see here, I changed Valery's head many times to the point that I had to erase it entirely because not only did it not look like him but also it was too small compared to Boris'. What a huge pain in the a$$.

Then on to the inks.

I use kurecolor or copic markers, as many shades of gray as I can get my hands on - so much easier than messy watercolours and acrylics (which I adore but yeah, messy - also not handy if you want to draw during a flight).

One useful tip is to take your distance from the drawing as many times as you can. While you draw you may think it looks right but once you get up, it doesn't. So make sure to take a few steps back and look at it from a distance while you work on it, that way you will notice easier any flaws or things you want to change.

Another tip for getting it right is looking at the art through a mirror (hey, Da Vinci did it so why not you). If not through a mirror, just take a picture of your WIP and reverse/mirror it on your phone. You'll notice any imperfections right away.

[ktffansub]

Bijutsu Techo: Boys Love – Interview: Yoneda Kou

This article was first published in November 17th, 2014. Translated from Japanesse to Bahasa Indonesia by kalengjelek and then translated from Bahasa Indonesia to English by KTFfansub. Source: here

When did you first encounter manga?

I was born in a family with three daughters; while my older sister likes reading Ribbon magazine, I like reading Nakayoshi. It was the era of Asagiri Yuu-sensei, when I was in elementary school. My favorite at that time were Kusunoki Kei sensei’s works and Patlabor. When it came to Shonen, I would say I was more into Shounen Sunday. I also loved Kawaraha Izumi sensei’s works. When I think about it, rather than manga that were full of passion, I’d actually prefer manga that had calm and soothing kind of vibe.

Is that so… What about BL?

When I was in Junior High, my older sister showed me Captain Tsubasa Doujinshi by Ozaki Minami and I was dumbfounded, I thought, “So, there’s also a world like this!”. After that, I started to buy BL manga. At that time, the mangaka who left the most impression to me was Nishi Keikosensei. Her works such as Mizu Ga Koori Ni Naru Toki, Tenshi Ni Naranakya have unique openings, it made me reread them many times. Uida Shiuko (now Kano Shiuko) and Yoshinaga Fumi Sensei are also my favorite mangaka.

When was the first time you draw manga?

I seriously began drawing manga in my first year of junior high. At first, I drew a pair of man and woman, but after page three, I felt something was off. So, I tried drawing BL for the next one. Just like the present, I’ve always loved less expressive and less-talkactive main characters (laughs). But the more I draw, then an attentive senpai with good personality and short haired ones like Togawa in Doushitemo Furetakunai also appeared. At that moment I thought, “Oh, this is it!”

You really weren’t embarrassed, are you? (laughs)

Well, it’s because it was embarrassing, that’s why I’m not really open about my drawing manga activity.

(laughs) But you debut as professional mangaka eventually, how did that happen?

Yes, after that… I worked as office lady. I got married not long after, but then, I was getting through a marriage blues. At that time, I was invested in Kakashi and Naruto shown by my older sister along with Comiket catalogue.

The power of moe beats out your anxiety (laughs)

It’s true (laughs). Escaping from reality, I checked a lot of circles and opened some sites. There I found a work from a novelist (now has debuted professionally) that I really liked. This is why I started writing novel at first, not drawing. I have a lot of ways to accommodate my moe needs. I also once drew Doujinshi but due to my inability to use a proper diction, the result wasn’t optimal (laughs). After drawing slowly and more at ease, I got into Katekyo Hitman Reborn fandom and drew a lot of doujinshi for that series. A year later, I was contacted by Taiyou Tosho publisher.

“With that publisher, Yoneda Kou published Doushitemo Furetakunai which has been adapted into a movie. Since the beginning, Yoneda Kou didn’t draw one-shot but serialization. For the movie, even though it only tells a story of daily lives, but the directing, composition and dialogue are impressive. About 4,5 years later, the second volume of Saezuru Tori wa Habatakanai that had the yakuza neighborhood setting was released. This has completely different feeling compared to Doushitemo Furetakunai.”

My first work was actually published in Drap, so I had it adjusted to be a less-heavy work. That’s why I ended up switching to another magazine.

Was it a demand from the editor?

Of course I only draw what I want to draw. But without realizing, I always draw them to fit the magazine. And it seems like Taiyou Tosho prefers me to draw more simple work.

So, sensei is the type who pays attention to editor’s suggestion. When you wrote the first chapter of Saezuru Tori Wa Habatakanai, did you already want Yashiro to be the main character (for longterm series)?

Right. I didn’t explain it in the first one-shot, but I always believe that no matter how you look at it, Yashiro really loved Kageyama. And (even though he’s drawn like that) he is actually a neko (uke). I think he is an interesting character. When I drew highschooler Yashiro and others, it had been decided that I wanted to write a serialization for this.

And only then the character Doumeki was born?

At that time, the character Doumeki didn’t exist, but I thought very hard about what kind of partner that would be suitable for Yashiro. I took a break from drawing for about two years. I only worked on illustration during that time, until one morning an idea suddenly came to me, “That’s right! Erectile dysfunction!”. I immediately sent an email to my editor: “A perverted impotent man!” (laughs). Afterwards, I finally worked on the first draft.

(laughs hard) Finally, the combination of Yashiro and Doumeki who are the opposite of each other was decided. What an amazing couple that can even make the readers losing sleep.

I do have this particular interest in people’s decision and behaviour resulted from a contrasting relationship that is full of conflicts. Because there are so many characters in Saezuru, I have this excel file compiling the plot for each character chronologically. Otherwise, I would’ve forgotten about it. If I didn’t seriously research (the setting of my own story), I wouldn’t be able to write anything when I made name. But even though I got through it, drawing a family with no blood ties like yakuza was still difficult. If I don’t focus, the story might turn out like Nagara Sakugyou*. That’s why now I’m just focusing on doing Saezuru.

*) nagara sakugyou: other work that being serialized at the same time

Up until now, Sensei has published 5 volumes and all of them have beautiful covers with varied tones.

Actually, the cover color for Doushitemo Furetakunai should’ve looked like red wine, but it seemed like there was an error in printing so the pink was contrasting into it. But it turned out to be good.

Then about the cover for the Saezuru first volume. It’s so impressive! The stepped-on man! All the people around me also had high appraise for this.

Actually, there were so many things happened in the process. By taking the request (it isn’t clearly explained whether it’s from editor/designer) of “Yashiro sitting alone”, I first submitted that illustration to the book designer. However, I couldn’t throw away the idea of Yashiro being stepped on, so, during the next three days I was stressed out. I’ve finally asked them to keep my idea and that’s how the cover of the first volume ended up the way it is now.

I see! For the second volume, it’s totally different, isn’t it? It’s a scenery, but when you do a double take, there are Yashiro and Doumeki!

I always want to give a different vibe in each volume. Actually I’m also a fan of the way Tsumugi Taku-sensei draws scenery.

Hoo-, sensei is a fan of Tsumugi sensei! Talking abough NIGHTS, when you open the cover, there’s a surprise in it!

Yes, if you look at the rough sketches there were 4 pages of picture that were interconnected. In the end, the desainer took picture number two as the cover and number four to put it on the bottom of the back cover. For Soredemo, I didn’t get any guide from the book designer. I combined the the feel of the story with a touch of water paint. At first, I actually wanted to make Deguchi pulling Onoda’s hand to get out of the train, but it ended up looking like Deguchi forced Onoda to stay (with him). So I decided it’s Onoda who’s getting off the train by himself with Deguchi waiting on the platform.

Do you do the coloring with computer? How about the non-colored script?

I use SAI for coloring but for monochrome I usually draw by my hand until the inking, then I do the tone using photoshop.

Do you self-learned drawing?

Well, I at least bought a lot of ‘pose reference’ books often. When it comes to buy things, it feels great, doesn’t it? But when it comes to manga, we draw to tell our moe concept.. well, I love drawing moe concept, but the thing is- I’m not really good at drawing. I like thinking about moe stuff, I also like to combine colors (inside my head) but when I do, I have no desire to draw I, even though that’s the important part. There are often times when I feel like drawing is a handful. In short, I want to draw something that isn’t too troublesome.

But, isnt it because you’re doing manga seriously that it feels difficult?

Because I’m too serious I feel like the story can be boring. Not only the work but also the author (laughs). I often read comments saying my manga is ‘down to earth’. I guess it’s shown obviously in every each of my works

Sure, there are people who think like, “In real world, there’s no way a wakagashira can be as masochist as Yashiro”, but apart from that, Saezuru still gives an impression of it being realistic. In drawing the important men’s arms and muscles in your work, sensei has done your best. Getting into the story, the characters also put extra effort to look elegant. Despite the young age, in a positive sense, sensei’s works feels like having Showa* vibe.

(*SHOWA ERA: 1926~1989)

I’m no longer young, though (laughs). Maybe this is why my works often get called “JUNE”. Especially Saezuru, I think it really fits (JUNE concept).

Are you an organized person?

I’m actually a person who have no chill (laughs). But I have this side of myself who tend to see things as a whole, look at my surrounding then step on the brake. There is also a side of me that is so energetic in creating my own moe that I turn into a selfish person. I guess that’s also my flaw.

It seems like sensei is the type who has her own editorial meeting inside her head (laughs)

I wish it’s not true, but unfortunately, I’m the type of person who is embarrased to admit that I have a relationship with manga. Even until now I have yet told my close friends about this job (as BL mangaka). I’m not that kind of person who like to share or tell others about my moe situation inside my head. When my moe concept is being visualized in public I would scream, “Don’t look! But if you want to read it, I’d be happy”. Yes, I’m that kind of person.

I wonder if sensei’s works are the manifestation of sensei’s own self-contradictions..

[satsukidoodles404]

*Cackles loudly*

Here, take an unholy idea.

Sander Sides + Sans Au

Sansder Sides.

Well, either that or for the sake of shortening things to make it easier on us simple minded human beings, I'm calling it.

Sau Sides

This is most definitely turning into a tag B)

If this is already an idea, this is my personal take on it.

I don't have all the roles worked out yet, but I am absolutely open for anything. Just know that I already have a few sides that I already decided upon that would fill some of the roles.

Logan = Error

You can NOT tell me that this does not fit! Error not being really in to the "Complicated, icky emotions" thing, always being a smart Aleck know-it-all when it comes to his opinions and thought on things, being completely biased when it comes to his opinions and someone else's, claiming to be in right until the facts are laid and him having to sit there and suck it up. Also works in with Error whom used to be a Geno, who was a Scientist and very big-brained. Also works in with the many associations of Logan being a bit of a robot (used in many angst logan fics where the sides saying that he does not have emotions, in which I call Falsehood on those claims.) And Logan being canonically lenient towards technology, in which Error kinda fits in with being a corrupted piece of code that ended up in the Anti-void, aka an "Error" *monotonously laughs*. Totally not because they're both my comfort characters. That's completely absurd!

Roman = Ink

Creativity. Yup, that's it. That's my reasoning. Jk, I feel as though as they're similar in many aspects in character. Both known to being selfish, biased when it comes to reasoning and their own opinions. Does things when it brings them enjoyment, and me liking the idea of them both being major drama Queens. (undoubtedly canon for Roman, unsure about Ink though. Most likely just going to be a little Ink headcanon.) A little reminder is that this is all in my state of opinion of all the characters I mention, some being headcanons. But most Canonical.

As for the other sides, I'm thinking of Nightmare as Virgil? Either him, or Janus for Noot noot. Patton? Possibly Blue or Dream. Though Blue seems like a good fit... Eh, still thinking about it. These are really undecided, but if any one of you guys have an idea on roles, and a really good reason then it will be greatly appreciated.

Who's Thomas? Well, Thomas :/ as a skeleton..? (just Sans with a steven universe shirt and Thomas' personality, lmao–) Speaking of Personalities, is their personalities going to be the same as their original, or the same as the Sander Sides official? It's going to be a fine balance between both, as well as the potential of them not being similar to either Canonically at all. Considering different situations, scenarios, people filling the shoes of these roles, and overall development of how they change throughout it. Can't promise everything to be the same, but I can promise to make it interesting. :)

Is this just going to be a bunch of random fun skits and references of the original Sander sides or is this going to be an actual series following the Sander Sides timeline but with many personal twists, plot and lore?

Answer to that is: Both

It will at first just be skits and references until I go on to delving deeper in to their personalities, plot and using numerous of headcanons and Sander sides what if's to be made canon in this Au/Verse. Just a fun little thing for my self, so I don't at all mind any ideas and Suggestions for all of this.

Also, random question. Should they have the same outfits as the Original Sander Sides, Or should I make them their own original outfits that still fits the role they hold? Ex: Ink/Roman Regal/Artsy clothing style, Error/Logan Light/Dark academia, bookworm nerd vibes. And etc.

Am I thinking of making this a serious thing for myself? Maybe, still have my own Aus to worry about, As well as the ones I'm Co-owning, as well as getting better at natural poses and backgrounds which I struggle with.

Are there going to be Ships? No, Knowing both fandoms they'd have an entire war on the said subject. Specific Heights? Nope, as someone who's been many fandoms for a majority of their life, I'd know that there will be some who'd have their own opinions on height. So I'll just do the classic, They're all the same heights schtick. Humans? Nope, Skellies knowing that everyone will have their own opinions on looks and Nationalities of characters.

This AU/Verse idea is very personal to me, considering these Fandoms have been with me and helped me grown over the course of the years since they were created, even through my process of, "Adultery" ( ͡° ͜ʖ ͡°) (sksk, meant Adulthood if you didn't get the reference–). Will I be fine with fan art, skits and etc. on this? Absolutely, I'd just like credits to this specific idea. I know full well that I'm not the only one with this idea, but this is still my personal take on the idea, so therefore it's still mine in a way. Though I take no liberties in Originality on the central idea of a Sans Au and Sander Sides crossover.

Will I end up making a seperate account entirely on this idea? Most definitely if people actually like this.

If this idea of mine manages to get a few people interested in it, then I will cry–

Oh- and take a quick Logic! Error in logan's outfit, and he's keeping his red owl glasses because yes–

[shinyportalsandthings]

The Error of Your Ways - a Shang Tsung x Reader story

Seeing that Shang Tsung’s Mortal Kombat 11 design is based on the actor who portrayed him in the movie, I got very inspired. Thus, here’s a story for those of you think Shang is The Hot Stuff (note that this is based on a merging of the MK11 and movie versions and he may be a bit...more gentle but still stabby). If you like sassy, powerful sorcerers, this one’s for you.

Summary: You had an invitation and you showed up to the destination. The invitation was meant for someone else and the destination...another planet entirely. You are now a combatant despite having no martial arts ability and your only hope is to figure out a way to open the portal back to earth. That sorcerer, Shang Tsung, has your attention...and you, his. Can you use that to your advantage? Should you?

Warnings: Some violence, language, naughtiness. But it’s not SUPER naughty. Female protagonist.

* * *

The smile was cruel, practiced; it did not reach his dark eyes which were fixed unnervingly upon you. He stood with perfect posture, hands behind his back, long black hair pushed behind his ears. "A mistake?" the low voice rolled out. The ornate gold and plum armor did nothing to hide muscular arms. Surely those arms had throttled many a sarcastic warrior.

"Yes," you steeled yourself, willing your hands not to shake - at least for the moment. You gestured to the glowing doorway that, even now, slowly dimmed. "I was just…I was helping my friend, you see. He was the one who got the invite. I have it here." You unfurled the scroll and held it up. Truthfully, your best friend bribed you to see what the invitation was about as he was - shall we say - indisposed with his partner. Though he'd made it sound like they were on the brink of a love session, you know they were likely just watching Netflix and binging on ice cream after your friend won the state martial arts championship. How far away his cozy, nerdy apartment seemed now…

"Well," Shang Tsung said, "You possess the invitation, therefore, you are admitted to the tournament."

"But I don't want to be admitted to the tournament!" you yelped. "I don't practice any martial arts!"

His smile widened, showing teeth. "Well, then, this will be a short contest, will it not?" His eyes twinkled with dark amusement.

You already knew this was unlike any tournament on earth - the portal alone gave that way, as well as the strange warmth of the invitation's paper. Was it paper? Or leather? Difficult to tell but the ink glimmered unnaturally even when held still.

"But I'm not Darius," you said, waving the invite around.

Shang Tsung stepped towards you and held out his hand. You placed the invitation in his palm and his brows rose. He held it up, inspected it from all angles, and then rolled it back up. "I see no reference to the name Darius anywhere. Or any name at all."

You stared at him. "Shit." Thoughts whirling, you pointed to the portal, now a faint circle. "Can't you just throw me back?"

"Oh, I think not," he said, shaking his head. He placed one edge of the rolled invitation below your chin, tilting your head up to meet his gaze. "But I'll make you an offer."

His eyes held yours as you nodded slightly. "Ok, what…what kind of offer?"

"You may be the final combatant. Perhaps watching the others battle will give you some sense of strategy. And after that, you will fight…me." He smiled, lowering the invitation from your chin.

"I can't fight," you said quietly, heart hammering in your chest. Your curiosity had melted away to fear.

"Then I suggest you start learning." He laughed low, turning away and raising his hand in a half-wave.

* * *

"Are you..taking notes?" The tallest of the two brothers asked, pausing with his foot outstretched to his brother's face.

"Yes, yes," you nodded, hastily scrawling down the series of moves that got them to that position. You'd attended enough martial events that you had a general idea of most movements though never experienced the timing yourself.

The brothers looked scary in the traditional sense, with dark red claw marks on their arms (reminiscent of blood) and sharp armor protruding from their shoulders and knees. Their masks hid the upper portion of their faces, short metal horns protruding at the top. They knew your situation - in fact, everyone did. One woman scoffed openly at you and a tall, masked warrior said he looked forward to watching your skin melt. Thankfully, the brothers had been reasonably friendly.

The brothers in question looked at each other for a moment, then motioned you to join them. You eagerly set down your scroll and quilled pen (what was this place, evil Hogwarts?) and bounded over.

"Yeah, writing won't do you no good. Gotta get in there," short brother said. "I'm Gim. This here's Arch. You can call him Archie."

"No she can't," Arch groaned. "Stop it. It's Arch. Like Arch-Nemesis!" He struck a fanciful pose, one knee raised and his arms akimbo, chin raised and head turned to the side.

Gim sighed. "Yeah, anyway, heard about what happened. Sucks. Lemme show you some moves."

"Oh I bet you will," a voice said from behind them. In unison, they turned to see a shirtless, smirking warrior. A smooth metal patch covered the right side of his face, a softly glowing red eye punctuated the menacing look.

"Fuck off, Kano," Arch said, "Get out of here."

Kano grinned, then nodded to you. "See you later, sweet cakes. I'll be the one to fight you." He turned and sauntered off while the brothers glowered at his back.

"Stay away from that guy," Gim said.

"Don't have to tell me," you replied, shaking your head. "Bad vibes."  

As if on cue, you glanced over to a hill and there upon it was Shang Tsung, eyes trained to you and the brothers. He stood perfectly still and kept staring until you lost your nerve and looked away. When you looked back, he was gone.

"Hey," Arch said, waving a hand in front of your face to get your attention, "Let's do this thing."

The brothers did their best to give you a a rough overview of moves…but time was not on your side.

* * *

There was no small amount of food: fresh fruits, flavored waters, skewered meats. The festive platters and decorative ferns belied the nastiness of the situation: Most of the tournament battles would end in death. Oh, there was a choice, but according to the brothers, most of the combatants chose a fatality for their defeated opponent. Ruthless.

The tournament itself had already begun, though you did not attend the battles. Two warriors down already, many more to go. You heard the cheering just over the hill.

"So this is it? This is how I go?" Your fingers brushed over one of the island's flowering bushes.

"Perhaps," a voice said behind you. You spun around and came face to uncomfortably close face with Shang Tsung.  "Or perhaps not."

Scowling, and feeling particularly gutsy, you jabbed a finger at his chest. "You're a cruel monster!"

He glanced down at your finger, then back to your face. "Is that so?" he asked, but the voice carried no malice. Just amusement.

You really, really wanted to punch his stupid smirk. Instead, you jabbed his chest again. "Yes! You know full well I can't-"

His fingers wrapped around your hand, pulling it away from his chest. "Please don't do that." He said simply. "I'd not have the other combatants think such behavior is appropriate."

"What." Your face flushed as your gaze flickered to your hands, then back to him. He had not yet released your hand. "I, uh," you stammered, then yanked your hand from his grasp. He was handsome, dangerously so, and that only made the embarrassment worse.

His lips quirked into a smile, which made your face burn even more red. "It would seem you haven't watched any of the matches. A shame, it's quite entertaining."

"For psychos!" you barked louder than intended.

"Please," he drolled, "tell me what you really think."

Your hands balled into fists. You would not be treated so cavalierly, certainly not when there were men and women fighting for their lives (though Arch said many fought simply for glory and power). Gim had successfully taught you a punch move which you had perfected to the best of your ability (such as it was). You decided to use that newfound power and threw a fist directly at Shang's face.

So fast you barely registered the movement, Shang's hand caught your fist, twisted your arm behind your back, and yanked you close. Your eyes widened as your chest pressed to his.

"I think you need more practice," he said with an infuriating smirk as he looked down at you.

"Let me go," you said, mouth dry.

"As you wish," he replied, releasing his grip.

You rubbed your arm though it did not hurt, and took a few steps back, glaring, waiting for him to speak. Your anger had cooled significantly.

"Join me," he smiled slightly and held out his hand, "as I watch the next battle. I think you'll find it most invigorating."

"Do I have a choice?"

"Of course," his brows rose. "There's always a choice, my dear."

You placed your hand in his and allowed him to lead you towards the tournament site.

* * *

Your breath caught in your throat as Kano circled Arch, whose armor had done little to thwart the rough kicks and powerful punches. The brother was down on one knee, now, and struggled to stand.

Kano wiped some blood off his nose, grinning. "Got you right where I want you, fancy boy." He kicked at Arch's face, sending the helmet flying and Arch falling onto his back.

Arch's eyes held fire as he looked up at the bigger man. "Kiss my entire ass."

With that, Kano's upper lip curled and he raised his fists for the killing blow.

"STOP!" you yelled, leaping to your feet. Shang Tsung remained seated, slowly turning to watch you. You froze, unsure what to do now that you had the attention of Kano, Arch and the entire crowd. "Please! Don't kill him," you said more quietly.

"Are you fuckin' kidding me?" Kano barked. "It's my right!"

"Please!" You held up your hand and squeezed between some benches as you approached the men. "You don't…you don't have to kill him," you said. "He's beaten. It's over." Once, a long time ago, you'd talked a friend out of violence using this same tone of voice. It worked then, surely it would work now?

It would seem not. Kano laughed, full and loudly, then brought down his fists.

You did the only thing you could in that instant: You launched yourself at him, plowing into his dense form, and managed, through sheer luck and surprise, to knock him over.  The spectators let out a righteous yell, some booing, others cheering. Kano immediately leapt up, trying to kick at you, but you rolled away, then scrambled to your feet. He snarled, then launched himself at you - only stopped, at the last moment, by a firm hand on his chest.

Shang Tsung shook his head. "It's over, Kano. You won. She is not your opponent today."

"Like hell she ain't! I'm gonna tear her hair off and shove it up her-"

"Quiet," came Shang's command. Kano glowered at you, chest heaving, looking rather like a rabid dog straining against its collar. He backed off, however, and was declared the victor.

Shaking, you turned to watch as Gim helped Arch to his feet. They both looked your away and nodded their thanks as Arch dragged his foot behind him; surely it was broken. Lots of him was broken but he was alive. Gim might not be so lucky.

The crowd slowly disbursed, some looking at you and whispering to each other. A few shook their heads in disappointment for the lack of bloodsport. You sunk onto a bench and looked at your hands; they trembled.

"Here," came Shang's voice. You looked over to see he had produced a kerchief. "For your wounds."

Wounds? Oh yes. Skinned knees and elbows. You took the kerchief and winced, brushing away the grit and slight blood. "Thanks."

He sat beside you and leaned over, watching you. "A very brave act for someone who claims she has no fight."

You opened your mouth to say something rude, then thought better of it. Perhaps he had brought you to that fight to help somehow, or perhaps it was just chance. Either way, he hadn't let Kano pummel you to death. "I have fight, I just don't FIGHT-fight." You sighed and closed your eyes. "I like the brothers, they're nice. I couldn't let him die like that." You opened your eyes and looked at Shang for a moment, then continued. "Here," you said, offering the kerchief back.

"Keep it," he said, holding up his hand. "You might need it again." With that he rose, put his hands behind his back, and strode away.

You tucked the cloth into your pocket and sat for a while, alone, and listened as the wind moved softly through the plants and reeds. After a little while, you rose and found that the scratches on your knees and elbow had healed.

* * *

Four days. Four days you'd been at the tournament, eating your fill and sleeping fitfully in the dark castle-temple. Each combatant had their own room but there were no true doors. Surely some shady business occurred from time to time.

And just how did time work in this strange place? Four days here could be four minutes on earth…or four years. There was no way to know except to ask someone and the only two friendly faces were nowhere to be found.

You tried to make a new friend. "Excuse me, ma'am? Miss?" With her back turned, you couldn't tell the age. The woman slowly turned, eyes blazing red and mouth filled with monstrous teeth.  "Do…you…know…when uhhhh the next battle is?" Surely it wouldn't do to run away in fear.

"Nnnnnow," the mouth said, jaw moving strangely and fangs glimmering in the light.

You nodded and stepped backwards, managing to wheeze out a "thanks" before hurrying around a corner.

Pushing your hair back, you meandered through the halls, at last arriving to the conclusion you were frightfully lost. The building hadn't looked this large from the outside but this was, probably, the least surprising thing that had happened so far.  Well, time to backtrack-

A hand gripped your throat like a steel vice and slammed you against a wall. One glowing red eye blazed against the wane light, a sneer on Kano's lips as he leaned in close. "Gotcha."

You couldn't yell, could barely breathe as you clawed at his hand. He smelled like blood, though his face was clean.

"See, I thought all day what I should do to you." His fingers tightened their grip, "And then I thought…yeah. A shiv would be nice."  

With that, he released your neck but even as you gulped down air, your eyes widened. A sharp, cold sensation entered your abdomen, followed by a searing pain you had never before experienced. You looked down to see a knife sticking out of your side, your own blood seeping down.  Kano released the handle and grinned at you. Your knees wobbled, then gave out entirely and you fell to the ground.

"You look good in red, sweet cakes." He tapped his chin with one finger, a little of your blood staining his skin. "Think I'm gonna see how much red you got."

There he paused, however, the smug expression melting off his face as though he'd seen a horrific creature just beyond your edge of vision. He slowly looked down and put his hands over his stomach, where five blades emerged. He coughed, blood spurting forth from his lips, eyes wide with surprise. As he crumpled to the ground, Shang Tsung stood behind him.

He took a deep breath, then said without humor, "Fatality." With that, he scooped you up and proceeded to walk steadily and speedily down the hall.

The pain made your vision hazy but you knew full well that it wasn't safe to be in this position. Each step he took also caused the knife to jostle, bringing fresh sensations. "Put…me down," you gasped; talking was almost enough to cause you to pass out entirely.

"Nonsense," he said. "That is not a simple blade, it is magical and we must treat it with magical means."

"Magical," you whispered, "What, how?"

"It will leave a scar. Consider it a gift of survival."

"Please…" you started to say but the world fell dark and you could speak no longer.

* * *

You awakened with a gasp. You were yet clothed in the same outfit (desperately in need of a wash) and lay comfortably on a chaise in a reading room. The shelves were lined with books of many shapes and languages, most you did not recognize; did most cultures have the concept of a book?

The wound! You lifted your shirt - indeed, there was a bright pink scar a couple inches from your bellybutton. If Kano missed your intestines, it was luck. If he hadn't, and you were healed, it was certainly magic and skill. You felt none the worse for wear and sat up, then hopped to your feet….

…much too quickly. White dots flickered in your vision and you stumbled. Strong hands grabbed your shoulders and guided you back down to sit on the chaise.

You looked up at Shang Tsung; his eyes didn't seem to hold any worry or concern but his hands lingered on your shoulders overlong.

"Did you…" you waved vaguely at your abdomen.

"Of course not," he said sharply. "You may think me a monster but no real man would-"

"No, no, that's not what I meant! I meant, heal. Heal this. Me."

"Oh. Yes." He sat down beside you. Instead of his usual golden armor, he was clad in a long, black leather jacket, simple black shirt and dark plum pants.

"Thanks."

"I've brought you clothing," he said, and gestured to a folded pile on a table.

"I'm not going to wear one of those ridiculous skin-tight bathing suits."

His lips quirked into a subtle smile and an eyebrow raised. "I would expect not. No, I think you'll find these suitable though they are to…my tastes."

You were very curious as to the clothing - black and grey it would seem - but sat still for a little while longer. "Kano, he…" your voice drifted off.

"He was an evil man and died fittingly." Shang's shoulders lifted in a shrug.

"I feel like I should say thanks but you're also the one that brought him here." You looked at him pointedly.

"I did, yes." His eyes flickered briefly over your face.

"Why do you do this?" Your voice was soft; you genuinely wanted to know.

He seemed to choose his words carefully. "I have no choice."

"You said there's always a choice," you pointed out helpfully.

"Not for everyone. Not for me." With that he stood and held out his hand. "Come, you should rest further in your room."

* * *

You admired yourself in the mirror. While he might be mysterious and terrible, Shang Tsung certainly knew how to select an outfit. The sleeveless shift held leather panels at the front and back, which arched over your shoulders. The cloth was soft, black and came to a pointed V in the back, right at the midpoint of your calves. The bodice held a V though not nearly as daring as you might have liked. You smiled a little at the reflection, turning this way and that. Slightly intimidating, certainly comfortable and very-

"Breathtaking," came Shang's voice beside you.  

You startled, turning towards him, having heard neither footfalls nor movement.

His eyes trailed slowly over you. "I'm glad to see it fits so well."

Cheeks turning a particularly vibrant shade of crimson, you turned away from him and to the mirror. "I like it, I have to admit."

"You'll find that the cloth provides more protection than you might expect." He reached up, tracing a finger along the edge of the leather at your shoulder. He didn't touch your skin, but he might as well have for the shiver it gave you. "Magical, of course."

"Of course." You wondered if he'd truly let you die at the hands of a combatant. Perhaps not, since he saved you from Kano, and yet…there was much to consider. Not the least of which was the sensation you felt when he stared at you. "I should go," you said awkwardly. "To watch the contestants." That made them sound like they were in a pageant. You winced slightly and pivoted on your heel - the boots were also new, black, and delightful.

You felt his eyes upon you as you left.

* * *

"I heard he killed 100 men and drank their blood!"

"Nah, he's not a vampire."

"You sure?"

The combatant shrugged. "I'm not."

You smiled, listening into their conversation. You couldn't be certain Shang wasn't a vampire but their conversation gave you an idea. The next battle, you would sneak into his bedroom - assuming you could find it - and see what information you could find. That was, of course, even assuming he didn't invite you to sit beside him for the battle.

Fifteen battles, now. The stakes were becoming higher. You'd lowered your guard but hearing the guttural sound of someone's life being choked out of them, well, it had a tendency to bring everything back to laser-like focus. Your only chance now was if Gim was your opponent - or maybe that slightly friendly, monster-mouth woman.  

"Are you looking for something?"

The voice startled you from your thoughts and you spun to see one of the bare-chested, masked helper warriors. They didn't seem to have names. Maybe you'd give this one a fun name, like Bob.

"Yes," you said, feigning confidence. "I'm looking for Shang Tsung's room." You paused, then added, "I'm going to leave a present," and gave your best lewd wink.

Though you couldn't see the warrior's face, you had the distinct impression he looked confused. After a moment's hesitation, he replied, "Yes, this way."

He led you down a hall that seemed to go on for a mile. At last, you reached the end and gazed upon two ornate wooden doors. A dragon and a cobra were carved into the wood, interlocked in some eternal struggle. The warrior gestured to the door and gave a slight bow.

"Thanks," you said as you planted a hand on the doorhandle, then added, "Oh, you can go. Now. You can go now. Thanks."

Instead of leaving, however, something quite miraculous and terrifying happened. The warrior's form shifted, as though a mist was blowing away, and there before you stood Shang Tsung.

Your stomach gave an uncomfortable heave and panic trickled up your spine, coursing its way along every nerve. Your jaw dropped, eyes widened.

"Tell me," Shang said nonchalantly, inspecting his fingernails before looking up to meet your gaze. "What of this present?"

Caught. Completely and utterly caught in the act. He was no fool, surely he knew what you'd planned. You wracked your brain for some meager excuse. "I was..just…" you gestured futilely to the door. "Cleaning! Going to clean your room. Bet you didn't expect that." You smiled broadly, hoping the bead of sweat that trickled down your brow wasn't evident.

"Is that so," he said, then planted a hand beside your head, against the door, locking you in. He leaned closer. "Why would you do that?"

"As thanks. You know, for healing me. I assume you're a bachelor, I mean, there aren't a lot of women here who won't try to kill you, so you probably have a very messy room." Far, far too much babbling. Keep it simple, stupid.

His lips quirked into a small smile, eyes crinkling with delight. He said nothing.

"And I just thought well, I can help! I can do that." STOP TALKING. "You know, to….yeah." Your voice trailed off.

He took a deep breath, then laughed once, straightening and dropping his hand from near your head. You felt both relief and disappointment in equal measure.

"Well, you're neither a good thief nor a good liar. I hope you have another plan," he smiled slightly.

"Fine," you said, "Fine, I was trying to get into your bedroom to see if you had some documentation about the portal. OK?"

"You might have simply asked."

"Asked for the documentation?"

"Asked to enter my bedroom."  His lips quirked; truly he enjoyed watching you squirm.

"I," you started and looked away, "wouldn't know how to ask that."  The hallway had become unbearably warm all of a sudden. Didn't they have A/C?

He laughed again and turned, gesturing for you to follow him back down the hall. You fumed at his response, marching after him, hands balled into fists. Neither of you said anything as you exited; you sped past him and he grinned after you.

* * *

He had a silly name, The Shockening, but his attacks were devastating to his opponent. He seemed to evaporate into the ground, then reappear behind - what was his name? oh yes - Bexas, pummeling him with a flurry of fists.

Bexas' main weapon was a magical chain. It appeared to do his bidding when he whispered to it - sometimes it behaved like a javelin, other times a lariat. Shang seemed particularly interested in the weapon, eyes following its every move.

Unfortunately for Bexas, the chain, however magical, was still comprised of metal. The Shockening let loose his namesake power, sending a ferocious bolt of electricity up the chain and to Bexas' hand.  He convulsed, but did not let go. The Shockening grabbed the chain and whirled it up, sending Bexas flying directly into the crowd.

His smoking form landed at your feet - you were far too annoyed at Shang to sit next to him this time - and he lifted his head. You leaned down, a little afraid to touch him as a few tiny bolts of electricity trickled off him.

"Th…the name," he rasped quietly, "Wind…Windwillow." And with that, he gave his last breath.

You blinked, staring at his form, then looked up as Shang gleefully declared a victory…and fatality at that. He picked up the chain and roped it around his arm.

So, the name of the magical chain. You tucked that away in case it might be useful. What a lovely name for something so violent.

The crowd roared its approval and The Shockening paraded around the circle, arms held high. The nameless warriors quickly came to retrieve the body at your feet.

"I trust you are unharmed?" came Shang's voice.

You nodded. "He didn't land on me. Thankfully." You watched the warriors walk away. "Why do you do this? Really, Shang. Please tell me." You turned your gaze to meet his.

He took a deep breath and sat beside you. "Power. I wanted it so desperately."

"That doesn't really answer my question." The crowd had filtered out. You were alone with him now.

"There are powers well beyond that of human understanding," he said, looking over to the temple. "Events set into motion for millennia, every small decision an adjustment to the cogs."

You shook your head "I don't really get it but can't you just…leave? Stop doing this?"

He smiled slightly though it didn't reach his eyes. "Leave all this?" he gestured to the expanse of the island. "Whatever for?"

"You know exactly what I mean."

"Ah. It is not so simple," he said and turned to look at you again, "for me. I made my choice and this is my…" his voice hesitated.

"Punishment?"

"Trajectory," he said, then patted your hand. "I appreciate your concern."

"Well, I could be very wrong but I don't think you're nearly the monster you pretend to be," you said quietly.

You then sucked in your breath as his fingertips traced over your knuckles. Your cheeks again reddened.

He smiled lightly, arching a brow. "Are you certain?"

"N-no," you stammered.

His hand came to rest over yours, fingers interlocked. You cleared your throat, pretending not to notice. It did no good. "Maybe you just need a nice hug and you'll come to your senses," you joked.

He stood. "Is that your present to me, then?" That smirk, back again.

You stood, too. "What? No! I was kidding."

"I wasn't," he said. His eyes twinkled with delight, a more real delight than he seemed to exhibit at the end of gruesome matches.

"Fine," you said, cursing yourself for wanting to go through with it. "Maybe it will help." You stepped up in front of him and, before you could lose your nerve, wrapped your arms around him.

His hands alighted on your bare arms, then slid along and up them until they were solidly around you. He felt warm and far, far too good in this position. You rested your head against his neck and hoped he couldn't hear the hammering of your heart. You felt, rather than saw him smile.

"Is it helping?" you asked quietly after a little while, not yet ready to pull away.

"It may be," he replied and tightened his grip ever so slightly. His hands rested chastely at your back though your mind betrayed you terribly with thoughts of where they might go. Where you wanted them to go. Obviously, it was time to release him but you…couldn't yet bring yourself to do so. He was solid and warm, his cheek now resting against the top of your head and you felt your body might melt into a puddle.

His hand slid up to rest on the back of your neck. You pulled away a bit then, looking up at him, alarmed, confused, and uncomfortably aroused.

Blessedly (or cursedly), your eyes caught sight of movement off to the side: one of the warrior minions come to give a report on something of importance.

Shang's upper lip twitched in annoyance as he released you to deal with the intrusion.

"I should…I should find Gim! Make sure he's OK!" You immediately regretted your outburst but hurried away before you had to answer to Shang's incoming question.

* * *

Gim, as it turns out, had been training hard. He, too, knew the odds were not in his favor, and with his favorite sparring partner unable to spar (with seven broken bones, no less), he resigned himself to exercising constantly. He'd thanked you, grimly and profusely, for saving Arch. He told you he was filled with regret it hadn't been him - he was convinced if he interfered, Arch would be killed anyway. Afterwards, he survived two matches against truly vile opponents. You made another acquaintance, a woman, blond and strong but reasonably kind.

This, in turn, filled you with regret. What had you been doing with your time? Fraternizing with the enemy? Maybe even…flirting? You needed to remind yourself that he was, for all intents and purposes, truly wicked. Probably.

Eleven combatants left and no more would be arriving to the island. This was it. If there was a move to make, it had to be now.

* * *

You had a plan. No, you had five plans. Plan one: sneak into Shang's bedroom by climbing on some ledge (somewhere) from some other open window. Plan two: bribe a combatant to distract him; though he could change shape, he couldn't be in two places at once (that you knew of) and if you kept your eyes on him while bribing someone, well… plan three: some variation of plans one and two. Plan three: ask to go into Shang's bedroom and clobber him over the head. OK, you had two plans.

None of this prepared you for stepping out of your room and being cornered by Shang. He walked up to you, and you retreated until your back hit a wide column.

"Enough," he said and, before you could ask what he meant, slid his hands to either side of your face and leaned down, pressing his lips to yours. You were completely unprepared for the ravenous kiss he bestowed, the way his hands flowed down your face, over your neck, grazing your breasts, and encircled your waist to pull you close. You were also unprepared for how your body reacted of its own accord, returning that kiss with just as much passion, fingers curling around the lapels of his jacket. You lifted your knee slightly and his hand whipped down to catch it, pulling it up and pressing you against the column. You felt him, from lips to chest to shin, felt his hunger and need pressing to you.

You pulled back slightly, broke the kiss, and stared at him momentarily, panting. "Bedroom," you whispered.

He didn't even nod, but you felt a cool mist along your skin and the area around you seemed to speed by. So that's how he got around…. in just a moment, you both alighted inside his bedroom.

You'd expected sumptuous bedding, skulls and candles, but only one of those was correct. Indeed, the circular bed, pushed up against the wall, was adorned with a red quilt. The headboard was simple: bars that held up a plain, rounded, thick wood board. The walls were decorated with a few sparse tapestries and many, many bookshelves. The far wall displayed weapons of various types, presumably from fallen warriors. A table nearby held a couple blades, including the one used to stab you, and Bexas' chains. No candles but instead magical lights that floated in place, dimming now.

After glancing around, you looked back to him. He seemed to be waiting…perhaps for you? You answered him by grabbing the front of his coat and shoving it off his shoulders. He smiled momentarily, shrugging off the fine leather and throwing it onto a chair. His hand found your jaw, holding you still for a moment as his eyes trailed over your features. He then leaned to your ear and whispered, "Magnificent," before nibbling at your earlobe.

You giggled, ticklish, and squirmed against him, which he clearly found delightful. His lips then found your neck - not ticklish there - causing you to gasp and then let out a small, unexpected moan.

"Yes," he whispered to your neck, hands fiddling with the bindings of your shift, "You will be mine."

Emboldened, you pushed him towards the bed but just before it seemed like he would fall backwards upon it, he spun you and pushed you down gently, hands planted to either side of you. He smiled lightly, legs between yours as his gaze trickled over your form. "Again, and again." He placed a finger at the demure V of your bodice and pulled down lightly. Apparently, it held some secret, for it gave way at his touch, his fingers trailing over the space between your breasts, pulling it down all the way to your bellybutton. You were surprised…but delighted.

He did not push the shift apart, so you reached up to work his shirt out of his pants and tug it upwards. He obliged, pulling it up and off, revealing what you already knew to be true - he was exceptionally built. Lean, hard muscles, a few interesting scars, and all his attention focused on you.

But there it was: The chain, catching your attention on the table, beckoning. You didn't want to, wanted instead to simply enjoy time in this most primal of dances. But this was it. This had to be.

You sat up and planted your hands on his chest, guiding him to the side and rolling him onto his back. He looked surprised, eyebrows raising, but offered no resistance. You grabbed his wrists and pinned them above his head - obviously no danger to him but he also clearly liked where this was going. You put a finger to his lips and then held up the finger while you hopped off the bed and grabbed the chains.

He looked quite surprised indeed but remained as he was even as you returned and clambered onto the bed. The chains were much lighter than you feared, making the next part of this easy - from the physical perspective.

You pulled away and turned, just barely whispered "Windwillow" to the chains. The flickered with light. With that, you wrapped one end around his wrist. He started to sit up, so you sat on his hips - again, certainly no challenge for him but quite interesting. He smiled, one brow quirked, as you looped the chain through the headboard and brought the other end back through.

Here, you hesitated. This isn't want you wanted, not really. You undulated a little on his lap while you worked up the nerve to bind his other wrist. He hissed, pushing his hips upward and you genuinely considered giving up the plan and having your way with him right there.

And yet.

Swallowing hard, you created a chain loop around his other wrist, effectively keeping him in place. You leaned down and kissed him - hard. Soft. You slowly pulled back up.

"Whatever you want," he whispered hoarsely.

You hesitated only briefly. Then: "Tell me how to open the portal."

"What?" he said sharply, going still.

"The portal. Tell me how to open it. Please. After I do it, I'll come back and let you go. I promise." Even knowing he'd probably kill you for it.

His lip curled into a snarl. "Is this a jest?"  He yanked hard on the chains but they would not budge.

"No. Please tell me." You felt tears stinging your eyes.

His lips pressed firmly together before he snarled, voice low, "You will pay for this. I assure you."

You nodded.

And so he told you the words to whisper to the portal to take you back to your world - at least you assumed it was your world. Surely you couldn't stay here regardless.

"I'm sorry," you said as you slid off him, fastening your shift. He looked completely enraged, unsurprisingly, laying there prone and painfully aroused. "I promise I'll come back."

You hurried away and dared not look back.

* * *

Well, it was done. You told the other combatants they had the option to leave and return to their respective worlds - six took you up on the offer, including Gim (carrying his brother), the blond, and the toothy woman. Five stayed behind, excited to claw their way to victory.

You returned to Shang's room and were only slightly surprised to find a broken headboard and no sorcerer. The chains were also missing. This sent a feral surge of fear along every nerve. You hurriedly made your way back to the portal, looking around every moment, wary.

Of course he would wait until you'd whispered the opening words to the portal and the destination. Of course he would.

You heard the crunch of footfalls on rock behind you. Slowly, you turned. He stood with his hands behind his back, face stoic except for the slight frown-sneer. Goosebumps rose on your arms.

"You betrayed my trust," he said.

You nodded. "I did." There was no arguing it.

You stared at each other for a while until at last you broke the eye contact and looked away. "I'm sorry. I really am. I wasn't…I didn't intend for it to be that way but I had to save them."

He snorted.

You looked back to him. "Come with me." You held out a hand, inviting.

His eyes dropped to stare at your hand for a moment. Then, he let his hands fall from his back and rest at his sides. He slowly stepped towards you, not unlike a predatory animal approaching its prey.

Your hand trembled slightly. "You can start over. With…..with me." Why? Why offer that to him? Surely these few meager days weren't enough to justify such an offer. And yet.

He raised his hands and put them on the tops of your shoulders. His grip was strong. You weren't sure if he was going to draw you into a hug or reach up and throttle you so you let  your hand fall to your side.

Without another word, he shoved you backwards, into the portal and the last thing you saw was his scowl.

* * *

You awoke with a start. Where-? There on your couch, morning seeping in through the blinds. You let out a slow, shaky breath. In your hand, a crumpled flyer with crude lettering: Mortal Kombat!!! Fight and win!!! Come to the arena at Central! Personalities welcome.

So….so that was it. A dream, a nightmare, something. Had to be it. Had to.

You slowly rose and trudged to the bathroom to take a shower, stripping off your shirt and shorts. Looking in the mirror, your breath caught in your throat: There, on your side, a pink scar line, freshly healed where none had existed before.

* * *

Three months passed.

Darius proposed to his partner, won three more championships, and thought you were a complete nutso but loved you anyway. The season edged towards fall. You sorted your scarves and fall clothes, started to box away the skimpiest of summer clothing. The scar faded to a faint, angry white line.

Now you sat at a sushi bar, poking some edamame and considering your food options. The tea had long since grown cold.

Someone sat two stools down. You glanced over and gave a nod of acknowledgment, then did a double-take: By the Gods, he was a doppelgänger for Shang. The hair was shorter, pulled into a ponytail, and the build a bit lighter, but the face? The face was the same, the posture the same, even the slightly-arrogant eyebrows…the same. He wore dark pants and a fine, light grey collared shirt.

You gasped and stared brazenly.

He ordered a tea, then set about looking at the menu. Still, you stared. At last, he set down the menu and turned to look at you. "Hello, miss. Can I help you?" The voice was similar - not entirely the same, but so very close.

"I'm…I'm sorry," you started. "You looked like someone I know. Knew." You glanced away.

He must have felt sorry for you because his eyebrows raised. "Oh? How disappointing for you if it makes you look so sad."

"No," you held up a hand, "not at all. Sad yes, disappointed no. It's hard to explain." You considered your options - sound a bit crazy or a lot crazy. You opted for both. "I had an elaborate dream and it's bonkers. There was a man in the dream who looked just like you."

The Not-Shang smiled a little. "Oh? Well then, tell me about it. I'm very curious now." He swiveled fully on the stool to face you.

You took a deep breath. Hey, it's not like you'd ever see this guy again, maybe it would do some good to get this off your chest. You didn't dare truly explain to your friends. "I accidentally took the place of my friend in a martial arts championship on another world. Yes, I know, why another world? No idea. Dreams, am I right? Anyway, the man who ran the tournament knew I couldn't fight. I thought I'd die, then I thought I might not die, then I realized that I….well, I was drawn to him. We started to become intimate, and.." you paused here, clearing your throat.

The Not-Shang arched a brow and waited for you to continue.

"I tricked him. I tricked him and opened the portal and while I saved some of the warriors, I think I hurt him more than I realized."

"Oh, I see," he said simply.

"And, I think I really…came to care for him." You looked away, at the cup of cold tea. "I wanted to save him, too, but he wouldn't let me."

"That's a very sad dream," he said. "I can see why it stayed with you."

You nodded, feeling a surge of embarrassment. "Right," you blurted and slapped your hands on the bar. "I should go. Nice talking to you." You stood and gathered your things, then dropped some money on the plate.

"Hmm," he said, "As long as you're here, why don't you come to dinner with me, [Y/N]?"

You froze in place. "I didn't tell you my name."

"Oh? Well, how interesting. Lucky guess, I suppose."

You slowly turned and stared at him, unsure what to do or say.

He stood and smiled slightly. "One hour, I'll pick you up." With that, he turned, leaving you confused and alarmed.

* * *

The doorbell rang. You'd hoped he'd sweep you into his arms but no such dramatic event occurred. He was probably still mad and had questions or concerns. Still, he arrived dressed to impress in a black suit, black shirt and dark red tie. You'd rightly assumed he'd use the occasion to dress up so you chose a suitably sultry dress, one that draped low in the back and skimmed above your knees.

His eyes trailed over you and you felt your skin prickle. "A lovely dress," he said, brows raising.

You smiled a little. "Thank you."

"But not," he continued, "the kind one wears for very long. Shall we?" he extended his elbow and you wondered if you were overthinking his meaning.

He did not have a car, which was probably just as well since he wouldn't likely know how to drive it, so you took a taxi to a nearby restaurant. It was cozy, dimly lit, and provided a modicum of privacy.

You felt strange asking him about what happened so left that off your conversation. He asked you about Darius, and you told him, asked about your job, and you explained it.

Too much small talk. You brushed your leg against his calf. His eyes raised from the plate before him and held your gaze. Your lips quirked. "Oops. Sorry."

He nodded, then steepled his fingers and leaned in. "Tell me more about this dream. You say you came to care for the man?"

Your fork clanked on the plate with surprise. "Yes. I didn't know him long but I liked his company. A lot. Liked his spirit."

You glanced away, then, before slipping off your shoe and sliding it up his calf. "And of course, I enjoyed the way he looked at me."

"I see," he said, seemingly ignoring your ministrations. "Perhaps he was fond of you, too. However, from what you say, you betrayed his trust."

Your foot dropped back to the floor. "Yes," you let out a slow breath. "I did. That wasn't my plan at the start. I was going to…."

He raised his brows, awaiting your answer.

"Have my way with him."

Likely-Shang chuckled and lowered his hands to the table. "How bold. I can see why he liked you."

"Yes," you said, "maybe so, but he still shoved me back to earth."

"Maybe he didn't know what to do with you. Perhaps he wishes he had not done so. Perhaps he is still learning to tame his brash decisions."

You felt his foot slide along your calf.

"I think," you began, "he should still make some brash decisions."

Likely-Shang's lips quirked for a moment and he flagged down the waiter. "Check."

You kept your hands off him on the ride back to your apartment. He kept his hands chastely on his lap. As soon as your door was closed, however, he grabbed your shoulders and pushed you to the wall. He slid a knee between yours. You could feel the heat emanating off him.  You still had questions, many of them, but your head was fuzzy with his nearness and all of those thoughts could wait.

"Shang," you said, eyes flickering down to his lips and back up to his gaze.

"Yes?"

"Is this revenge?" you managed to say, placing your hands on his chest.

"Absolutely," he smiled and leaned down, kissing you with that familiar hunger as he slowly eased the dress off your shoulders.

And he did enact his revenge, several times, in fact.

* * *

So it was that you took the time to know him quite well after indulging your desires, and found that he was an equal match for you in most respects. But time was never on your side and soon enough, you would need to help protect him from those who claimed him as their own.

The End…for now

[unfortunate-stranger-losers]

The Incomplete History of Secret Organizations - How to Crack the Code

Now that Season Three of A Series of Unfortunate Events has aired, I feel it’s about time to finally tell y’all the Code from The Incomplete History of Secret Organizations- for those of you who can’t get the book, haven’t read it yet, can’t figure out the code, or who just don’t wanna spend time finding it out yourselves. 

On page 188 of The Incomplete History of Secret Organizations, the key to cracking a code sprinkled throughout the book is provided: 

WARNING → THERE IS A SECRET MESSAGE IN THIS BOOK

You may have noticed a cross-referencing technique that appears throughout these pages, looking as such: (See: Notorious Researchers, pg. 30). This device is a helpful way to direct readers to relevant information that can be found elsewhere in a text. 

It is also a handy way to send a secret message. 

Every librarian knows that books contain secrets, and hiding a secret message in the pages of a book is a frequent VFD tactic. Volunteers who cleverly cross-reference will discover the message, while their enemies, who rarely finish a book, remain unaware. 

If you have read this far, you may be wondering how to discover this message yourself. First read the book carefully, making note of any parentheticals shaded an unusual hue. This is no printer error; it is a key informing you that part of the message can be found on the suggested page. Follow the references and locate the letters colored a corresponding hue. These letters are scrambled, not unlike an anagram. Once you have unscrambled the word, write it on the color-coded line of this telegram. Completing the telegram will reveal the answer to a question that has stumped philosophers, police inspectors, and even Lemony Snicket: 

What comes after the end of The End? 

Next to this description is a photo of a telegram, which is fourteen words long: 

___ ____ __ _______ 

____ ___ __ _____ 

____ ____ _____

__ _____ _____

And, indeed, each word is underlined in a different color. 

Now... onto cracking the code.

As referenced, there are occasional cross-references in the text. And sometimes, the See: is in the color you need to look for. 

If you follow each See to its corresponding page, you’ll find letters scattered across the text that are in the color you need to find. These letters make up each word. 

Word-by-word, let’s see what we can find: 

The first word, in dark purple, is on page 133: The Reptile Room. To be honest, this is the hardest word to find: the dark color is very close to the color of the actual text. There are three letters here, in the following sentences: 

You always want to do something new, but at the same time, I wanted to see if there were clues I could integrate into the design. 

This flips it so the priority is the reptiles, and his own living space is sort of diminutive. 

And in “The Reptile Room,” [Monty]’s delighted to share his world with these kids. 

otw

The second word is on page 99: Toupees for Toddles, in an orange-ish color. There are four letters, which can be found in the following sentences: 

“Well, we can’t put a wig on a baby.” 

It’s one of the oddest things I’ve ever done in my career, applying a little wig on a baby. 

When we started the second season, Presley had grown her hair long enough that we could actually create the ponytail with here own hair, which was a relief. 

ests 

The third word, in a hot pink, is on page 130: Mr Poe’s Office. There are only two letters, which can be found in the following sentences: 

It can be goofy, but it’s never goofy-stupid. 

He’s the guy that’s literally standing between Olaf and the Baudelaire fortune. 

of

The fourth word, on page 110: How to Dress for a Masked Ball, in a gray-blue color, can be found in the following sentences, with seven letters: 

The flashback that opens “The Carnivorous Carnival” is set at a Venetian-style masked ball, where masks conceal a number of familiar faces. Cynthia Summers designed each mask with the character in mind, including Dr Orwell’s “eyeglasses,” a Medusa-inspired snake mask for Uncle Monty, and theatrical comedy/tragedy masks for the Snicket Brothers. (Jacques wears the comedy mask, while Lemony, of course, is tragedy.) The ball also marks the first on-screen appearance of the mysterious Beatrice, described in the script as “a beautiful woman dressed as a dragonfly.” 

eidnrsf

The fifth word, four letters long, is on page 45: Olivia Caliban/Madame Lulu, is in gray: 

A dangling thread from Season One was a certain book on secret organizations discovered by Justice Strauss - a book whose title will be familiar to anyone reading this. 

Still, they liked the idea of a character finding The Incomplete History of Secret Organizations and having the book change your life, as it will no doubt change yours. 

While the book’s version of Olivia is a veteran agent of dubious morality, the show reinvents her as a noble school librarian struggling against institutional corruption. 

There, disguised as Madame Lulu, she fulfills her mission of passing the book to the Baudelaires - and sacrifices herself at the lion pit to save their lives. 

jtsu 

The sixth word, colored light orange, is on page 109: How to Dress for a Career in Food Service. The three letters can be found here: 

Author Daniel Handler explains that the VFD agents we meed in the show are the types of people whom children notice by adults overlook. 

You’re going to notice things that are invisible to the adults talking over your head. 

Take a good look at the restaurant’s terrifying logo. 

uto

On page 141: The Miserable Mill is the seventh word, in two red letters: 

“The Wide Window” left us with no more stage space, so it forced us to shoot the mill at a real location, an old dock building which we then tried to make look like a stage. 

Klaus comes back from the eye doctor, but he isn’t quite himself. 

fo

The eighth word is on page 97: The Real Sugar Bowl. There are five light purple letters: 

According to Esme, it was stolen from her by Beatrice, and according to Olivia, it may have been the reason for the VFD schism. It’s not the first sugar bowl to play a vital role in a work of classic literature (interested parties may seek out We Have Always Lived in The Castle at their local library), but Daniel Handler muses on another possible inspiration: “There a whole sugar scene in the movie Midnight (See: Snicket, Jacques, pg 44) that must have seeped into me when I was a child. Somehow I think that was one of the sugar bowls of literature that ended up sneaking in.” 

The existence of four identical sugar bowl [props] may be of interest to Esme Squalor, or at least her actress, Lucy Punch, who requested to keep one when the series wrapped. “My character was so desperate for it,” says Punch. “It seemed appropriate.” 

eahrc

The ninth word, in blue, is on page 172: The Carnivorous Carnival. There are four letters: 

There’s literally no program you can watch that’s any wierce. 

The aesthetic of carnivals and circuses is naturally creepy and absurd to begin with. And then you add the overlay of our material, where everything is filtered  through the Baudelaires, so the sets are designed to be seen as if you’re a vulnerable child glimpsing this horrible world and trying to maintain hope. 

Count Olaf arrives at Caligari Carnival, where he hopes the fortune-teller can help him. 

wlli

The tenth word is on page 89: The Many Faces of Barry Sonnenfeld. There are four green letters: 

and in “The Vile Village,” he’s the fire chief posing with his Dalmatian int he firehouse-turned-saloon. 

A common ancestor to our series’ interconnected families? 

Barry birthday is April Fool’s Day, and for his birthday, I decided to knock off a painting with him in it. 

We’re shooting the Hotel Denouement right now, and the whole hotel isi based on the Dewey Decimal System, and each floor is a different subject. 

eetm

On page 64-65: The Sinister Songs, you can find five magenta letters for the eleventh word: 

“I was a huge fan of the books in my twenties, and I  was also a huge fan of Barry Sonnenfeld, so to see those two come together and actually be a part of it was unreal.” 

Count Olaf introduces himself to the Baudelaires with this song and dance - ignoring the fact he’s already met them. Handlers says, “Singing is perfect for Count Olaf because he imagines himself so wonderful.” 

All of the dance numbers were choreographed by Paul Becker, who pulled double duty in the first half of “The Carnivorous Carnival”.

She’s had quite an exciting / Time on the road

agina

On page 24: Violet the Inventor, there are two gray letters for the twelfth word: 

But now those inventions, like the Baudelaire mansion itself, are gone. 

She promised her parents she would always look after them, and while Count Olaf’s schemes have put that promise to the test, Violet’s managed to stand strong in even the most unfortunate situation. 

on

Pages 116-117: Deciphering Code: Using the Dials of the Spyglass, has five purple letters for the thirteenth word: 

As a volunteer, you already know why and when the spyglass was created (See: Motion Picture, Pg 10) but we will briefly recap its history here.

A permanent mark has its advantages, since even the most absent-minded member rarely leave the house without their ankle (See: Peg Leg, pg 86), but it has its drawbacks too, particularly if the organization undergoes a schism, so that the same symbol that once stood for comradery and literacy suddenly represents treachery and pyromania now that it is inscribed on the ankles of your enemies. 

But just as a movie might be more than a movie, a spyglass can be more than a spyglass. 

Critics called these films terrible, which was the point: Sebald wanted to ensure that no one would want to see them besides other volunteers, who would be more interested in their secret messages than their artistic value. 

The cinema’s projectionist assigns the film a production code made up of a unique combination of numbers and symbols. 

riynb

The fourteenth and final word can be found on page 32: Who is Lemony Snicket? There are five pale green letters: 

He is currently investigating the lives of the Baudelaire orphans,  though his reason for doing so is unknown, as are his whereabouts. 

Mr. Snicket can be identified by his dry wit, his tailored suits, and his ankle tattoo, as well as his tendency to launch into wordy monologues containing Very Frequent Definitions. 

But when developing the series for Netflix, Barry Sonnenfeld and Daniel Handler independently felt that their Snicket should be seen as well as heard. 

And they both independently thought of Patrick Warburton, a frequent Sonnenfeld collaborator whom Handler had loved in a little-seen film called The Woman Chaser. Volunteers who track it down will note that it features Warburton speaking to the camera in a suit and a deadpan style that one might call Serlinig-esque - or Snicket-esque. 

haebc

The Code

So now we have all the words:  

otw ests of eidnrsf 

jtsu uto fo eahrc 

wlli eemt agina 

on riynb haebc  

Which do not take a long time to unscramble... 

What comes after the end of The End? 

Well, it turns out... the code is a couplet... 

Two sets of friends, just out of reach 

Will meet again on Briny Beach.

[maiji]

Process and wip images for A House That Holds Long Limbs (Part 2) 

See Part 1 process and wip documentation

Read the pages for part 2 here (full complete version will be linked from YYH North Bound master post) 

As a story progresses, I tend to become more comfortable with jumping ahead and around in my so-called process. This is mainly because the idea of getting deeper into the action is exciting and I want to get to drawing the pages as quickly as possible. The downside is that it usually results in a lot of “oops” and rework on what was supposed to be a final page.

Here you’ll see that script/pagination/thumbnailing and final pages are all starting to drift even more than in Part 1.

The (last version of the) script

Earlier versions were even more point form and incoherent with typos. But, it only needs to capture enough that I can recognize key actions, points of dialogue, the mood, things to draw in the panels, etc. A few specific items to point out:

“[new part 2]”: The script originally had no exposition on rokurokubi - it went straight to Hokushin telling Raizen he was leaving. It occurred to me later, after I’d started thumbnailing, that inserting a few pages of storytelling narrative right here would help to further solidify the kaidan (traditional Japanese ghost story) effect and mood. More importantly, it creates a baseline reference for what the reader will know about rokurokubi for the purposes of this story. I was lucky that Part 1 and Part 2 were cut neatly enough that this wouldn’t be jarring.

I’m still not entirely happy with the text for this section, mainly the “features of note” about rokurokubi. Not just the fact that it’s oversimplification and slight adaptation of actual Japanese folklore - which can’t be avoided unless I want to write a historical essay here. I’m mainly not super keen on how each of the three items has been phrased. It’d be nice to make the three points more parallel in terms of length, but I couldn’t seem to edit, increase the number of points (by splitting them up), or reorder it effectively without negatively impacting other aspects of pacing and information reveal. More points would draw out the pages longer than I wanted, and some points were clearly sub to other points. The final here is the “good enough” version. JUST GET IT DONE ALREADY SO THAT IT CAN GO OUT INTO THE WORLD.

Sooo many word choice changes. The biggest one, done at the last second, was “They are almost always female” to “They are rarely male”. Other phrasings I debated - “They are very rarely male”, “They are almost never male”, etc. Lemme tell ya, it’s easy to get lost in the weeds… Anyways, the main reason for this was because after I drew it and ran the text through my head, the originally-intended juxtaposition of Hokushin on this page with the word “female” felt too subtle. I felt it would create a brief moment of cognitive dissonance that didn’t serve the flow of the story, so I changed it to create emphasis on the same gender instead with the rationale that it will flow more smoothly and allow the reader to focus their attention on the fact “males are very rare” more than the mental hiccup of processing the juxtaposition. DOES THAT MAKE ANY SENSE?? It made sense in my head.

Anyhow, I’m sure there are people who will disagree with many of the decisions I’ve made, but at least you can see what I was trying to do.

Thumbnails

As mentioned, these thumbnails were done BEFORE I decided to insert the exposition at the beginning.

The first two rows on the left hand page are actually the same set of pages - you can see little arrows pointing down or to the right whenever I’m dissatisfied with a thumbnail and attempt to redraw it.

WIPs

I really like how Hokushin turned out in the last panel here; I like the pencils more than the final inked version. It’s also another example of changing text up to the last second. In case it’s hard to make out, it says (along with what happened to them in the final):

First thought bubble: Ugh, whatever… (moved to the next page, seemed to work better as the end exclamation for this sequence of thoughts before he turns his attention to something else)

Over Hokushin’s head: Aaaargh (moved into the thought bubble)

Second thought bubble: He’s not my responsibility anyways! (no change)

First arrow:  *already feeling bad* (no change)

Second arrow:  *too responsible* (dropped, since a previous panel already said “too responsible”. Too redundant)

Next to Hokushin: All he did was tie me up in a tree (no change)

The above panel “And at night...” was a thrilling and scary thing for me lmao.  I don’t usually tackle large patches/fills of black, since many of my comics are scribbly in style (pencils, hatching) or colour. I’m too lazy for screentones, traditional or digital. It’ll be interesting as parts of the story coming up will involve poorly lit/dim/dark spaces. I’ve been reviewing how other artists handle it, particularly those with styles driven by pure-ink or minimalist type approaches. Two immediate examples from Yu Yu Hakusho that I’ve been going back to are the dark room fights during Genkai’s successor trials (I’ve taken a similar approach here), and the haunted bedroom case in volume 19. Hardcore cross-hatching seems like a likely route, but that freaks me out when I have to do it over faces. I’d like to minimize or avoid screentoning out of principle, but I still want to create a clear mood, so we’ll see how it goes...

This was my view while inking this page - holding the book in one hand while inking Hokushin with the other. Using the more freehand, sketchy inking style for this comic was so helpful in terms of reducing my inking anxiety and allowing me to work faster.

It’s always great when you can find a reference for period armor (because I find armor very difficult) that is so close to the pose you’re already drawing. There are some small differences - for example, Hokushin’s head is turned more to the right; his left arm is turned and raised more as he’s pulling the sword upwards. But it’s close enough.

Also, spotlight on a few of the books I’ve referenced over the course of working on North Bound in general and this part specifically.  

Clockwise from top left:

日本服飾史 女性編 and 男性編 (History of clothing/costume in Japan female and male editions). This marvelous set of books highlights Japanese fashion throughout history. I’ve actually been referencing these photos for a long time before I ever picked up these books - you can see them at the Costume Museum’s website here, alongside helpful line drawings and translations of some of the details. But the books allow me to see a lot more detail.

Hokusai manga vol 1 (this book is published as part of a set of 3). Sketches by Hokusai. This one focuses on “The life and manners of the day” and includes drawings of youkai, including rokurokubi, as well. You can check out the drawings online at places like The Pulverer Collection Online Catalogue.

Action references!! Real Action Pose Collection 02 (focuses on sword fights) and my favourite Samurai & Ninja Action Scene Collection. Not used as much in Long Limbs, but was helpful in some of the other chapters. The time frame is really much later than what I need for ideal clothing references, but it’s helpful for things like movement.

Kekkaishi volume 32. SPOILER a key flashback takes place about 500 years ago, which is actually a few centuries off give or take from but at least it’s closer than the Edo period. I’ve been looking at it for houses, some clothing.

Osamu Tezuka’s Phoenix - Civil War parts 1 and 2. I reference this so much while working on North Bound in general. It has scenes with peasants and commoners and some appropriate street and interior environments, not just stuff focused on the aristocracy or warrior classes. Just have to remember that they flipped all the artwork in the English version lol

Bunch of Yu Yu Hakusho manga and anime references from the end of the series, mostly for Raizen, the kudakusushi and just to check against things he or Hokushin said. The actual clothing and environments are not helpful at all lol

Last minute edits

After I posted, I discovered a few mistakes (of course). I used to freak out a lot and drop everything to fix it. Now I just sigh and laugh (and still freak out a little bit, depending on the mistake) and then decide what’s important enough to fix and what is like, “Oh well, whatever, move on with my life”.

I feel that seeing other artists share their frustrations and mistakes helps a lot of people feel better about it when they realize IT HAPPENS ALL THE TIME TO EVERYONE (including professionals. There are errors like this in professionally published series, like Yu Yu Hakusho, too). YOU’RE NOT ALONE. 

So, these ones bugged me enough that I quickly redrew them on the computer.

[silverstarsheep]

I just adore your art style, it's so cute! I'm thinking of making comics myself. Do you think you could give me some tips on angling or facial expressions or overall detail?

Thank you so so much! I really appreciate that! Like, a whole lot. ^^

I’m not exactly sure how much I’ll be able to help you, though I can at least give you some pointers on expressions! I’ll do my best. I’m sorry this is coming a bit late! 

I’m going to use Bendy for my examples, just because he’s super easy to draw and I have him on hand/mind at the moment. But! These can be used on just about anyone.

Keep in mind: this is just my way of doing things. There isn’t one “set” way to create great art! There’s a lot of experimenting, testing and growing when it comes to artwork.

When it comes down to expressions, there are a few things to consider: what are they feeling? How intense is this feeling? How far can, or should you push it? How can you make this feel realistic? In visual storytelling, showing what a character is going through is far more important than telling the reader. In a comic setting, there’s a very fine balance–since you have images to go with the words, but you can’t convey each minute action… At least in a reasonable amount of panels, the dialogue and the images have to work together when they’re used in tandem.

When a character is shouting, you have to push their expression further–it won’t be enough to show them with their mouth slightly open, or with a flat face. Give them wide eyes, or shut their eyes completely with frustration. Open their mouth wide, maybe even get their body language involved if you have enough room. Throw their arms in the air, have them pulling at their hair!

Likewise, if what they’re saying is quiet or somber, soften their expression. Have their gaze ill-focused, or looking to the ground. Their shoulders could be slumped, their brow could be low. Their mouth could be almost, or entirely closed. Or are they happy? Raise their eyebrows, widen their eyes with joy! Bring out that smile! Use as much variety and as many shapes as you can!

Because I’m a visual person, here are a few examples to give you a better idea of what I mean:

(I’m sorry if my handwriting is hard to read)

Which facial expressions are more interesting? Sure, the ones on the left are going through the motions of emoting, but the ones to the right REALLY show how the character is feeling!

Body language is also immensely important when it comes down to expressiveness. Every part of the body can be used to convey a message. The crossing of arms can indicate disgust, or even put a small barrier between two people. Slumped shoulders show disappointment or sadness. Every little movement a character makes can have a massive impact on their overall tone. Here are a few examples like the above:

Even minute changes to a static pose can make a BIG difference! Test around and see what works best.

I’ve noticed that some animators have mirrors near their desk. This is so they can look up at their reflection and make a face into the mirror. They project their character’s feelings onto themselves, that way they can see what sort of facial expression would be best suited to that emotion. Nowadays we can just google this, but it’s still a good idea. Don’t be afraid to look up references whenever you need them. I know I do frequently! There’s no shame in using references!

My friend linked me to this wonderful guide, which goes more in-depth than I did here. Take a look!

I’m sorry I can’t help you quite as much with angles. I feel that I’d need to do a little more research in order to be able to articulate this more fluently. Perhaps some other time I can try and revisit this and go more into depth about perspective and foreshortening, but for now, here’s another great guide that might help you along in the right direction. I use a similar structure for my own drawings! 

Speaking of foreshortening, here’s another tutorial! I don’t use this particular method, but it may work for you!

I know you didn’t ask for it, but I’d like to give you some tips about comic making. If you don’t want them, then I guess you can just stop reading, pfff. Either way I’ll put it under a cut so this post doesn’t take up so much of the dashboard.

I have to admit, my method of creating comics is… Unconventional in a variety of ways. I’m sure it’s not the worst way to go about it, but it may be a bit odd. Everyone has their own way, and a part of the process is finding what clicks well with you and your work flow. This is just my method, one of many!

I’ll start off with some of the important basics in comic making! I went to a small panel about comics at a con last year, and there I learned a few tricks and tips!

When it comes down to speech bubbles, it’s a good idea to keep the flow of the comic in mind. Usually comics are read from left to right, so when it comes to speech bubble order it’s best to keep this in mind. Height and distance between the bubbles in the same panel can also alter the order that they’re read in. It’s likely that our eyes will go to the panels on top first, so when it comes to order, it’s better to put the first bubble higher up than the second!

It’s also a good idea to keep in mind where your speech bubbles will be, and how much space they could potentially take. To avoid covering up too much of the characters it’s a good idea to plan these out ahead of time, and leave some extra space for these.

As well as speech bubble order, character order is also important. Again, since we read left to right, the first character we see we will assume is the protagonist, or even the hero. For example, let’s say you have a man using binoculars to spy on someone within a building. This can go two entirely different ways! If this spy was on the leftmost side of the panel, looking into the building that the person on the right is working in, it’ll come across as a hero digging up some dirt on an evil organization. Flip it around, with the person being spied on to the left inside of his home, and the spy outside and to the right of the panel, it’ll come across as a protagonist in immediate danger!

Something I need to remind myself of frequently is guiding the reader’s eyes about the page. This is best done in a subtle manner, where you use the characters and scenery to “point” towards the next panel. You can also use speech bubbles to do this, as when we read our eyes naturally follow along to the next bubble! Having the rightmost bubble lead into the one within the next panel is a pretty easy way to do this. One way I did this in my BatIM comic was by using Bendy’s spaded tail as a literal arrow. Did you notice? Even if I didn’t have the end of his tail pointing, I tried to aim his tail towards the next panel, especially if he’s not facing the “right” direction. The way that a character faces can also have an effect on this, so keep that in mind. They shouldn’t always be facing right, so it helps to have ways to lead reader eyes along.

One comic I poured a lot of focus on for this particular tactic is this one. Here I have Reaper Bird essentially point to where I want the reader’s eyes to go. You’ll also notice that it pops out of the panel now and again. That was a fun little detail I decided to add; in this case I used it to make Reaper Bird feel a little stranger, as it didn’t always fit into the box, even though Gaster did. A nod to how it covers up the dialogue box in-game. You can use this tactic to draw more attention to a character, such as for an introduction! Sometimes you don’t even have to limit them within the confines of the walls of a panel!

Speaking of panels… Making them all the same size and shape gets relatively… Boring. Not to mention there will be times where you either will have too much room for a single panel, or simply not enough! It’s far more engaging when the panels are different in size and shape. Just be sure to keep the flow in mind. We read from left to right, top to bottom. If you want to stack corresponding panels, be sure to make it clear that the top leads into the bottom, and the bottom leads into the one to the left of those!

So here’s how I make my comics: first I start off with my idea, and I plan out the basic idea in my head. From there I’ll write down the idea, and where exactly I want the comic to go. If I need to, I’ll write a basic script so I know what needs to be said and when. If I need more detail, or if I feel I’ll forget what I want to see I’ll script it out more, maybe sketch out panel ideas/format. From there I sort of… Grab paper and start going at it. I ghost out panels on my page. When I say “ghost,” I’m referring to the very light sketches and shapes I create to give myself a basic idea of where I want characters to be, and what I want them to be doing. I start with these light sketches to help me shape my drawings, and so I can easily go back over them and fix any problems or errors.

Once I feel I’ve got the panel looking basically like how I want it, I put a box around it and move to the next one. Though it’s probably better to use a ruler or a straight edge to create your panels. Even though I’m pretty good at making a straight line, and when I ink the boxes it usually works out… My panels are a wee bit lop-sided, haha! I used to plan out each panel carefully and then measure them out on the page I’ll be drawing on. While this doesn’t work for my flow NOW, it may be a useful tactic for you! For larger comics, careful planning is definitely key, but for shorter comics it’s not quite as important.

Anyway, once I have a page ghosted, I’ll go back over it and finish up the sketches, and make sure that each one is easily distinguishable for the inking process. This is usually where I make sure that the readability of the comic flows well for the reader. It’s also when I’ll share it with friends to get outside opinions. It’s usually a good idea to do this! Because you tend to get used to your own art, and you’ll likely miss errors. (I’ve done this too many times to count.)

After things are settled, I start working on the backgrounds. While not absolutely ESSENTIAL, having backgrounds can make your comic look a little more natural. It can help build atmosphere, and give the reader an idea of where the character is! I usually wait until I get the characters drawn, that way the background and character can mesh together a bit better. However if it’s easier to start with a BG for you, then that’s fine, too!

Then it’s off to inking! I focus first on the characters, then the foreground objects, then the background. Colors are next, should I go with them.

Here’s one page I have where I have the ghosted sketch, please excuse the potato cam quality! It’s not much, but I hope it at least gives you an idea.

Here’s a sketch of the full comic, before I inked it. You can still see some of my rough sketch work and where I started to plot out the background.

But that’s all I can think of, at least for right now. Feel free to ask more questions–I’ll do my best to answer them! I hope this helped out, at least a little bit. I’m sorry that it got quite a bit long… And hopefully this all makes sense, somehow. I feel a bit scatterbrained when it comes to teaching!

Good luck with your comics!