#complex buildings

[derearchiviatoria]

Public bathhouse Bellinzona, Switzerland 1967–1970 Aurelio Galfetti (1936–2021), architect Flora Ruchat-Roncati (1937–2012), architect Ivo Trümpy (1937–), architect

[reasonsforhope]

Given the misinformation that's been going around and will be going around, thought this might be helpful to some people

For a lot of reasons, I'm very good at this/at searching, to the point where I have worked as a professional fact-checker for two different publishers. So, here goes:

My Article Fact-Checking Protocol

Thorough Version

Read the full article. Keep an eye out for emotionally loaded words, and all-or-nothing language

Keep an eye out or anything that sounds too good to be true, and in contrast, anything that sounds so awful it must be true

Run the website/source through the amazing Media Bias/Fact Check. They'll tell you about a publication's bias and history of accuracy

Go to the website's home page and read through the headlines. Look at what topics they cover/prioritize, sensationalist headlines, and whether they're framing anything in a way that feels odd/off to you

Do a search related to the topic. This can be keywords, a question, or even just copy-paste the article title (Recommended: use DuckDuckGo so the results don't change based on what Google thinks they can sell you)

If multiple highly credible sources that say the same thing pop up, and there's no major societal biases that might affect the coverage of the topic in those sources (e.g. anything related to the Israel-Palestine conflict/Palestinian genocide, no matter which side), then I'm done!

If there are major societal biases, or I can't get a consensus of sufficiently credible sources, then I do some combination of:

(1) search the topic again + the words "controversy" and/or "fake"

(2) search the opposite of the topic, or do some sort of other filtered search

(3) look up a sufficiently credible news outlet with the opposite point of view of my source, and see what they have to say

(4) if it's a big enough topic, start by looking up 2 of the top national papers and 1 major paper for your region (I usually do the ones in the US, because that's where I am In the US: the LA Times, the Washington Post, and the NY Times)

Adjust "news" to "relevant type of source, e.g. tech, environmental" as relevant for all of the above options

If no red flags come up, and it's a topic I understand enough to smell huge bullshit,

Then I'm usually done!

If there are red flags, or I actually need a certain amount of detail/understanding, then it gets more complicated, but that would be a whole other thing to break down and such

or

tl;dr

Quick Version

Read the full article. Keep an eye out for emotionally loaded words, and all-or-nothing language

Keep an eye out or anything that sounds too good to be true, and in contrast, anything that sounds so awful it must be true.

If I don't know the website:

Run the website/source through the amazing Media Bias/Fact Check. They'll tell you about a publication's bias and history of accuracy

If I trust the source, but something else pinged my radar:

Do a quick web search to verify anything that sounds suspicious or too good/bad to be true (Recommended: use DuckDuckGo)

[zombunnys]

shatted this out while procrastinating but my lovely girl

[confessedlyfannish]

Writing Prompt #13

"So?" Red Hood asks, arms crossed. "Was I right?"

"Yes," Phantom says, deepening his voice, "this is one of mine."

"One of your what?" Robin growls. Nightwing's hand on his shoulder is the only thing keeping him from invading Phantom's personal space, which, please, continue to do so Mr. Nightwing, Sir.

Phantom would take a deep calming breath if a) he wasn't trying to appear as otherworldly as possible which means no human breathing and b) if that wouldn't so obviously telegraph how uncomfortable he is in the Batcave surrounded by the entire Batfamily.

Next to him Red Hood shifts in slight discomfort. His ties to the spectral realm mean he's picking up on Danny's unease even if he can't fully translate the feeling. Which is good. Danny needs to maintain what little control he has over this situation.

"There's a gh-spirit in my...realm," Phantom says, letting himself drift gently to the other side of Batman's medical table which just coincidentally puts more distance between him and the the rest of the clan staring him down. Black Bat leans forward and he violently suppresses a flinch. "They're known as Nocturne. They wield power over dreams. Their signature is all over this."

And Danny means that literally. Their ecto-signature couldn't be more apparent if they'd written it in sharpie across Batman's suit. This is what Jason—Red Hood, because Danny couldn't have been dealing with a simple civilian case of ecto-contamination, nooo, he's got to have connections to the superheroes Danny has spent the better part of his afterlife avoiding—managed to pick up on, even being the low level entity that he is.

At which point he'd called Phantom in, even though Danny had spent the better part of two weeks trying to intimidate the guy into never contacting him, Ruler of the Spirit Realm (lightning crash!), again, but here is his calling card just in case (thunder and creaking noises!!), but again, you should never use it unless things are very serious, OoOoOoOo~~~

Damn it. It's been like 10 days.

"So how do we fix it, Your, uh, Ghostliness?" Nightwing says, ducking his head in a sort of half-assed supplication when Phantom turns to him. Nightwing glances at Jason for affirmation who shrugs out of the corner of Danny's eye.

"Phantom is fine," Danny says, waving his hand and letting his upper lip curl in an expression of distaste. "Remember, it's like you're Vlad when Dad offers him a glass of eight dollar wine!" Jazz's voice reminds him. Robin growls lowly, likely meaning he's nailing it. He looks away dismissively ("Honestly, it's like you're Vlad, anytime, ever." Sam notes dryly) and thanks god he doesn't have a heart in this form because it would be beating so loud right now.

Beside him, Jason scratches compulsively at the back of his neck. Huh, his anxiety is manifesting physically as an itch. Good to know.

"You can't fix it," Phantom says. "I can."

"At what cost?" Red Robin asks. "Red Hood mentioned you'd want something in return?"

Frick. His other contingency to keep Jason from ever contacting him again. Phantom had lightly hinted his taste du jour was, uh, souls.

Something Red Hood has apparently let slip, because now Robin shakes off Nightwing's hand, puffs out his chest and declares "I will trade myself for my father's safe awakening, Spirit!"

The other members burst into denials which almost covers up Danny floating sharply back and saying "What? No!!!"

Key word: almost.

Danny coughs as they stare at him.

"That is to say, I have no desire for a child," he puts a bit of snarl into it, showing fang. The mood in the room plummets drastically as Nightwing gently grabs Robin by the arm and pulls him back to his side.

"We see," he says. He steps forward more assertively, placing himself in front of the others, all of which are now eying him warily. "Then, is there a gender you prefer?"

It takes a second to click in Danny's head and then he swings his head wildly away from his audience to hide his reaction, nausea and embarrassment turning his face bright green. "Fika Kristo," he mutters in Esperanto as quietly as he possibly can, pinching the bridge of his nose.

He gives himself a moment to settle and game plan before turning back around. "I have no desire for any of you, and it matters not. In this instance, a deal need not be struck. Nocturne is my subject, and they have done this without my permission." Danny blinks, eyes widening. "Not—not! that I would give them permission to do such a thing. In the first place. Ahem."

"Okay...so you'll do this for free?" Jason asks. "Seems like a bad business practice since you also fixed me up for nothing—"

"What he means to say, Your Majesty, Phantom, is thank you!" Signal says in a rush as Nightwing starts, "Wait, Hood, what do you mean—"

"Enough!" Phantom says loudly (nearby bats take off and Jason's itch migrates to his forearms) "I have little time," read: he has a test tomorrow and he's only one-third of the way through the study guide "And I grow tired of this...dilly-dally." Frick! Is that an old-timey word?

"Of course. Thank you again, Phantom." Nightwing says stiffly, eyes still narrowed in Hood's direction.

"Wait, sorry, Phantom, Majesty, I'm Spoiler by the way," the purple-caped vigilante Danny already knew was Spoiler says. "How do we keep this from happening again? To any of us? Is there a way to defeat this Nocturne?"

"Moreover, why Batman?" Red Robin asks. "Why would a spirit from another dimension want him asleep?"

Phantom sighs. "Nocturne was trying to send a message. To me. Through you," he says, nodding at Red Hood. "They...how do I put this. They like attention. Being the spirit of uh, dreaming, they don't receive that attention. And you were in my realms for quite some time. And they wanted...attention."

The lackluster explanation sits for a moment before "They were jealous? Of me?" Red Hood asks skeptically.

"It's more complicated than that. Your...physiology," Danny puts it as delicately as possible, watching regretfully when Red Hood still stiffens at the mention, "Is particular. You gather attention in our realm. And having my attention is...special. But not!" He says to the group at large, a touch panicked, "Romantic!"

Jesus, he's never gonna hear the end of this from the others.

"Anyway, I will ensure it does not happen again."

"By paying them attention," Spoiler says under her breath, wiggling her eyebrows at Black Bat, Red Robin shooting them both a glare. Nightwing ignores them in favor of staring at Red Hood and Phantom. Danny is unsure what Red Hood has disclosed about how he knows Danny, but now he feels confident the answer is close to nothing.

Before Nightwing can ask whatever uncomfortable thing he's about to ask, Phantom disappears. Invisibly, he hovers over Batman's sleeping body and silently apologizes for the intrusion before intangibly slipping into Batman's REM realm and finding the man...oh...

Probably thirty minutes later he reappears to the group, who all perk up at the sight of him. Their eyes bounce from him to Batman; who does not move, to the monitor; which shows no change in his brain activity.

"I'm going to need your help," Danny says to Jason, getting to the point.

"Why? What can I do?"

"It's easier if you come with me," Danny says, grabbing his arm.

"Come with—"

Danny wastes no time in turning them both invisible and flying them into Batman's mind.

"What the—" Red Hood twists and turns, taking in the hallways of the manor. From afar, they can hear the tinkling of a piano. "You, I had your word—"

"This isn't where you think it is," Danny says hurriedly. "We're in your—Batman's dream." He walks quickly down the hallway, towards the music. Jason follows.

"What?"

"The way to break a dream spell is to wake the dreamer. You can't do that externally so you do it internally. Usually you wake the dreamer by turning the dream into the nightmare, scaring them awake."

The hallway stretches on longer than realistic, the dream attempting to divert them. But it can't outrun Danny. His power seeps into the halls, ice creeping along the paneling and freezing the way behind them.

"Batman, however, is hard to scare."

"So you want me to do it."

"What? No." Phantom shoots him a confused look. "Why would I—Ahem, The other way is to convince the dreamer they are dreaming. They break the dream themselves."

"Alright..." Jason says slowly, now keeping pace with him. His breath forms a cloud as he speaks. "And you think I'm the person to do it? I'm not the one he listens to you know, that's more Nightwing's schtick, or hell, anyone other than me."

"This isn't just Batman's dream, Jason," he says. Hood's eyes narrow at his real name, but now the truth is necessary. "This is The Dream. The perfect life. Everything he could ever want."

They're approaching an opening on the right side of the corridor. A bright light emanates from it, alongside the noise of stumbling piano keys and laughter, deep and male and unrecognizable. The Dream.

"Thomas Wayne," Jason breathes. "You want me to convince Bruce it's worth walking away from the center of his universe? It'd be easier if I put a bullet in their chests."

Danny stops abruptly before the doorway, turning to face Jason.

"You know, I fixed you," he says, head cocked. "Those feelings you felt, you shouldn't be feeling them anymore."

"I...I don't."

"Then why do you act like it?" He lets himself drift up, reaching beyond their planes of existence and extending a metaphysical hand to Jason's spirit. It shivers away. "You don't have to hide behind what was."

"I'm not hiding! And I don't have to explain myself to you!" He tries to move forward but Danny puts a hand out and he cannot move past it. He growls in frustration.

"I'm grateful to you, but with or without the Pits I'm fucked up. This is just who I am. This is just what he made me."

"You've never asked why I look like this. But did you know my form is malleable?" Phantom says, letting his legs shift into a tail, letting two eyes become three. "What I believe is what I am."

And then he takes several steps back, putting the doorway between them. "From here on out, the Pits can't tell you how to think or feel. Your decisions are wholly your own. Starting with this one."

Jason stares at the doorway, then Danny.

"I won't make you," Danny says simply. "And if you desire, I will retrieve Nightwing instead."

Jason scratches at his arms, grits his teeth, and stomps through. The light resolves into the sitting room, massive windows letting in sunlight so bright it streaks yellow-white across the room. Bruce sits on the maroon versailles couch next to Cassandra, who sits cross legged, excitedly watching Alfred pour her a cup of tea. To their right, in the open space, Damian barks instructions at Tim on handling a katana. Stephanie and Duke sit on the ground besides the coffee table, homework sheets sprawled across the surface, suffering their way through a calculus problem.

Bruce, smiling softly, looks across the room to where the atrocious playing is coming from. Red Hood follows his gaze.

Sitting at the piano, trying to play while Dick distracts him with a pair of chopsticks, is Jason. He puts a hand on Dick's face and shoves, both of them hitting the wrong keys.

"Get—away—dumbass!"

"No, see, it's a duet! Jay!"

"That's not why it's named—" and Jason Todd-Wayne tips his white-tipped head back and laughs.

[bigfatbreak]

imago's here i can post their meme now

[that-ineffable-devil]

I've praised George Rextrew a lot for the emotion he put behind various actions, and I stand by that.

But I also want to take a moment to appreciate Jayden Revri's ability to handle Charles' more explosive emotions.

In the Devlin house, you watch his anguish and anger build in equal measure. Unlike the characters, we get to see the build-up to the outburst that leads to him getting stuck in the loop. The first time he sees that man murder his family he wants to look away, he tries to look away. You can see how much it hurts him, but he turns back and watches anyway--and the horror turns to rage.

When the Night Nurse comes, he fights her off--very aggressively yes, but they didn't see what he did when she took him into his memories--and everyone looks at him like...like he's a bomb that may go off again? Like they've never seen him before?

The boy's just been through some of his most traumatic memories and committed an act of violence that probably only made that experience worse, and he sees his friends looking at him the way he'd always feared they would--like he's a bad guy. And Jayden portrays that grief and pain so beautifully.

And when he gives that little "no" while he's crying and jerks away from Edwin's outstretched hand?

My heart feels like it's been squashed and wrung out.

[academic-vampire]

𝔱𝔥𝔢 𝔢𝔶𝔢𝔰 𝔞𝔯𝔢 𝔱𝔥𝔢 𝔴𝔦𝔫𝔡𝔬𝔴𝔰 𝔬𝔯 𝔴𝔥𝔞𝔱𝔢𝔳𝔢𝔯 🪟

[asiaphotostudio]

Nanning, 2000 Nanning, Guangxi, China. 中国 広西 南寧市 Photography by Michitaka Kurata

[poorly-drawn-mdzs]

We could have had it all...

[First] Prev <–-> Next

[cuubism]

Little Math AU drabble

--

Dream doesn't realize, until Hob goes away for a conference over a long weekend, the degree to which his only form of self-care has become Hob. Hob encourages him to eat, and to get enough sleep, and to leave the house. With Hob absent he's found himself crouched on the floor for the twentieth hour in a row, bent awkwardly over his white board where he's laid it flat after getting tired of standing, scribbling furiously upside down while trying not to smudge any of the writing, several cups of half-finished coffee and piles of notes around him. He doesn't realize how much time has passed until he hears the front door open quietly and Hob creep in, setting his bag down carefully by the door.

The fact that Hob feels the need to tiptoe into his own flat at noon for fear Dream might still be sleeping should probably be a red flag for Dream in terms of his own sleep schedule. As it is he's too preoccupied by the fact that if Hob is home that means it must be Tuesday. He had not thought it was Tuesday.

Hob stops abruptly as he reaches the living room, staring down at Dream where he's frozen, balanced on all fours over his white board with one marker in his hand and another color held in his mouth.

"You look like something I'd not like to meet in the woods at night," Hob says. "How can you even balance like that?"

Dream tries to extract himself from his twisted position without smudging his writing or falling over. He mostly manages it and gets to his feet, shoulders popping loudly, swaying as all the blood rushes from his head. "I didn't want to smudge the writing."

"Let's get it off the floor, then," Hob says, and helps him set the whiteboard back upright. This makes some of the text upside down. Hob tilts his head trying to read it.

"I solved it," Dream tells him. Now that he's stopped thinking about it, and started thinking about Hob instead, he couldn't possibly explain what he solved. He's been thinking about it for thirty-six hours. Possibly he needs to stop thinking about it now.

"No clue what this says," Hob says. "But I believe you."

He turns to Dream then, taking Dream's face between his hands and giving him a kiss. Dream hums, leaning into him.

"How was the conference?" he asks.

"Oh, delightful, they had an open bar. S'the only thing that saved it, really."

Dream is aware that Hob doesn't particularly enjoy academic conferences as they usually involve much sitting around and listening to slow presentations. He smiles to imagine Hob coping with the unbearable dullness by having altogether too many drinks in the hotel bar. "A terrible ordeal, I'm sure."

"Mmm. Missed you." He runs his fingers through Dream's hair, drawing him closer. "When's the last time you slept?"

"How could you--"

Hob chuckles. "You look like death."

Ah. Dream frowns, thinking. "...Sunday. Perhaps. I was... preoccupied."

"You know if you sleep your brain will have time to process the information and you might solve it faster," Hob tells him. Hob is becoming far too advanced, Dream thinks. He's graduated from simply telling Dream sleep is good for him to citing manipulative reasons that Dream might actually be compelled to agree with.

"Next time I'll call you each night and tell you a bedtime story," Hob says, wiggling his eyebrows suggestively. "But only if you sleep."

Of course, there is also the bribery.

Dream swallows. He has missed Hob. "Or perhaps now?"

Hob laughs. "Oh, darling." He slips his hand under Dream's shirt. "You at least have to eat something first. Did you eat anything at all while I was away?"

"Coffee," Dream says. And a lot of it.

"Dream, I left you food in the fridge."

"I was preoccupied," Dream insists.

"I'll need to create some kind of rewards system for you, like for the rats that press the lever," Hob muses. "Only the food is the task instead of the reward."

"What is the reward, then?" Dream asks.

Hob just winks.

"How will that work if you are not here?" Dream asks, frowning.

Hob takes Dream's hips in his hands. "Mmm, I'm sure we can figure it out."

Hob's voice in his ear might well inspire Dream to set aside his work. It is one of the only things that can.

"In the meantime, you need to eat something," Hob tells him, and kisses him on the cheek, and Dream knows that, exhausted from traveling or not, Hob will make him something to eat, and get him to shower and take care of himself, and then, when they've slept, will listen to Dream talking extensively about the proof he's solved, no matter that he doesn't understand it himself.

(Hob always says he's incapable of understanding it, but Dream does not think that's true. Dream is just not very good at explaining his reasoning; it's so intuitive to him that he forgets the steps necessary to make it clear to anyone else. But then, Hob often underestimates himself.)

Hob listens to him describe it anyway. Takes care of him. And he does the same now, takes Dream into the kitchen to have some water while Hob cooks him some pasta. He always takes such good care of Dream.

And Dream thinks, while sitting on the counter and watching, hazy from exhaustion and full of warmth, that one day he's going to marry him.

[softle0]

mornings in Ciudad Enamorada

[derearchiviatoria]

Student housing and reversible car parking Saclay, France 2018–2020 Maxime Delvaux (1984–), photographer Bruther (2007–), architect Baukunst (2010–), architect

[reasonsforhope]

"Expanding freedom and opportunity to millions

Over a decade ago, researchers, policymakers, journalists, and individuals and family members harmed by prisons and jails helped define American mass incarceration as one of the fundamental policy challenges of our time. In the years since, policymakers and voters in red, blue, and purple jurisdictions have advanced criminal justice reforms that safely reduced prison and jail populations, expanding freedom and opportunities to tens of millions of Americans.

After nearly forty years of uninterrupted prison population growth, our collective awareness of the costs of mass incarceration has fundamentally shifted–and our sustained efforts to turn the tide have yielded meaningful results.

Since its peak in 2009, the number of people in prison has declined by 24 percent (see figure 1). The total number of people incarcerated has dropped 21 percent since the 2008 peak of almost 2.4 million people, representing over 500,000 fewer people behind bars in 2022. Absent reforms, more than 40 million more people would have been admitted to prison and jail over this period. The number of people on probation and parole supervision has also dropped 27 percent since its peak in 2007, allowing many more people to live their lives free from onerous conditions that impede thriving and, too often, channel them back into incarceration for simple rule violations.1

"Absent reforms, more than 40 million more people would have been admitted to prison and jail over this period. [2008 to 2022]"

Make no mistake: mass incarceration and the racial and economic disparities it drives continue to shape America for the worse. The U.S. locks up more people per capita and imposes longer sentences than most other countries. Nearly 1-in-2 adults in the U.S. have an immediate family member that has been incarcerated, with lifelong, often multigenerational, consequences for family members’ health and financial stability. Yet the past decade of successful reforms demonstrate that we can and must continue to reduce incarceration. These expansions of freedom and justice–and the millions of people they have impacted–help define what is at stake as public safety has reemerged as a dominant theme in American public and political conversation.

...We have a robust body of research built over decades showing that jail stays and long prison sentences do not reduce crime rates. And fortunately, we have an extensive and expanding body of research on what does work to reduce crime and keep communities safe. The evidence is clear: our focus must be on continuing and accelerating reductions in incarceration.

Black imprisonment rate drops by nearly half

People directly impacted by incarceration and other leaders in the criminal justice reform movement have persistently called out how the unequal application of policies such as bail, sentencing, and parole (among others) drive massive racial disparities in incarceration. The concerted effort to reduce our prison population has had the most impact on the group that paid the greatest price during the rise of mass incarceration: Black people, and particularly Black men.

The Black imprisonment rate has declined by nearly 50 percent since the country’s peak imprisonment rate in 2008 (see figure 2). And between 1999 and 2019, the Black male incarceration rate dropped by 44 percent, and notable declines in Black male incarceration rates were seen in all 50 states. For Black men, the lifetime risk of incarceration declined by nearly half from 1999 to 2019—from 1 in 3 Black men imprisoned in their lifetime to 1 in 5.

While still unacceptably high, this reduction in incarceration rates means that Black men are now more likely to graduate college than go to prison, a flip from a decade ago. This change will help disrupt the cycle of incarceration and poverty for generations to come.

Expanding safety and justice together

The past decade-plus of incarceration declines were accompanied by an increase in public safety. From 2009-2022, 45 states saw reductions in crime rates, while imprisoning fewer people, with crime falling faster in states that reduced imprisonment than in states that increased it.

This is in keeping with the extensive body of research showing that incarceration is among the least effective and most expensive means to advance safety. Our extremely long sentences don’t deter or prevent crime. In fact, incarcerating people can increase the likelihood people will return to jail or prison in the future. Public safety and a more fair and just criminal system are not in conflict.

Strong and widespread support for reform

We have also seen dramatic progress on the public opinion front, with a clear understanding from voters that the criminal justice system needs more reform, not less. Recent polling shows that by a nearly 2 to 1 margin respondents prefer addressing social and economic problems over strengthening law enforcement to reduce crime. [In simpler terms: people are twice as likely to prefer non-law-enforcement solutions to crimes.]

Nearly nine-in-ten Black adults say policing, the judicial process, and the prison system need major changes for Black people to be treated fairly. Seventy percent of all voters (see figure 3) and 80 percent of Black voters believe it’s important to reduce the number of people in jail and prison. Eighty percent of all voters, including nearly three-fourths of Republican voters, support criminal justice reforms.

This is not only a blue state phenomenon. Recent polling in Mississippi indicates strong support across the political spectrum for bold policies that reduce incarceration. For example, according to polling from last month, 72 percent of Mississippians, including majorities from both parties, believe it is important to reduce the number of people in prison (see figure 4). Perhaps most tellingly, across the country victims of crime also support further reforms to our criminal justice system over solutions that rely on jail stays and harsh prison sentences...

We are at an inflection point: we can continue to rely on the failed mass incarceration tactics of the past, or chart a new path that takes safety seriously by continuing to reform our broken criminal justice system and strengthening families and communities."

-via FWD.us, May 15, 2024

[eyrieofsynapses]

why Aurora's art is genius

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

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

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

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

All positive feedback btw! No downers here. <3

---

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Additionally, the misting here:

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

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

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

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

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

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

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

A handful of miscellaneous notes on the second panel:

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

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

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

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

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

Third panel gets paragraphs, not bullets:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[spittyfishy]

More akumas more akumas more akumas!!

[theside-b]

Singing isn't your strongest suit now after six years, huh?

FIRST NOTE OF LOVE (2024) dir. Shiue Bin Jian