#i might write more idk

[boyneptunee]

Phoenix!Harry who accidentally (not) saves Tom from impending death. There's also a Magical Alley.

2500 words

Time Travel! Short wip.

Tom Riddle walked through the narrow streets of Calea Vrăjitorului, the magical alley somewhere deep in the city of Sighișoara, Romania.

It was absolutely bursting with people coming to and from, both local and tourists preparing for the Samhain festival. The excitement was palpable through the air, and magic lingered like a heavy blanket above the streets of the medieval city.

The citadel sat upon a hill, surrounded by mountains and stretches of land on every side. The forest surrounding the city seemed to have prepared themselves for the occasion, painted in oranges and yellows and deep set greens, blending into one another in one big sea of colours.

Tom Riddle however had no time for festivities. He was on a hunt for Vlad The Impaler, the infamous son of the Vampire that inspired the tales of Count Dracula.

The Vampire had something Tom wanted. It was not an object, or a person. It was not even Vlad himself. It was knowledge.

Somewhere along the line, decades, perhaps even centuries ago, the arrogant creature had let slip one little, insignificant secret. Insignificant of course, for those that didn't value the information brought upon them.

Vlad knew (or perhaps it was more correct to say, had known) the only Wizard who had been capable of producing a Horcrux successfully in all known history.

And Tom craved for the information with a hunger only few men had the opportunity to have ever experienced. It was all encompassing, bleeding his vision black around the edges and making his heart beat insistently strong, excited.

So far, the Vampire had alluded Tom successfully.

But no longer.

Tom had been able to pick a trail of Death that could only come from a living being no longer alive somewhere near the entrance of the magical alley. It seemed the Vampire had gone out to hunt for muggles, sometime recent.

His percepcion of the world was wrapped in colours and shapes, in magic and dust residue, bright everywhere he looked in the magical world, and terribly dull and boring in the muggle world. Every person that carried magic in their body shone a different light, some dim and pale and others as bright as the moon. None shone like a star.

None shone like Tom.

Muggles, in comparison, where all gray and dull, devoid of light and colours to accompany their lack of magic. In Tom's experience, he often wondered if the lack of magic made them more violent. If perhaps they knew they were missing something important, something vital that pulsed through the very veins of the earth. They were creatures living on borrowed land.

They destroyed everything they touched.

As it was, his Magic was able to pick a trail from the deserted street just outside the Alley like it was a beacon calling home. Even Vampires carried their own, unique magic, and surrounded by the grey world of Muggles it was a child's play to grasp the thread and memorize the feeling of it, the cold residue, the edges of death and bloodcurling hunger.

If it was not Vlad then he was following another Ancient Vampire around like a fool. The odds were on his favour.

Tom stepped around people and carts, through archways and up the hill. Tables had been set for a night market, trinkets and crafts and talismans on display and blocking the already narrow road.

He was annoyed to no end.

He had been chasing the thread of magic for no less than five hours, ever since the moment the sun had dipped beneath the mountains and the feeling of the Vampire moving had finally alerted Tom of his location.

He couldn't seem to catch up to him.

Just when he thought he was just ahead of him, on the bend of an alley or a side street, hiding behind curtains hung around stalls or walking up the stairs to a crowded bar, he seemed to be playing Tom.

He was annoyed, now.

The goose chade counting for another hour, before the scenery around Tom started to change.

He was at the very edge of the Magical Alley, where the cobblestone road had given away to a dirt path that ended on a wooden bridge crossing over a small stream. An arc made of tangled vines with a crooked sign at the very top indicated the end of the Alley, and the entrence to the forest surrounding the city.

Tom sighed. He was being lured into a trap, he knew.

Going into an unknown forest at night while chasing a vampire would be a terrible decision, no matter the gain.

He would try again, tomorrow. After all, ge already had the unmistakable feel of the foul Vampiric Magic imprinted on his mind.

Tom chose early midday to explore the forest.

If the creature wanted him here, then he would investigate his surroundings first before deciding the next course of action.

However, he was unaware of a small, tiny, truly insignificant flaw on his rather simple but logical plan. He hadn't thought to ask the locals.

Had he been more aware, better prepared, he wouldn't have walked into the dense tree line with the confidence of someone who was sure a Vampire would not hunt while the sun was out.

However.

The sun dissapeared not ten steps in.

Tom spun on his heel, almost blinded by the lack of light, but it was too late.

The path he had just been following had dissapeared into the shadows. The trees had grown crooked all of a sudden, reaching in his direction with no leaves on sight. It was a stark difference to the pretty oranges and yellows that had swayed on the breeze not a moment ago.

He stood still and stretched his senses.

He could not feel any magic distorting his vision. It was not an illusion.

And if it was, it had been placed around every single inch of the forest, every single tree and branch had to have been drenched in magic so subtle, so powerful it made his senses miss it completely.

It was illogical.

It was the only explanation.

He walked.

He walked with no direction for what felt like hours. He passed by the same trees at least ten times, gritting his teeth at being turned around without rhyme or reason.

It was a nightmare come true.

Finally, it seemed the Vampire had tired of watching him make a fool of himself.

He appeared out of no where and blended right out of the shadows.

He wore old fashioned clothes, was the first thing Tom noted.

His red eyes were wide and deep set, an insane and gone glint on them that warned Tom more than the long fangs or the bloodied lips ever could.

"Vlad the Impaler." He said, back straight. He was confident he would be able to fend him off, if push came to shove. He was not there for chatter after all, and ripping into the mind of the undead was unpleasant but not impossible. The long stretches of their minds sometimes made Tom's own head pound for days in response to the centuries of information crammed into one being, but he had enough practice to know it was a necessary evil. Vampires didn't mix with Wizards, after all. They kept their best secrets tucked deep into their hollow chests.

The creature only smiled in answer, showing off his crooked fangs. His teeth were yellowing, and his once pristine and fine clothes had turned to rags. Covered in maroon splotches that could only be dried blood in some places, broken off in others, as if they had caught onto the low hanging branches of the trees surrounding them and had simply decided their fate was best served by the trees.

"Wizard." The creature uttered with disgust. His red eyes kept looking Tom up and down, assessing him. Possibly sizing him up as a snack.

"I have a few questions for you, and then I'll be on my way." On my way with your head on a spike, Tom didn't say. But he didn't plan the Vampire surviving past his need. It was necessary. No one could know where he had been snooping.

The creature tilted his head, matted brown hair haging off a shoulder.

"I guess I could feed." And that was that.

The Vampire attacked with impressive speed despite the clear state of decay about him. Feeding on Muggles surely didn't compare to the magical blood. It was outlawed to feed on humans without explicit consent, however, and no respectable Witch or Wizard wanted their blood drawn by a bloodsucker, no matter how ancient.

Vampires could not survive only on pig blood.

Hence the hunger.

He was no match for Tom Riddle.

The man had no trouble pinning him to the ground with a wave of his hand, roots ripping from the dirt to wrap around the body. No matter how much he struggled, how much superhuman strength he had, he was no match for the raw magic that made the makeup of Tom.

All that was needed was a moment, a fragment of a second for red incredulous eyes to lock onto stormy blue ones and he was in.

Tom lost himself on the memories, disjointed and unorganized, much of them covered in bloodlust and dark shadows so dark it was impossible to discern their contents.

He was not there for those, however.

He delved deeper, onto almost forgotten territory.

He found what he was looking for.

Triumph tasted sweet on his tongue, and he viewed each precious memory of Herpo the Foul with greedy eyes.

He was so deep into the creatures mind, he didn't pick on the feeling of alarm rising through the back of his neck, down to his arms and to the very tips of his fingers.

The creature attacked while Tom still had his back turned, deeply concentrated on the man tied on the floor.

He was slammed against a tree trunk far from where he had stood, and he grunted in pain.

It was not the hit that had him the most hurt. It was the sudden severed connection from another mind that made his head ache impossibly bad and blood drip down his nose like an open fountain.

When he tried to move, he discovered one of his arms had been broken.

He snarled and looked through the haze of pain and tethered memories at the creature trying to rip the roots off the vampire. It was another one, impossibly older.

It would pay, too.

He tightened his hold on the wood surrounding the fallen man and with a burst of magic impaled his body full of wooden stakes. He struggled no further.

It wood wouldn't kill him, Tom had brought plenty of other methods to end his miserable eternal life.

The other man turned on him with an inhuman screech and– Tom miscalculated.

This man, impossibly older than Vlad the impaler and remarkably similiar to the now dead man– he could be no other than his father.

His vast, or rather– hollow feel to him felt impossibly old, eternally big.

He was on top of him before he could even blink or orient himself.

A slash on his neck was all he needed to be reminded of his mortality, of the reason why he had sought out Vlad the Impaler on the first place.

He had no Horcrux to fall back on, not yet.

He would die here, of blood loss and possibly mutilated by a creature centuries his senior, with hatred and the same insanity that had been on his son's eyes. He would die alone, as he had always been, somewhere deep in a magical forest and would be remembered by no one.

He would not even have an unmarked grave.

He would not be granted such clemency.

Tom struggled to breath, to move his Magic to the source of his pain, but it was like trying to hold onto water, it just kept slipping through his fingers.

His pulse slowed.

He watched with narrowed eyes as the creature kneeled by his son and caressed his matted hair with stilted motions, as if he didn't remember how to do it properly.

Tom struggled to breath.

His vision was turning dark around the edges, his fingers were growing cold and his eyes were closing on their own volition.

Minutes passed like this.

He didn't want to die.

He didn't want to die alone in some fucking forest forgotten by the rest of the world.

He didn't want to be cold.

The creature approach him. Had he been able to, Tom was sure the man would have been crying.

As it was, a stone hard face greeted him on his final moments.

And, just then– a ball of flame slammed onto the creature.

The man promptly set on fire.

But Tom could not hear the screams of agony, see the twitching limps trying to rip it's own flesh apart to save whatever it could–

He had closed his eyes, and his breathing had slowed.

He was cold.

A warm weight dropped on his chest, making it even more impossible to breath. It was a losing battle. At least the ball of fire was chasing off the cold.

He supposed he didn't mind.

Then, the most extraordinary thing happened.

His body was enveloped in a gentle sheet of magic, so thin it was almost unperceptive save for the warmth it gave off.

A warm liquid wrapped around his torn throat and willed his own magic to cooperate.

His skin closed slowly, reluctantly, and his blood started pumping more fiercely.

His breathing deepened and his headache receded just the tiniest of stretches to the back of his mind.

His bones mended back together. The bruises remained. The creature seemed to deem those unimportant.

The warmth stayed for what felt like hours, while Tom tried and failed to regain consciousness.

Finally, an eternity later, he was able to open his eyes without pins and needles stabbing straight through his eyeballs.

He was back at the entrence of the forest, where the light shone through the dense canopy of trees and struggled to make it's way down to the ground.

A bird was sat on his chest.

It's red head was tilted, ginormous green eyes staring down at him with curiosity. Some of it's feathers were ruffled, and the small ones around it's black peak looked silvery wet. The creature was impossibly warm.

It was a phoenix, no doubt.

It had cried on him.

It had also set fire to the Vampire trying to kill him.

It was warm.

The Phoenix on his chest thrilled a gentle song, making his attention snap back like a rubber band. His head still throbbed faintly.

He was– terribly confused.

How in the seven hells had he stumbled upon a Phoenix? Why was the bird still here? Why had it cried–?

His head threatened to split open.

He would wonder another time, then.

Now– now, he needed proper rest. He had what he had come looking for, after all.

And– maybe more.

[tagidearte]

My internship has started and I'm overloaded with doing historical illustration + writing a whole ass roman history of the region book for children, so... No time for finished stuff any time soon (except one I've already started and will probs post within the next few days). Take this quick messy shippy little concept.

If they ever got separate bodies, I know they would be touchy. Trying to get as close as they once were.

[voiice-of-the-soul]

It irritates me alot when people say that making medic more compassionate is ''missing the point of his character'' when he is literally shown to be in the comics.... did you miss the part where he showed concern for both sniper and miss pauling's well being in comic 5 and 6.

His actions are a combination of genuine attachment + clinical interest and these things do not cancel out one another. He is always pushing boundaries and going against the grain and i think this is what led to him losing his license in the first place. He felt stifled by the rules imposed on him.

He is shown to be extremely passionate so it makes sense that he would use his endless fascination with medicine as a way to show his affection. He loves his friends so he will find a way to make them borderline indestructible. Malpractice is his love language.

[idiopath-fic-smile]

this one goes out to all my Singin' in the Rain ot3 truthers—

Cosmo Brown had always known it would end like this.

Cosmo was a lot of things—in fact, you could argue he was too many—but he wasn’t dumb.

From the early years, when Cosmo and Don were just kids playing for pennies in pool halls, to their stint dodging rotten vegetables on Vaudeville stages across the very backwaters of America’s backwaters, to their first real breath of success in Hollywood (and then the second and the third and the fourth), Cosmo would catch a glimpse of his handsome, charismatic friend from the corner of his eye—a flash of dark hair, that perfect tooth powder ad smile—and know that for all Don’s protestations, someday the guy was gonna meet a wonderful girl and get married, settle down, and very gently slip off to the far edge of Cosmo’s life.

So yes, Cosmo had seen Kathy Selden coming. Not the details, not her sense of humor or her musical little laugh or the madcap way she really threw herself into dancing with them around Don’s place at 1:30 in the morning—and okay, certainly not the part at the beginning where she had jumped out of a cake at a party, but he thought a fella could be excused for not correctly divining that. 

The general outline of the thing, though, how Don’s eyes followed her around a room...he had been preparing for Don to propose to Kathy ever since she’d tried to throw a pie at Don’s face. And when the happy day came, Cosmo had been ready with his best man suit, his best man speech, a slightly updated version of “Here Comes the Bride” that’d had Don and Kathy laughing all the way down the aisle.

Don and Kathy would buy a house together. They would have a swimming pool and a dog and then inevitably, a small parade of adorable little snot-nosed kids who would call him Uncle Cosmo, and they would spend less and less time with him, not on purpose but busy with the rest of their lives, and ultimately Cosmo would learn to make his peace with it because he’d have no other choice and he would have to try to move on and not live too much in his memories. He could picture it so clearly, he figured if the songwriting gig with Monumental didn’t pan out, he could always return to the backwater circuit with a new act: The Amazing Cosmo of the Cosmos—ladies and gentlemen, he sees the future, he reads the stars, he silently pines for his best married pal and all the while tap dancing!

Don and Kathy inviting him along on their honeymoon, though—that part was a surprise.

“What?” said Cosmo, hands frozen over the piano keys. He’d been busy with a brand-new assignment; on the heels of The Dancing Cavalier, offers were pouring in and he’d taken the first one scoring a movie that didn’t star anyone he was secretly in love with.

Don had looked a little wounded when Cosmo broke the news last week, but a guy had to start making his own way in the world. Besides, orchestrating layers of strings to swell as the camera zoomed in on Don and Kathy blissfully locking lips in radiant monochrome, oblivious to the rest of the world—well, Cosmo knew that dance, he had mastered the footwork, and he didn’t especially feel like a reprise.

It wasn’t lost on him that Kathy had dropped by his rehearsal space alone today. Of course, he had no idea what this meant—he didn’t think it was about the new job; Don didn’t tend to stay sore at him for that long—but Kathy was acting perfectly natural, and so probably the smart thing was to follow her lead.

“It’s a two-week transatlantic cruise,” she said now, gracefully dropping beside him on the piano bench. “We thought it would be nice to see Europe, take in the sights, get away from all the cameras.”

“Ah yes, such a wallflower, our dear Don,” said Cosmo solemnly. “Besieged on all sides by the love of his public, a tragedy of our times, up there with Lear! Hamlet! Caesar! The one with all the Greeks and the giant wooden horse, nay, nay, neigh.” He played a tragic little trill, for effect. Kathy huffed a laugh and smacked his arm.

“You know that’s not it,” she said. “Being watched all the time—we can’t always do what we want. It’s rotten.”

Tell me about it, thought Cosmo.

He was sort of seeing a fight choreographer named Archibald, who came from old money and was a “the third” or a “the fifth” but nice enough Cosmo might even forgive him for that. Archibald was trim and athletic, with dark brown hair that was just starting to go gray at the temples and enough discretion that Cosmo didn’t think they’d get caught. The only problem was that he didn’t laugh at Cosmo’s jokes, seemed to just tolerate them.

“What do you two even talk about, then?” Don had asked, when Cosmo had let this slip over drinks the same night he’d explained about the new movie project. (Cosmo had been trying to spend less time with Don and Kathy since the wedding but Don had said, “C’mon, pal, we miss you” and Kathy had laid one hand on his arm and peered up at him with her big green eyes and Cosmo was only one man.)

Cosmo had frowned, because Don hated Archibald, for reasons that were frankly mysterious. Then he’d looked up and grinned a grin he didn’t exactly feel and said,

“Tell you when you’re older,” and then Don had choked on his dry Martini even though Cosmo knew Don knew about Cosmo’s tendencies. It wasn’t something they discussed, and Cosmo had never properly gone with a guy before, but whenever a big-shot producer started complaining about all the degenerate queers in showbiz, Don always sharply steered the conversation someplace else. It was all very gallant and noble and knightly, and someday Don would play King Arthur and Kathy his lady Guinevere—

“Honestly, sometimes it feels as if we’re living in a fishbowl,” said Kathy now, in the present.

“And so your solution is to relocate,” said Cosmo, “to the biggest fishbowl on this here magnificent earth. The mighty ocean!” He struck up a sea shanty. “Oh blow the man down, blow the man down / way ay, blow the man down…”

Not everyone appreciated his musical flights of fancy, but when Cosmo turned, she was leaning with her elbow on the side arm of the piano, watching him with her chin on her hand and laughing. 

“Just for two weeks,” she said. “So, are you coming?”

“With you two,” said Cosmo, just so there could be no misunderstandings. “On your one and only honeymoon.”

“Yes,” said Kathy.

“As what, your first mate?”

“Sure.” She grinned and threw him a quick salute. Cosmo was almost never attracted to women but in this case, he understood the appeal.

He swallowed. “You are aware of that ancient saying, ‘Two’s company and three’s a fast track to divorce court’?”

“You’re hardly a threat to our marriage, Cosmo,” she said, and he agreed, of course, in both directions, even, but it still stung to hear her say it out loud. For want of anything better to do, he gasped, clutched a hand to his chest and reeled backwards so hard, he threw himself off the piano bench, landing in a somersault on the floor.

Kathy spun around fluidly on the bench to face him, pleated skirt whirling a little, heels of her shoes clicking together. 

“Oh, I said that badly,” she said. “I only mean that it’s more fun when you’re around. We have a better time, Don and me both. Remember the night we decided to make Dueling Cavalier a musical?”

“Do I remember the best night of my life?” Cosmo peered up at her from the hardwood. “Why yes, madam, now that you mention it, I believe it might ring a bell or two.”

“The best—” She frowned for a moment, and he remembered then that as a newly married woman, a newly married woman to Don Lockwood, no less, she’d no doubt experienced any number of evenings that blew that one out of the water.

Even besides that, it felt awfully revealing all of a sudden. Cosmo threw an arm over his eyes. He felt naked. He wished he was naked, because that might at least distract from whatever his face was doing.

“So it beats your time with Archibald, then?” said Kathy shrewdly.

Cosmo uncovered his eyes. He forgot, sometimes, that new as Kathy was to the moving pictures business, she was still a city girl, with a city girl’s worldliness. Also, Don had probably told her; that seemed like the kind of second-hand secrets married people shared with each other. He wasn’t sure how to feel about that.

“Hardly a topic for mixed company,” he said.

There was a pause.

“So yes,” she said and smiled with a smugness that would’ve been unbecoming were she not as cute as a button.

“What do you and Don have against the poor man anyway?” he groused. “He’s never done so much as sneezed in your direction, and if he did, I’m sure he’d use a handkerchief.”

“For one thing, we know you could do better,” said Kathy, folding her arms.

Cosmo elbowed his way back to sitting, brushing himself off with dignity. “Well, better’s not exactly knocking on my door right now.”

“This town doesn’t have an ounce of sense.” She reached down to offer him a hand up, pulling Cosmo to his feet; she was stronger than she looked. “Listen, two weeks away, it’ll be good for you.”

“What about you two?” Cosmo protested as he reclaimed his spot on the bench, Kathy sliding to make room.

“What about us?” said Kathy with wide eyes.

“Two newlyweds might want some alone time?” he offered weakly.

Kathy shrugged. “I told you, there won’t be reporters or cameras. It’ll be plenty private.”

“What about your matrimonial needs?”

“Which needs?”

His eyes narrowed; she was a terrific actress but suddenly he wasn’t sure he was buying it. Kathy wasn’t dumb either.

“You have to know what I mean. Don’t make me play Cole Porter at you,” said Cosmo. She hesitated, and Cosmo began to pluck out a melody: “Birds do it, bees do it / even educated fleas do it…” He wiggled his eyebrows.

“Let’s do it,” sang Kathy, finishing the stanza in her lovely alto, “let’s fall in love.”

Cosmo stopped playing.

“I do know,” she said simply, “of course I do, and we’re not worried about it, alright? Listen, do you want to go?”

Cosmo, who had been carefully not asking himself that question, stared down at the piano keys. Did he want to go? He thought back to that night at Don’s, the three of them giddy with excitement and inspiration and sleep deprivation, running through the house, clowning around and dancing with no audience except each other—he hadn’t felt like a hanger-on then, like a third wheel or an extra limb or a chaperone. He’d felt like he was exactly where he was supposed to be, one note of a perfect chord.

Still.

“I can’t swim,” he said.

“They’ll have lifejackets,” said Kathy.

“I’ll have to work.”

“We’ll bring a piano.”

“All my houseplants will die,” said Cosmo.

“All your houseplants are fake,” she said. This was true, although he wasn’t sure how she knew since she’d never been to his house. She sighed. “Remember the night of that first screening, when you were about to expose Lina and instead of explaining what was happening, Don told me I had to sing, that I didn’t have a choice?”

He winced, thinking of Kathy’s heartbroken, tear-stained face before they’d pulled up the curtain and revealed who was really singing when Lina moved her lips.

“Yes, and I feel just awful about it.”

“Well, Don doesn’t,” said Kathy. “Because he knew it would take too long to convince me to do something that mean to her.”

“Mean?” Cosmo echoed. “She tried to trap you in a lifelong contract and steal your voice. A common sea witch wouldn’t stoop so low.”

“But there wasn’t time,” she pressed. “And anyway, he knew how it would end.”

“What’s your point?”

“We already bought your tickets,” said Kathy.

Cosmo gaped at her.

“We’ve cleared the trip with everyone at Monumental and anyway, like I said, we’ll have a piano on the boat.”

Distantly, he was aware his mouth was still hanging open. Kathy reached over with one light finger under his chin and gently closed it. 

“That’s better,” she said, folding her hands daintily in her lap. It was around this time she seemed to realize it wasn’t some routine, that Cosmo really was well and truly stunned. “Of course, nobody is going to force you to go with us if you truly don’t want to,” she said into the silence.

“These tickets,” he said at last, “are they refundable?”

“Gosh,” said Kathy easily, “I can’t imagine they are, no.”

The thing was, none of them were hurting for money or work anymore, so the fact that Don and Kathy might be out even a few hundred dollars didn’t catch at him the way it might’ve some years earlier. No, the thought that really seized his imagination was the mental image of Don and Kathy planning this together, Don and Kathy discussing the matter with each other, maybe over breakfast—toast and coffee in their dressing gowns, so sure it was the right thing to do that they’d decided to just go ahead and make preparations: oh and a ticket for Cosmo, of course.

He could do it, he realized. He could go. He wanted to go. It was foolish, but Cosmo was an entertainer; he’d been doing foolish things in front of a roomful of witnesses since he was in shortpants.

“I’ll pack tonight,” he said.

“Perfect!” Kathy hopped off the bench and straightened out her dress. “And bring something nice to wear at dinner for a night or two; it doesn’t need to be black-tie formal, a good suit will do.”

He nodded. “I shall leave the top hat and monocle at home. Two weeks, you say?”

“Yes, and another half-day on either side flying to the harbor and back.” She reached into her coat pocket, and pulled out a folded sheet of paper. “The itinerary,” she said. “Don and I are so glad you’ll be coming.”

“Uh-huh,” said Cosmo. “Say, where is that fella, anyway? What’s the big idea, can’t even stick around to ask his best pal to his own honeymoon?”

“He’s planning the trip,” said Kathy brightly. “Last-minute details. Anyway, he thought you and I should have a chat, one on one. He thought it might help.”

He blinked. “Help what?”

“Help us,” she said.

It was all starting to feel like a farce, like one of those old Vaudeville acts with a lot of fast talking.

“Did it?” he asked.

“I think so,” said Kathy warmly. She turned and began to walk towards the door. “See you at the airport tomorrow. Six AM sharp.”

“Six AM,” he said, and then, foolishly, “You know, I can see why he likes you.”

Kathy dimpled. “Oh, likewise!” She tossed him another smile and then she was heading out of sight down the hallway, shoes clacking rhythmically on the tile.

“Well,” said Cosmo to no one. He felt pole-axed, he decided. He wasn’t sure he had ever felt pole-axed in his life before, but there was no other word for it.

He played a chord, then another chord, then a few more.

“Pole-axed,” he sang, “out of whack, when you are near there’s only one drawback: I can’t be clever, no I lack the knack, Darling, I’m pole-axed, out of whack around you!”

It wasn’t exactly Cole Porter, but he’d take it, he thought, reaching for his pen. There was still an hour or two left before he’d need to race traffic home and dig out his suitcase. Apparently, he had early morning plans.

(ETA: if you didn't see, there is now a second part here!)

(ETA THE SECOND: the whole finished thing is now here!

[lycandrophile]

it's silly but the biggest reason why im not into t yet is bc im so afraid of losing my hair. do you have any solutions/tips for it?

first of all, i don’t think it’s silly — it’s natural to be worried when hair loss is talked about by so many people as like…one of the worst results of aging for men. listening to my dad talk about how much he hates balding definitely did not make me feel particularly good about the knowledge that i may very well be joining him someday. i’m not saying the fear is right, because i don’t think hair loss is something awful that we should avoid at all costs, but it’s an understandable fear given the beauty standards we’re working with, and it’s one that a lot of us (myself included) feel.

one thing that’s helped me is just…paying more attention to the guys that i interact with on a daily basis. i’ve learned two things from it: 1) hair loss is super fucking common. i’d say it’s much harder to find an adult man who isn’t balding at all than it is to find one who’s completely bald. and 2) if you forget everything you’ve been told about how bad hair loss is, you’ll realize that quite frankly, every single one of those guys looks totally fucking fine. it doesn’t ruin their appearance and make them ugly, it looks totally natural and isn’t really even something you’d notice if you weren’t looking for it. we put so much weight on it but it’s really just not that big of a deal. i’ll hear my parents talk shit about men in my family who are losing their hair when i didn’t even notice a difference last time i saw them. it’s one of those things (like so many other appearance-related things) that you really only notice at all because you’ve been taught that you’re supposed to care about it.

this isn’t something i’ve done personally, but if you really want to desensitize yourself to the idea of it, embrace the time-honored queer tradition of just shaving your whole damn head! find out what you’d look like without hair, find out how you feel about it and what you can do that makes you feel good about your appearance without hair, test the waters while it’s still a temporary change and not something permanent. that way, it won’t feel like this big scary unknown, and you’ll actually have a frame of reference for your feelings about how you look without hair rather than accepting the societal assumption that you’ll inevitably hate it. if you don’t want to actually shave your head, you could also just fuck around with bald filters or photoshop and see what happens.

oh, and if you’re attracted to men, keep an eye out for guys who are bald or balding and also hot as fuck. in my experience, there’s no insecurity or potential future insecurity that being gay for other men hasn’t helped me with. just off the top of my head, i can think of a couple actors who i think are absolutely fucking gorgeous who have helped me get over my fears about losing my hair. despite what our anti-aging-obsessed world might want you to think, there is no such thing as a physical feature that automatically makes someone less attractive, and while making attractiveness less of a priority in your life is good, it can’t hurt to also give yourself some proof that actually, you might lose your hair and look hot as hell doing it.

basically, entertain the possibility that it won’t be a bad thing at all! whether that’s just because it turns out to be a neutral thing for you or because you end up actually liking it, it’s not an inherently bad thing. i’ve ended up liking a lot of things that were “supposed to” be bad effects of t — i love the weight i’ve gained and the new shape it gives my body, i get a lot of gender euphoria from the fact that my acne is now on parts of my face that i saw a lot of guys in high school get it and i’m not complaining about the scars i get from it either because i’ve always liked the added texture that acne scars give my skin, and so on. i think there’s a lot of joy to be had in the changes we’re taught to fear, once we look past that conditioning and actually explore how we feel about it.

but if it’s something you really don’t want and you just want to improve your chances of not having to deal with it, it’s not like there’s nothing you can do! products like finasteride (oral) and minoxidil (usually topical but i think there might also be oral versions) are pretty commonly used among trans guys, for the purpose of avoiding hair loss and for other reasons, and there are plenty of other anti-hair loss products out there (though i don’t know how effective any one of them might be). if it’s a big enough deal for you, you can just decide that you’ll go off of t if/when you start noticing signs of it, since no longer having higher t levels would stop the process in its tracks. and if you don’t find prevention options that work for you so it ends up happening, you can always explore different hair styles (judging by the pattern of hair loss i see in my family, i suspect that keeping my hair long would make it less obvious if i started losing mine), find your preferred method of covering it when you don’t feel good about it (personally i love a good beanie generally and would probably wear them a lot more if i didn’t have hair to worry about because my main complaint is the way they press my hair onto my neck), or just shave it all off if you don’t like the look of the partial balding but don’t mind a shaved head. the point being — you have options!

at the end of the day, whether you go on t or not, you’re going to see your body change as you age in ways that aren’t always going to be attractive to others or aesthetically pleasing to you. that’s just the reality of having a body. even if you never went on t, you’d get older and you might see your hair thin out even if you don’t bald, you’ll see your skin start to wrinkle and sag in places that used to be smooth, your metabolism might slow or your body fat might start to gather in new places; hell, you might lose your hair for a totally different reason and end up in the same place but without the benefits of having been on t that whole time. life is full of bodily changes like that. transphobes will fearmonger about the permanent changes of testosterone all day long but the truth is, there is no escaping permanent bodily changes. whether or not you go on t, your body now isn’t the same as it will be in 1 or 5 or 10 or 20 or 50 years, just like it isn’t the same as it was at any point in your life before now. our bodies are never supposed to stop growing and aging and changing throughout our lives. there’s no guaranteeing that we’ll love every single change our bodies go through, but that’s okay! there are so many things in life that are more important than the way our bodies look. even if you go on t and lose your hair and don’t like how it looks, your life won’t be ruined; plenty of other things will bring you joy and more than make up for the insecurities.

just think about the gender euphoria and relief from dysphoria that t could give you. would losing your hair be bad enough to outweigh all of that? or is it just the pressure of a society that decided balding is bad that’s making you fear one single change despite how much joy you could have if you let that fear go? only you can decide if going on t is worth the potential downsides for you, but i suspect that for most of us, the benefits of going on t far outweigh the possibility of side effects like hair loss happening down the line.

[crunchycrystals]

credit to u/ioncelostashoe on reddit for this comment i need to post it on here to share

(also would explain why they knew it should stop at 5 rounds)

[milf-harrington]

hi i wrote a short little something inspired by this post bc it wouldn't leave my head

season 2 canon divergence, in the aftermath of Steve being taken in by Hopper (don't ask me why it's happened, bc i dont know it's just how the story took shape in my head)

--

Steve was pulling a pizza out of the oven when El drifted into the kitchen, bumping hear head against his arm like one of the Henderson's cats. Her hair was starting to curl at the ends, longer than when he'd met her.

"Can you please tell Hop to go to the store? We are out of Eggo's."

She was already holding the walkie when he turned to give her a look, eyes wide and quietly expectant in that intense way of hers. He rolled his eyes, sucking pizza sauce off his knuckle as he reached for the walkie.

They had a quiet stare-off as he held the button down.

"Hey Hop, you there? Over."

Soft static buzzed through the speaker as El leaned further into him, turning her gaze away to inspect the pizza, before Hopper's voice came through with a crackle.

"I'm working." A pause, and then a reluctant: "Over."

He and Hopper shared a similar opinion on walkie-talkie etiquette, but the kids were insistent so they did their best. El looked from the walkie and back to Steve without blinking. He sighed a short laugh. Pressed the button again.

"Jane needs you to go to the store. Over." Better to use her other name if he was working.

"Eggo's?"

"Eggo's."

Satisfied that her demand request had been passed on, El slipped out of the kitchen and plopped down in front of the tv, crossing her legs underneath her as the screen flickered to life. The remote remained untouched on the bench. She wiped her nose with her sleeve.

"Well, I currently have an 18 year old in the back of my car and I'll have to run him to the station first." Another pause. "-ucks sake, over."

The words fell out of his mouth without any real thought, a years worth of comfort in himself dissolving any filter he might've had. "Is he cute?"

The walkie crackled. Steve wanted to smack himself in the head with it.

"My son wants to know if you're cute."

Oh, he was going to kill him, even if he did feel warm and fuzzy over being called Hops' son.

"Uh, I want to say yes, sir?"

There was a second of loud laughter before the walkie cut off and Steve pressed it to his forehead in silent mortification. From the living area, canned laughter from Happy Days burst out of the speakers like the universe was mocking him.

When he looked up, El was smiling at the screen in bemused wonder, colours flashing across her face.

He cleared his throat, eyes shut as he held down the button again. "Please remember the Eggo's on your way home, we're having pizza. Over and out."

He pressed the antenna down for his own dramatics, before quickly pulling it back out again so he could be reached for emergencies.

It wasn't that big a deal, it's not like he'd ever actually meet whoever had been in the car.

[v-poreons]

OCposting..... This is Coven :3 she's a witch who specializes in luck magic! I need to post her so I can yap about her more, she's rotating in my brain at top speed

(Also her bf belongs to @oodliedoodlies hiiii hiiiiiiii hi hi hi)

[tagetto]

he stinks of diesel fumes, solder flux & cigarette smoke which has caked itself over the years into the fan blades of a used prebuilt msi gaming PC bought from ebay dot com core 2 duo high performance rtx 2.5 tdi 1.6 litre engine top speed of 48.3mph.

[kevindavidday]

as shifty as they were when they were younger, at the actual age that andreil are at do you think they've got the potential to be friendly strangers? like not overly friendly but the kind of people who understand what being human is

think about it, the experience of living a sheltered life and neil is standing behind someone in the grocery line, watching them unable to scour up money for ramen and water so he pays for it to help things along

andrew watching a little kid peer into his mega expensive car of the year and the kid gets scared of him and moves aside but andrew opens the door moves back, tells the kid he can have a look its fine

do you think they would interfere by force if they ever saw something bad happening in front of them? neil on his runs stopping to help someone cross the road, feeding stray cats in alleyways, yk the people who know what struggle is and don't want it for anyone else?

idk if they're the type to shrug off injustice so easily, i feel like whatever they learnt as children is buried deep inside the caution and fear of strangers and all but maybe what wymack taught them would rise to the surface too cuz if wymack hadn't chosen to help them they wouldn't be alive either

[mattodore]

birthday boy 🎂

[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.

[theriverbeyond]

Waiting for Alecto the Ninth (2023)

[deoidesign]

My comic is so pretty...

The hiatus is letting me take a little extra time on these episodes, and I'm definitely putting it to good use!!!

[nenoname]

stan twins the canon cptsd brothers i will always think about all your unaddressed issues that would make perfect plot fuel for your spinoff

and also the whole 'stan getting that poem by bill via a website which contrasts with bill getting one from the axolotl via a website' foreshadowing thing

like idk i would love something like su future but like more optimistic, aka not an accumulated breakdown that has to be mostly resolved off screen at the end :/// but something thats being kinda addressed throughout? (although would love to see one of them turn into a monster thats always fun lol)

stan having severe issues from his dad and those years of being homeless that we keep on getting more info on but never really getting confronted on (the drifter catalogue and tijuana incident...), him being completely alone for like twenty years when running the shack before soos comes along to the point that 1998 is noted as his low point, and him not really learning about bill+what he did to ford until ages after he killed him if he ever did get the full context

while i think amnesia and everyone seeing him as a hero actually helped with stan's 'i'm a worse version of my brother' thing its still a lingering issue too and we now got him being insecure over his own hands

ford being immediately thrown from 'being tortured by bill' to 'being stuck in the multiverse and being chased by bounty hunters constantly', him fully expecting himself to die when destroying bill, and him only now being safe for the first time in 30 years ....relatively safe, he's still in constant danger because of course he is

idk in the end the series wants them to be happy and they deserve it, its why i wasn't too worried about the book being like 'ooh bill is back!! and the book is haunting ford' thing cos i knew they'll be ok

[llolianarchives]

The Prefect and The Draconia

A short overview of the Ramshackle prefect and their strange (but kind) horned fellow friend: as seen through the eyes of outsiders.

(A/N: #Malleyuu notes with an OC but feel free to project. We're all delulu here ╮⁠(⁠.⁠ ⁠❛⁠ ⁠ᴗ⁠ ⁠❛⁠.⁠)⁠╭ )

His Henchman is crazy.

Or at least, that's what Grim thinks when he's woken up at sunrise to Yue's bizarre ramblings. Something about the time being 1 AM, then fireflies at night, and a tall, horned figure – is what he takes from their babble amidst his own groans and pleas to return to sleep. He'd think them delirious from slumber, mumbling about another dream, if it weren't for the way Yue's eyes sparkled with genuine interest. Grim yields, in the end, for one of the many things he's learned about his reliable servant is that they can be awfully enthusiastic when it comes to this world's curiosities.

“He told me to call him whatever I want,” Yue continues, ruffling Grim's fur dry with a clean rag. Before he could insert magnificent ideas of his own, they beat him to it with a soft smile on their lips.

“I'm thinking of naming him Nyx: the personification of the night. What do you think?”

“What? Because he only shows up at night?” Like some wacky cryptid.

“Yup.”

He hears his henchman forgo the brush, letting it clatter loudly against the table.

“Hm... Nyx, huh...” Grim falls into thought, testing the name on his tongue like premium quality tuna. He doesn't even notice how Yue ties the striped ribbon around his neck. Triumphant, he turns to them with a grin.

“That's not half-bad, Henchman! It's cool and mysterious. Not as cool and mysterious as me, of course, but I'd say it's a close second!”

“Naturally. I wouldn't dare bestow a name mightier than the Great Grim's.”

Despite the stream of praise his henchman delivers (which he pleasantly basks in), Yue eventually derails, returning to speak of the horned man yet again. What Grim's superior brain gathers is this: One, this Nyx guy is super weird. Two, Yue's interest has been piqued like no other before.

He'll demand some omurice as payment for his counsel later on.

. . .

Malleus has made a friend.

The news was dropped onto Lilia's lap rather unceremoniously when one night, the Young Lord—having just returned from another evening excursion, went to sit with him in the Diasomnia lounge. This time, however, the quaintest of smiles adorned his face... It was an unusual sight but certainly not unwelcome. And much like any doting parent, his curiosity led him to ask.

Malleus had replied with a question of his own.

"Lilia, do you know of the Prefect that resides in Ramshackle Dorm?"

"Yue? Why yes, of course. I've spoken to them once or twice. They made quite a show during the Ceremony."

Yue— Lilia soon comes to learn— is completely unaware of Malleus's identity as a prince and a figure of authority, of power. As such, they bear no fear for him, even going so far as to bestow him a pet name, of all things.

(“Nyx? As in the night spirit? How fitting.")

Thus began the pattern of Lilia covering for Malleus's nighttime absence, not daring to ask nor scold when the prince would return in strange and stranger states.

When he would return to the dormitory partially caked with dirt and mud (a consequence of helping the prefect with their little garden of life.) Or when he would return with a box of homemade cake, a pretty stone from their walks, a drawing of him supposedly made by the prefect's beast, and with inquiries of the complexities of human nature.

Sometimes, Lilia can't help but feel a bit guilty, constantly boring witness to Silver and Sebek's searches into the night.

Yet that sliver of guilt fades, in the end, when Malleus smiles more often than before, when he approaches Lilia in the winter with the request of delivering a Holiday Card.

As he watches the magicless human rush into their abode, card in hand, ghosts and Grim awaiting their entrance...

he has never felt prouder and more grateful for fate.

. . .

From a distance, Vil watches.

He watches as the feared Briar Prince lets a small, feeble human talk his ear off, calm and unresisting, a hand on his chin as he ponders along Yue's barrage of words. He gives the prefect full reign of the conversation. He lets himself be taken away by their stories and details. He lets them speak, which they do.

Just after the horrors, highs, lows, and thrills of the VDC, the two chat as if nothing even happened. The onslaught of it all feels like a fever dream to Vil. First, the mental toll of overblotting, then their loss to RSA's nursery rhyme performance, and now the shocking reveal of Yue (innocent, bold, mundane little Yue) and Malleus Draconia's relationship.

He isn't even sure what to make of it. They're clearly friends, yet Vil can't bring himself to chalk it up to just that. His years and years of showbiz cinema has taught him the ins and outs of body language. He watches. He sees:

There's the smiles on both their faces; cheeks raised taut, dimples carved with genuine laughter. There's that glimmer in Yue's eyes and the odd tenderness of Malleus's own, both gazes locked onto one another with an undisturbed focus. There's the fact that Yue had given him an invitation to the VDC, or that Malleus had fixed the stage partially to show off to the magicless human, or that their hands are currently mere centimeters away from each other.

In the end, Vil averts his gaze, weariness crashing into him all at once and he feels a pair of hands grasp onto his shoulders, keeping him standing. Rook smiles, gentle, knowing, annoying. Vil resigns to his whims and lets his Huntsman guide him back to the Pomefiore Dorm, the chatter of Yue and Malleus and everyone else fading away.