#i need to draw more of them they are so important 2 me……..

[saintbleeding]

some wtgfs or gertrudeagnes?

[ID: Digital purple-toned art of Melanie and Georgie from TMA. Melanie is a thin woman with straight hair in a bob style, wearing dark glasses. She is seated on a staircase behind and slightly above Georgie, a fat woman with short, curly, greying hair. Georgie leans up to kiss Melanie, one hand pressed to the side of her head. They are both dressed in practical, unremarkable clothing and sturdy boots. Their surroundings are deep purple, and eerie lime-green light filters in from above them. End ID.]

me posting smth other than jmart in 2023? it’s more likely than u think

[moeblob]

Alright I told someone I would give propaganda for these two so here we go. As a warning, I didn't play mobile or Re-Mind soooooooo. Yeah there's that. I know they're apparently involved in past stuff but shhh.

So first off, everyone's weapon is super useful! Except theirs. Which I always thought was really funny? Even in Re:CoM Zexion's book was more direct than these two. I really enjoyed them just as the most indirect fighters? And figured they'd be pretty chill and after playing KH2 as a kid I'm like. I think Luxord would be most tolerable to music while vibing. He could play Solitaire or something while Demyx played music and possibly chatted. Therefore, my younger self was like "it's perfect".

ALSO CONSIDERING THEIR NUMBERS! And the line in KH3 during the scene where Demyx is like "yup I got benched", they've probably got a history. However, the number they get originally is supposed to be the order they joined. So with Marluxia and Larxene obviously tied together in the past, all I can think of is these two just being absolute bums wandering around pre-Organization and just hitch hiking their way into a cult. Which is also REALLY funny to me because what if they joined at the same time but Demyx got to be IX and Luxord is X.

Demyx would hold his rank over his head for the dumbest stuff (in my head canons of the past).

Like there's so many things we specifically do not know about these two so basically, until I'm proven absolutely incorrect in game (which might have happened and I just don't know) ! I think they'd be a good match.

And I mean, it's also just (gestures) LOOK AT HOW CUTE THEY ARE. Great designs and I think that's good enough for me!

[puppppppppy]

who up seeing their disorder in a fictional character but feel like its not their place to put a name on it

[skitskatdacat63]

Boy King Seb :D

[bread-is-my-life]

Some more school Pyro doodles (mainly at math lessons lol)

[rivilu]

I started making Ellu in the dav cc for fun and. Tell me why I'm tempted to actually play him.

[apollos-boyfriend]

Icarus im thinking so hard abt your boy adam the sweet adam do you have anything you want to share about him .? <:3

i have SO much!! that little guy lives in my head so rent-free. so the most recent thing i’ve decided is that he grows up to be an artist, probably more accurately a painter, and that was SOLELY because of this tweet i saw the other day

like. tell me schlatt would not say this. he tries it with both adam and crumb and gets turned down both times, to absolutely no one’s surprise.

additionally!! a little older adam doodle i did in class :D

i’ve been struggling with his older design for AGES now but i think i finally nailed it. i wanted him to be very heavily inspired by anime protagonists so he’s a mixture of every basic anime boy ever created (affectionate). kind of the most guy ever surrounded by the most insane people you’ve ever met <3

[arolesbianism]

Shakes and cries I wanna make Jackie parent hc designs but I can't because potentially one of them is a prevalent character now and her ass has not spoken a single line yet so I both know nothing and can't just start making shit up yet </3333

[windupaidoneus]

now some people may not like to hear it but even the worst people who exist are still people & there is no human being who has More right than others to decide whether others deserve to live or die (does not mean i personally condemn murder in self defense or anything of the sort or killing fascists or whatever i'm just saying as a baseline This Is How it Is) & this is why the death penalty is not a good thing no matter how good & trustworthy the people in any government might be. people on average also deserve the chance to learn to do better. & no, someone who's been forcefed propaganda their entire life will not let go of that deeply entrenched mindset so easily, it's not particularly unrealistic & it absolutely sucks to deal with but in the context of tangibly working toward world peace it's also not an issue to try & help such people both in material ways & in helping them learn better rather than cut them down or abandon them to a grim fate. all this to say that's why i don't think garlemald is written badly, as unpleasant as the experience might be. walks off the stage

[crescentfool]

i think something that is important to me to remember is that there are small ways i can do things to spark joy for myself and others without waiting for someone else to do it... (conjures up little sparklies from my hands) life is so whimsical!!!

[pekoposting]

HAHAHA i found it funny how these two AUs have The Sword Child and The Yakuza Child, so i'm surprised and pleased to see some play on that. all whilst getting some lore in the process YIPPEE!!

a key part of kendo's philosophy is modesty, to the point where if someone strikes a point against you but doesn't have good form when they do it, the you have to point out it's bad form. so harumi roasting natsuki's sword skills is really funny actually

(and then i ramble more in the tags bc of course i do)

My Kuzupeko daughter interacting with @the-only-teruteru-fan and @detective-dick-gumshoes-pot-room SDR2 fankids

Harumi is actually a naturally gifted prodigy with the sword. But Peko never taught her the dangerous techniques, so Harumi has to work harder to surpass her mother. Unless it’s specified, you can assume Harumi can smoke any of her siblings in a sword fight. Her personality is very Ranma Satome.

[mostly-imagines]

So This Is Love

jason todd x fem!reader

aka you show each other what love is supposed to be like

4 in 1 blurbs

warnings: section 1: close-call panic attack for j, mentions of ptsd for j // section 2: implied sexual activity // section 3: mild angst w comfort // section 4: implied ptsd for j

He feels like his heart might burst through his chest.

The nightmare wasn’t anything unusual for him, but it did feel particularly vivid tonight. It was more of a memory than anything, though. That same one that plays on a loop in his head throughout the night the more he tries to push it away during the day. It was the last thwack of the crowbar that had him jolt awake in bed.

You shift in your spot next to him, opening your eyes to see his rattled state. If he’d been in a clearer frame of mind he would’ve lied to you. He would’ve expertly leveled his breathing and told you everything was fine and to go back to sleep.

But instead, he looks over at you with wide eyes, chest heaving and shaking like he might start hyperventilating at any moment.

You shoot up from the bed, instantly on alert. This isn’t the first time he’s had one of these nightmares around you, so it’s not hard for you to guess where this is coming from.

“Jay? What’s—what do you need?” You know better than to try and touch him unprompted right now, you’ve panicked enough yourself to know that sudden contact only makes it worse.

“I—I can’t, I—” Now he really looks like he’s about to lose all control of his breathing.

You sit up further, moving onto your knees. “Here, let me—can I see your hand?” you ask gently, holding your own out.

He extends it to you without question, a tiny act of vulnerability that he couldn’t have dreamed of doing in this state before he met you.

You flip his hand over, palm-up and start tracing lines over it in the moonlight. You’re looking at his hand quite intently like there’s something very important on it. It’s enough to make him question what the hell you’re doing. 

“I can read palms.” You tell him, simply. 

“What?” His voice almost breaks, like he’s right at the edge of tears. 

“Yeah, my friend taught me. I can tell the future and everything.” You look up at him, fingers not stopping their trailing. “Do you wanna hear yours?”

All he can do is nod.

You smile and start to inspect his hand carefully, tracing over calluses and a few tiny scars. You draw your finger across the short, deep line parallel to his fingers.

“This one…see the way it curves upwards right there?” He nods. “That means you’re very resourceful and ambitious. Like a leader.” His breathing starts to slow as he watches you, trying to focus on what you’re showing him in the dim light from the window.

“And this one,” you trace the line that curves downwards in the middle, “This one says that you’re strong and stubborn, which I can confirm,” he huffs out a laugh. It’s little but it’s genuine. “But it also means that you’re resilient. You’re built to overcome things and bounce back even stronger because of them. Which I can also confirm.”

He leans forward, resting his forehead against yours. He takes in a deep breath, watching you draw patterns across the base of his palm.

The sensation soothes him in a way that he frankly didn’t know he could be soothed. He figures he usually can’t, except when it’s you. He tries to match your breathing, syncing up with you. If anyone else tried to get this close to him when he was on the verge of a panic attack they’d get punched, at best.

But you…you always know how to help him. He’s considered in the past that he did something really right somewhere down the line and you were sent to him as reward. He’d racked his mind for hours of every good thing he’d ever done, trying to find one that could explain your presence in his life. For anything that could explain why he deserved you. He poured and poured over every memory he could dig up but couldn’t find any good he’d ever done that surmounted to a single piece of the good in your heart.

There was a time when he would’ve thought—when he did think that you were only in his life to be taken away as soon as he felt safe. That would certainly be in line with previous experiences. But you showed him quickly that you have this way about you…it makes those loud thoughts in the back of his head shut up and just listen. Listen to your words, your breathing, your footsteps, your laugh…anything he could. Because it turns out, when he listens, he feels safe. 

He’s quiet for a long time, contentedly watching you work. He notices that at some point you’d stopped tracing the lines and began drawing designs instead. 

He breaks the silence after several minutes, softly commenting, “You don’t know how to read palms.”

“No, I do not.” 

But you continued to leave your invisible art on the palm of his hand just the same, both of you taking comfort in the sound of the other's breathing and the soothing feeling of each other’s skin.

The radio plays lightly in the background, surrounding your night with soft ambience. You’re working at the cutting board with tomatoes as Jason leans against the counter next to you, having just finished getting the pasta set up on the stove.

His hands find your hips, resting them there as he watches you work over your shoulder.

“Watch your thumb.” He comments when the knife gets a little too close for his liking.

You shrug him off, “I know how to do it.”

He eyes the way the knife stutters as you cut through the tomato, slicing through not very cleanly at all. “Doesn’t look like it.”

You ignore him, elbowing him gently in the abdomen. He’s joking, but he’s not. The skill level you’re displaying is only above Bruce and slightly below Tim, which is not great.

“Will you let me do it?” he asks you when he realizes there’s going to be no improvement. 

“Fine.” You relent with faux annoyance. 

You switch over to the stovetop, keeping a careful eye on the pasta as it cooks. It’s quiet for a moment as he works, chopping with much more efficiency than you had.  

“You didn’t have to stay here tonight, you know.” You say quietly, still intently watching the stove.

In spite of the music, your low volume does nothing to faze him as he continues his actions, “Why wouldn’t I?”

You stir the contents of the saucepan around. “Well, I know Roy wanted you to go out…”

“Not missing much.” He mumbles, opening up the above cabinet to get out plates.

You lull your head to the side, “Come on, he’s your best friend.”

Jason frowns. “He’s not my best friend.”

You turn your head towards him, “No?”

He meets your gaze, frown consistent. “No. You are.” He says it like he’s confused that you don’t know that. 

“Oh.” You smile, “You’re my best friend too.”

His eyes soften at that, a light smile gracing his lips. He knew that, and he knew you’d say it, but hearing it out loud just…does something to him.

You flick the stove top off, prompting him to on instinct reach for the Marinara jar and crack it open for you. He hands it to you and you accept with a smile, twisting it open the rest of the way as you turn back to the stove. The jar sputters as you open, spitting out sauce.    

“Oh, shit.” You hiss, when the splatter hits your shirt.

He takes one glance at the mess on your shirt and pulls his own shirt off his back. He’s tugging yours off just as fast, replacing it with his. You’ve barely processed what happened as he scans your body, eyes lingering on where his shirt stops at your thighs. “Can you wear this to bed tonight?” He asks, hands running over your waist.

You laugh, “Really?”

He meets your eyes, face serious. “Yes.” He squeezes your hip, “You look good.”

“In your shirt.” You say with a knowing smile.

“In my shirt.” He confirms.

You turn back to the stove to dish out the salsa, his hands skimming around your thighs as you do. He watches you as you work, though rather than watching your hands he’s fixated on the size of his shirt over you and how fucking good you look right now. 

“Or…” He sweeps his eyes over your legs before looking back up at you again. “Did’ya turn the stove off?”

You tilt your head at him, “I did…?”

He grins at you, lifting you up by your thighs til you’re a head above him. “Good.” He maneuvers you over to the counter, setting you on top. He brings your wrist up to his mouth to press a delicate kiss before dropping to his knees.

You’ve been laying in bed for at least three hours, bordering on sleep but never quite falling in. You and Jason had a little spat, though nothing insurmountable, it was still the biggest fight you’ve had to date. You’d tried going out (at night) to see your friend that was having a hard time, and yeah, you should’ve told Jason you were going. It was only five blocks, give or take, but in Gotham at eleven o’clock at night, it’s a risk to say the least.

You should’ve told Jason, you know. But he wouldn’t have let you go or would’ve insisted on putting hold on patrolling to accompany you. You always feel bad when he does that—people could be getting hurt somewhere because you needed your boyfriend to walk you down the street. Unfortunately, it didn’t matter in the end because he caught you red handed before you’d even made it a full block away. Of all the nights for him to come home early, it had to be this one.

He dropped down from the rooftop behind you and scared the absolute hell out of you, and you didn’t even have time to be relieved that it was just him because he was on you in a flash. 

“What the hell are you doing out here?” His voice was hard through the modulator, a rare tone for him to use with you.

“I just—my friend—” he sounded tired and angry, sure signs that he’d really not had a good night so far which was probably all the more reason that you shouldn’t have been out by yourself in the middle of the night.

“What are you—no! Go home. Now.” You would’ve, you really would’ve, but your friend called you crying about her boyfriend cheating on her again and she needed the in person support. 

“Ja—” You’d cut yourself off, “It’s down the street, it’s fine—” He dropped his shoulders in a huff and faced you dead-on. You didn’t need him to take his helmet off to know exactly how he was looking at you.

He dropped down and hooked his arm around the back of your legs, lifting you off the ground with no discernible effort. “Wha—”

He started walking before you were even fully planted on his shoulder, arm wrapping around your legs to hold you in place. 

“Hood! I am so fucking serious, put me down!” You swatted at his back and struggled in his grip, though in the back of your mind you knew it was a pointless effort. Even if you were a match in size, whatever mood he’d been pushed in was enough to guarantee that you had no chance. 

He ignored you, not even pretending that you were giving him any difficulty with your squirming. He marched you back down the block to your apartment, not stopping until you’re outside your door. He set you down in between him and the entrance, digging into his pocket for his key.

He kicked the door shut behind him, finally letting you go. He wordlessly grabbed one of his spare guns and two cartridges of ammo from inside the closet by the door and turned back to you with a firm stance. “Stay here.”

You immediately tried to push past him again, at that point more angry about him dragging you back here than about having to duck out on your friend. He stopped you, holding you by the arms, which led you to respond by raising your voice at him, “Jason!” 

But he didn’t waste any time letting you know how it is, “I will lock you in this fucking apartment. Stay. Here.” Him cursing at you like that was very rare and not a particularly good sign, so through your anger you’d made the decision that it was better to relent, for now. Your posture dropped and you frowned at him resentfully, a visible cue that you were giving in without you having to say it. 

He stayed true to his word and locked the door on his way out, though knowing you could easily unlock it from the inside. You’d trudged into your bedroom, slamming the door behind you.   

Now you lay on Jason’s usual side of the bed, partially because you do miss him, partially because the bed feels a little less empty when you can’t see all the empty space. You know he was just trying to keep you safe after what was probably a rough start to the night, so you feel less than great that you’d yelled at him.

Your dwelling over the memory is interrupted by a quiet creak of the bedroom door. You blink up at him blearily, “Jay?” You sit up, furrowing your brow. You didn’t even hear him come home. “What’s wrong?” You figure he must be hurt to come in here—it’s not unknown for him to sleep on the couch if he feels like he did something wrong or upset you.   

Your eyes attempt to adjust to the darkness, scanning over him for any injuries. He’s out of his armor and in his regular clothes which means he must have showered already. And you know from dozens of nights patching him up that he always tends to his injuries before showering.

This leaves you confused, as you look up at him, waiting for an answer. “I can’t…I don’t want to sleep without you.” He whispers, eyes on the floor. 

You shuffle back into your usual spot near the wall and hold your hand out to him expectantly. You’re still a bit cross with him, but you miss him too much to care right now.

It takes him a second to move, but he eventually lingers away from the door and makes his way to the bed. He takes your hand as he climbs onto the bed, letting go only when you lay down after him, staring up at the ceiling next to him. 

You weren’t entirely expecting him to wrap his arms around you and tug you into his chest. Somewhere in the back of your mind you’d assumed he would lay on his side and you on yours and that would be enough for him to fall asleep with. Instead, he tightens his arms and buries his face into the crook of your neck. You lay there in silence for a couple minutes, both thinking.

“You’re mad.” He mumbles into your shoulder after a while. You know he feels badly about the dispute, you knew it while it was still happening. As hard as he tries, he’s not very good at hiding his emotions. Not with you, anyways.

You shrug slightly. “Barely. I’ll get over it. This is more important.”

He picks his head up to look at you, “I love you. You know that?”

You wiggle out of his grip a bit, making him frown. You use the new space to flip over to face him, before placing his arm back around your waist. You peek up at him, looking him in the eyes, “I do. You know I love you. Even when we fight.”

He looks at you like he’s a bit thrown off by your words. “I’m sorry. It was just…it was a rough night…I—I’m sorry.” He tells you dolefully.  

You shake your head, frowning. “Don’t be. I should’ve texted you.”

“It—yeah. Please. I just worry about you.” He looks so sad and it makes you feel somehow worse.

“I know,” you whisper, “I’m sorry.”  

“Don’t be.” He kisses your forehead, not moving away after.

You feel like you can finally relax and your tense body doesn’t take long to slacken in his hold. Soon after, he does the same, both of you closing your eyes. You feel your heart slow and your mind starts to find a space of peace.    

Jason didn’t get it at first.

Honestly, he didn’t really realize that you noticed things about him that even he didn’t see.

Your neighbor was having their place remodeled and you knew there would be construction going on near your apartment all day.

Jason didn’t really care, planning to bury his head under the pillow and trying to sleep through it. You however, seemed very adamant about getting out of the apartment that day. You’d left hours before the construction crew had even gotten there, telling him it was a nice day out.

It was an alright day, but he let you have your way.

You held his hand as you walked down the street, looking into shop windows and commenting on things you think he’d like.

You led him into a book store excitedly, telling him about how the author he’d been binging had just published something new. He didn’t even know that.

You were browsing the sections, flipping through books as you went. You peered across the shop at a kid holding an absolutely massive pile of books, who was clearly struggling to keep them in his arms.

His mother tried to help him but he shook his head and strided away independently, albeit very slowly. The weight of the books though, did get the best of him, and you could tell by the quivering in his arms that he was going to drop them.

“Loud noise.” You said quickly, seemingly out of the blue. Jason turned to you, confused, before seeing the stack the books splat flat onto the ground. It was indeed a loud noise.

He tilts his head at you, though you’re still busy watching the little boy as he throws his head back in frustration.

“What was that?”

You look at him, “He dropped his books.”

“Yeah, I saw. But why—”

His question gets cut off by the kid bursting into tears, wailing. You turn back to look at him, your gaze getting caught by the new book you’d been telling him about. “Ooh!”

You grab his hand and pull him over with you, smiling widely when you have the book in your hands. The sight of you makes him feel so warm so fast that he forgets about the odd interaction all together.

A couple hours later, you sit outside a cafe and eat lunch together, his back to the road, you sitting diagnal to him.

He’s telling you about the shit Damian got in trouble for at school last week, holding your hand with his right hand and eating with his left.

“He thinks he’s not going to get expelled for pulling shit like that every other week, it’s ridiculous.” He says, tossing his napkin down on the table.

Your smile is wavers as your eyes move past his shoulder looking down the block before widening, “Car—”

The sudden noise startles him enough to make him visibly jump, hand flying to where his holster would be. He looks over at the fender bender, shoulders relaxing.

He turns back to you to find your eyes looking far more worried than they should. You seem to be scanning his face, looking for something and he’s about to ask you what’s wrong when it sinks in.

He does get scared by unexpected loud sounds, doesn’t he? He never really thinks of it until it happens, but his mind is trained to expect gunshots or crowbars making impact.

It doesn’t happen often, but it noticeably takes a little piece out of him when it does.

“You…” he tries, but falters. He’s not even sure he’s processing this right.

He’s never seriously tried to fathom that you love him half as much as he loves you, though love doesn’t feel like a strong enough word. He lives and breathes for you, you’ve become a lifeline he’d been stranded without for most of his life. But now you're here and you’re everything, you’re in his head all the time, in every emotion he feels.

He thinks he’s here for you, that he was brought back from the dead because of you. You can’t possibly understand how much his heart is full of you, he doesn’t understand it himself.

He knows you love him, he’s gotten that through his head. But he can’t get a grasp on the idea that he’s equally matched in the who loves who the most battle.

Do you really care that much about him to go out of your way to keep track of things that might startle him? He knows there’s a million things about you that are in the back of his mind at any given time, but surely you don’t operate that same way with him?

Do you?

There’s this burning in his heart that aches and it only gets stronger when he sees you looking at him like that. So genuine. With care, with love.

He squeezes your hand, “I love you. More than anything.”

The look on your face sinks back into that sweet, adorable look that he’s so used to and it makes him want to scream.

You smile that bright smile and it sends his heart rocketing into oblivion. “I love you.” You squeeze his hand back, “More than everything.”

He feels like his heart might burst through his chest.

[vetyr]

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

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

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

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

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

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

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

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

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

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

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

[tahbhie]

Creating Emotionally Devastating Scenes.

Crafting a scene that earns the total sympathy of your readers can be challenging, but it's not impossible. Most emotionally devastating scenes fail at two things, but when these are done right, the results can be powerful.

⚪ The Important Concepts for Writing an Emotionally Devastating Scene

1. The Build-Up,

2. Breaking the Dam.

Before I explain these concepts, let me share a case study.

⚫ Case Study

I wrote a story about a young orphan named Jackie and her younger brother. Their village was burned down, leaving them as the only survivors.

For the next few chapters, readers followed their painful journey and their struggle to survive. The younger brother had a heart problem, and Jackie vowed to become a cardiologist to save him.

She was very ambitious about it, but at the time, it was very ironic. Later in the story, when they encountered a tragic living condition with a family, the brother died while telling his sister how much he missed their parents.

When her brother was fighting for his life, she was sent out of the room, only to be let in again to see his cold, lifeless body.

⚪ Explanation of Concepts

1. The Build-Up

The build-up is extremely important when you aim to convey strong emotions. Here's a secret: if you plan for a scene with strong emotions, start leaving breadcrumbs from the very beginning of the story.

Take the previous case study. I carefully built up their journey so people could easily relate and feel the pain of the older sister during her brother's sudden death.

You need to give the situation enough reason to feel utterly hopeless and devastating. Gradually cultivate the tension until it's ready to let loose.

⚫ Understanding the Use of Breadcrumbs.

Breadcrumbs in stories ensure you utilize the time you have to build up certain emotions around your characters.

At the beginning of my story, Jackie’s fate was already pitiable, but she survived every hurdle. This gave the readers enough to feel for her while still leaning away from the outcome. When I built enough, I introduced her brother's sudden death.

Hence, leave your breadcrumbs while leaning away from the outcome.

⚪ How to Properly Leave Breadcrumbs

When building up your story, consider these elements:

☞⁠ Character Relatability: The characters need to be realistic to draw readers into the story. This helps readers invest themselves in your story.

☞⁠ Realistic Emotional Pain: Just as characters need to be relatable, their emotions need to be realistic and not appear forced.

☞⁠ Create a Strong Emotional Attachment: Give them something they care about or that has the power to ruin their lives in any way. It could be something that makes them happy or something their happiness relies on. When it's time, snatch it away without remorse.

☞⁠ Have a Backstage Struggle: This struggle keeps readers occupied, so they won't see the outcome coming. For example, Jackie’s constant struggle to find food and shelter keeps readers engaged while the impending tragedy looms in the background.

☞⁠ Attach Believable Elements: For a realistic character, emotion, and struggle, attach believable elements. It could be death, ailments, sickness, disorder, disappointment, failure, etc.

Now that we've covered the build-up, let's move on to the next crucial part.

2. Breaking the Dam

This is when you make your readers feel the strong emotions alongside your characters. All the tension you’ve been building up is released, making all emotions come into play.

☞⁠ Break Your Strong Attachment: Cut off your strong attachment from your character when they least expect it or at a point when they couldn't use more struggles (i.e when they are helpless).

This will not only evoke readers’ emotions but also pique their curiosity as they wonder how the character will survive the situation.

☞⁠ Description of Sensory Details to Invoke Emotions: The advice of "show, don't tell" will be really helpful here. It's crucial to ensure that the final execution matches the build-up.

A well-crafted build-up can fall flat if the emotional release isn't handled effectively. To avoid this, blend the climax seamlessly into the narrative, making it feel natural and impactful.

Reblog to save for reference! 💜

[darkmasterofdragons]

Wow first of all I'd just like to say thank you for all the love I got on this inverted ballpoint pen piece in the last few days!! 🥺

I got the inevitable wave of people asking me how I made it and lucky for y'all I had to take a lot of progress pictures to make this so I'm making a post about how I drew this!

See more under the cut!

Starting off of course we have the sketch of our subject in pencil

Then, following the inverted version of my reference image I slowly start building up layers of inverted colour. What I'm drawing irl is on the left, and the inverted version of that is on the right.

You can tell I was nervous at first not wanting to mess it up lol

This piece really helped me grasp the importance of undertones in a way I never have before

Here I started getting Really excited about how it was gonna turn out I couldn't believe I was making this with my own 2 hands

Believe it or not working in inverted colours with ballpoint pen is actually 10x easier than working in normal colours because with ballpoint pen once you've added too much ink you can't undo it you can't make it any lighter, but when you're going to invert the image at the end it's a lot more forgiving because the dark areas become the bright areas when it's inverted!

Don't get me wrong though it took a lot of focus and like brain power to draw in inverted colours, it was like learning how to ride a backwards bicycle, it took all my concentration to not follow my brains natural instincts and muscle memory when it came to creating the colours I wanted to create 😵‍💫

Nearly finished at this point, just needed some colour adjustments

The final check for the colours before I added the finishing touches and scanned the final piece and voila!!

You have an inverted ballpoint pen tiger 🤯 It's really not as hard as it looks, it's just a lot of layering and a lot of patience 🙏🙏

I had like 15 more progress pictures but unfortunately I can only upload 10 pictures in a post so I tried to order them in a way that showed the most key points in my process 😅 If you have any questions feel free to ask I love helping out fellow artists learn new skills!!

[nefastnefertiti]

WHY CHAPTER 431 OF MY HERO ACADEMIA SCREAMS CENSORSHIP

First let's start by the "afterword", the note Horikoshi left after 430 and before the extras, chapter 431.

Original japanese for those who understand.

The best traslation I found and most people are agreeing with.

Key sentences are:

1.The real final chapter is 429, 430 is more like a curtain call.

2. PS: For chapter 431, I turn off the cameras and free the characters from their dramas.

This note being left after 430 and before the extras is so important. . The clarification of "the real final chapter is 429" and 430 is the curtain call is screaming: the show has ended here. This is further stated by "i turn the cameras off" by the man who use to refer himself as the camera man, I leave you with an example.

(They're talking about Vol 37 cover)

And back to point number 2: "and free the characters from their dramas", which could perfectly be understood as "the characters are no longer tied to their previous plots and drama" no longer connected to the main story.

It may seem like a reach until here, we're just trying to convince ourselves that's not canon, right? They´re delusions, right?

The problem is how far away everything about 431 antagonizes the whole story, the characters doesn't feel like themselves, they even regress back all their development, the drawing style looks totally different and there are many irregularities that call for our attention.

Dabi, 431 and by Horikoshi

Toga and Ochaco in 431:

Toga and Ochaco by Horikoshi:

All Might's signature for Katsuki (Horikoshi would never mess this up):

Kirishima with 6 fingers lol, Horikoshi loves drawing hands, he would never.

Katsuki's odd teeth what the fuck. (His hand looks good to me)

Ochaco and Shoto just look, weird. It's clearly not Horikoshi's art style.

And this awful background (center) was the main giveaway.

Horikoshi's backgrounds are so professional:

At this point I'm getting tired since the difference is astounding, don't believe me, just check the manga.

I don't think Horikoshi would've allowed those mistakes had he have a role in the making, maybe he did, there's no saying about that, but clearly if he did his involvement was very low.

Character's development wise now.

Seriously? "Deku"? And Katsuki complaining for picking him up. He cried his eyes out when Izuku lost his quirk and now he's back at season 1?

Izuku would never in a million years turn down that offer. And if he did, it would never be like this, so devoid of emotion and empathy.

430 showed us an Izuku aiming for his dreams again and at 431 this Izuku ¿? It's okay with being a teacher? Ok. And if that's not the problem, why he outright rejects Katsuki out of nowhere? When their rivalry was one of the main points of the plots for 430 chapters and now just um over? Without justification? Ok.

Ok.

Now specifically about that ship canonization and bkdk.

Horikoshi has been doing this for 10 years. The choices he took the whole manga were incredibly intentional, all those romantic tropes given to bkdk, his interviews, all stand in direct opposition to what happened in this last chapter.

I, myself, don't know much about Jump but what I've heard is they end lot of shonens with the same heterosexual formula. I don't think all of this is a coincidence.

Something really important that needs to be adressed to is what happened back in June (I think), when suddenly MHA announced it was ending in 5 chapters could've something to do with this. The manga was suddenly rushed to its ends with unsatisfying resolutions and as if that was not enough, one month later (at most) the same happened to JJK and all of this came accompanied by a switch of one of the heads of Jump.

About 431 again though.

I was just thinking what would I do if I was pressured to write something that ruins the biggest project of my life and goes against everything I was hoping for? Refuse. Tell them to write it themselves. If I can't do anything to stop it and it'll be there, alright, but I WON'T DO IT.

And I think this could be Horikoshi's case.

I've never seen a shonen manga come so close to implying his male protagonist and his male deuteragonist are in love before. Yes, it was not EXPLICIT but it was so fucking clear if you knew how to read, all the way up to 430. All those cliches tropes he gave them, he knew, we know.

I thought I'll die trying to explaineverything that seems wrong with this with nothing to back me up but the fact that he added that note is clear for me. I'm surprised they allowed him to publish it, I thought we wouldn't even have that.

PS:

It's interesting this being posted the same day 431 comes out. Also "heroaca is pretty dark, huh?"

I'll not go into this anyways because it's kind of a reach but the conclusion is: I think it's a "soft" censorship and Horikoshi did his best to relay his message given what he had.

Thanks for reading!