#i'm afraid what this will turn out to be

[little-pondhead]

Danny moved to Gotham.

Freakshow is touring in Gotham.

Freakshow knows Danny is in Gotham.

Danny knows Freakshow is still after him.

Danny's faith in heroes has been shattered.

Danny turns to the only person powerful enough to run Freakshow out of town, hopefully for good.

Danny turns to the Joker for help.

The Joker is looking for a new punching bag sidekick after Harley Quinn left him.

Danny is just the perfect person to be shaped by the Joker's hands.

Danny becomes the new Joker Junior.

[idoodlestuffsometimes]

DRAWING BACKGROUNDS: TIPS AND TRICKS

So many people are afraid of drawing backgrounds and I think it's a shame, so here's some tips and tricks, because I'm not perfect at it myself but I think the hardest part is really just knowing where to start.

First off: Perspective

Yeah, yeah, that's the scary word. But I promise you, once you're familiar with the basics, backgrounds are a LOT less intimidating. Don't get discouraged if WHEN you have trouble with it. Even professional artists struggle with it. I promise you, screwing it up is good and normal. That's how you learn after all!

Now I'm not going to go into detail on how to do it here, because honestly there are a thousand and one free resources online and in libraries that can explain it far better than I ever could in a singular broad-strokes tumblr post. But I AM at least telling you you should familiarize yourself with these basics:

Important Terms: Horizon Line: A horizontal line across your canvas, showing your viewer's eye level and providing a location for most of your vanishing points. Vanishing Point: Integral to drawing in perspective. The sides of a 3D object get smaller as they become farther away from the viewer in space. This point is where the parallel lines of a side eventually meet.

The Basic Types of Perspective: One Point Perspective: Good for drawing things that you're looking at straight on. Two Point Perspective: Good for drawing things at an angle. Three Point Perspective: Good for drawing things the viewer is looking up or down at, especially at an extreme angle.

[Click images for ALT descriptions]

And if you're comfortable with these and serious about improving your skills for use in storytelling, I also might suggest looking up:

4 Point Perspective: Great for extra wide or tall shots and for camera tilts if you're doing an animation or animatic. I think some other names for this in animation include "banana pan" and "warp pan."

5 Point Perspective: Fish-eye lens. Good for all your angsty anime boy slipping into madness needs!

Some perspective tips I wish someone had told me earlier:

Objects' relation to the horizon line is constant. A super helpful tip to remember when placing a character or object in space is that they will always (assuming they aren't changing in size or moving up or down) have the same relation to the horizon line no matter how far or close they are. If your horizon line is at shoulder height for your focus character in the foreground, any character of the same height in the background will still line up with the horizon line at the shoulders.

How to pick the distance between your vanishing points: 2 pt perspective uses 2 vanishing points, 3 pt uses 3, etc, etc, but how close should they be? Well, first of all, for anything that isn't one point perspective, one or more points will usually be off the canvas. Super annoying, I know, but the closer your vanishing points are, the more warped your drawing will become. Second, a helpful thing to know is that choosing the distance between your points is basically the illustration equivalent of picking your camera lens! Photography buffs will know that wider (shorter focal length) lenses show more space and make the distance between foreground and background more dramatic, while longer focal length/telephoto lenses are flatter, and more focused and intimate. The same is true of vanishing points that are closer (shorter focal length) or farther apart (longer focal length).

2 point/3 point/etc doesn't actually mean you're limited to that many points total on your page. this one confused me a lot when I was getting started, lol. A lot of examples will show you drawings of nice, neat cities or something, in which all the buildings are facing the same way in order to demonstrate perspective drawing. But in real life, buildings don't all face the same direction. They're at all sorts of different angles. So how do I do that??? Answer: Just because you're drawing in 2 point perspective or whatever doesn't mean you... have to actually keep your 2 points in the same spot. You can move them around, just keep them the same distance apart, so you're not screwing up your camera lens.

Other Tips:

Use reference! The instant you try to draw a house, you're going to forget every house you've ever seen. That's just how it goes. Buildings are complicated. Do yourself a favor and collect a few reference images first, buddy!

Consider details (like architectural style, amenities, and materials) Your building will look more like a building when you keep in mind that buildings have gutters and door knobs and light switches and paneling and stuff, and aren't just boxes with roofs on them. Again: reference! You will forget electrical sockets and baseboards exist immediately. Art brains are dumb.

Use details and texture to fill in negative space Giant stretches of blank space tend to be boring and distracting. Put a few suggestions of wood grain or something on that wall back there, bud, just don't overdo it.

Line weight Darker, thicker lines draw more attention, look heavier, and look closer to the viewer than lighter, thinner lines do. Take advantage of this to draw the viewer's attention to your focal points, de-emphasize less important details, and imply depth. It's up to you to decide how you want to use this and what your style is, especially once you start getting into combining or replacing it with shading, values, and color, but a helpful rule of thumb is to try reserving your thickest lines for focal foreground characters and use thinner lines on backgrounds, especially details in the far distance.

Perspective guides If you're drawing digitally, take full advantage of any perspective tools you have access to! A lot of art programs lately have begun adding perspective guide features that let you set up vanishing points and then literally guide your hand as you draw so you stay in perspective. Some of these include Procreate, Clip Studio Paint, and Adobe Fresco. (still sadly none in Photoshop as far as I'm aware, what the heck, Adobe!). Check through the settings of yours to see if it gives you any perspective guides or other similarly useful tools. They're 100% worth it! And for god's sake, if you've got any skew or perspective warp tools, draw your complicated shapes flat and then warp them instead of spending an hour on it! Don't make my mistakes!

[tswwwit]

i have a counter argument to the 'only one person can boop bill' thing, mabel. she's the type of person to slap stickers on people, she would definitely be the type to also boop others occasionally and bill would be no exception. she probably doesn't do it to annoy bill like dipper would, but maybe as a form of a friendly gesture, kind of like those people who will lightly punch friends in the arm when they hang out.

You know what? Good point. Mabel would get away with more than most, as a fun-loving lady! Bill understands those impulses, and being a touchy person! He indulges in similar ones himself.

Though when Bill's not in the mood to be playful and gets booped anyway? The 'sister-in-law' status grants her considerable grace.

[sylvhen]

just having a normal one thinking about how badly Armand wants to be loved but every time he gets close to it, he self sabotages and ruins it. almost as if. he subconsciously doesn't think he deserves it.

[naamahdarling]

Augh

[suchine-toki]

(The last one I swear) Top 10 Gintaka moments

Arranged chronologically because it was too difficult to choose. Spoilers ahead.

1. Boke and tsukkomi

We get another glimpse into their relationship during the Shouka Sonjuku days through a memory of Zura. Gintoki appears annoyed about only fighting against Takasugi, though the latter reveals he is ahead 57-56, which means that in a short period they had already fought more than 100 times. This implies that, as the years went by, their duels became a little less frequent. But what is really interesting and adorable here is the way Takasugi acts as Gintoki's tsukkomi and playfully scolds him (ch. 563).

2. Kick the can

At Kurokono Tasuke's suggestion, they decide to play basketball kick the can. Although it is later revealed that Gintoki and Takasugi intended to counterattack the enemy the whole time, they were clearly engrossed in the game, as evidenced by the fact that they put small bushes on their heads to camouflage. This seems to be a tactic they learned from their teacher, considering Zura did it as well. Despite everything, he notices that Gintoki and Takasugi seem more enthusiastic about competing against each other to see who is the first to launch a surprise attack on the can rather than the actual war (ch. 453).

3. Naivety and embarrassment

Around a campfire, Gintoki discusses the course of the war with Sakamoto and Zura and whether they would eventually become imperial forces if their side won. Aside from this being the only occasion where Gintoki thought about a future for himself beyond rescuing Shouyo, Takasugi mocks the idea as naive. This scene appears to be after the one where they made their promise, because Takasugi is aware that Gintoki doesn't fight for the country or for fame, but for their teacher. Thus, with great confidence, he asserts that they know what they are doing and that is enough. However, the way he says it irritates Gintoki, who then proceeds to tease him about the name of the Kiheitai, followed by some insinuations that Sakamoto quickly picks up on and joins in (ch. 633).

4. Him or me

After the events with the Ikeda family, it is revealed that Takasugi and Nobu Nobu are behind the scenes. The latter notices Takasugi's hostility towards him, so he reassures him that he never intended to go after what he calls his prey, Gintoki. Upon hearing this, Takasugi quickly changes his demeanor to a more relaxed and confident one, asserting that he would not be able to take any of their heads. Before leaving, he threatens him that if he changes his mind, either Gintoki or he himself will finish him off. This is not only another occasion where Takasugi becomes upset when others talk about Gintoki in front of him, but it also shows how, even at this point and before their confrontation, he still felt some camaraderie and understanding towards Gintoki (ch. 468).

5. Lingering feelings

Gintoki didn't only become emotional in his final fight against Takasugi when he had to attack his possessed body. In their first real confrontation, there is a direct parallel between Gintoki's face before being forced to kill Shouyo and his face before cutting Takasugi. They had already been fighting for a while, but this shows that at this moment Gintoki was already on the verge of tears. He didn't want to do it, but if someone was going to stop Takasugi, it had to be him. Arguably, this is the first time it is shown how much Gintoki still loves and cares for Takasugi even after all this time and everything that has happened (ch. 519).

6. Only me

Takasugi asks Shinpachi not to let anyone else take Gintoki's head because only he can do it, which adds to other occasions where one speaks possessively about the other. But this time it is because there are still unresolved matters between them, so Takasugi asks, in his own way, that he survives, just as Gintoki asked him 10 years ago when they made their promise during the war (ch. 575).

7. Believe in him

When Hijikata interrogates Gintoki, he fills in the gaps regarding what happened with the Tendoushuu and how all the information points to Takasugi conspiring with the enemy. Despite this, Gintoki tries to defend him, highlighting the fact that Takasugi helped them two years ago and has no reason to ally with the Tendoushuu, to which Hijikata insists that Takasugi is the type to prioritize goals over the means to achieve them. Still, Gintoki refuses to speak and betray Takasugi in any way, prompting Hijikata to question his loyalty and if the reason he insists on protecting Takasugi is because he still believes in him while being interrupted by Robozaki (ch. 674).

8. Underwater fight

When Gintoki is at his limit, surrounded by a group of assassins, a boat with explosives arrives to save him, which is revealed to have been sent by Takasugi. Gintoki doesn't miss the opportunity to tease him, calling him "mastermind" or "Hikusugi-kun," a wordplay referring to his height, and teases him about his lingering affection for the Kiheitai, the latter provoking an offensive response from him. They bicker some more before they are attacked and thrown into the water, where they fight against their enemies while also fighting each other (ch. 677).

9. Shitty brat & crazy hoodlum

This is one of the most peaceful scenes that occurs between them since they reunited. Here they are not fighting each other or anyone else, but simply talking while walking, another glimpse of how their relationship used to be. They clearly look comfortable next to each other, smiling and joking, showing how happy they are to be together, although neither of them would admit it (ch. 683).

10. Go back

On multiple occasions during the final arc, Takasugi tried to convince Gintoki, both gently and harshly, to return to the Yorozuya and his loved ones in Edo. This shows how selfless his love for Gintoki was, that even if his heart was divided because he wanted to be by his side, at the same time what Takasugi most desired was for Gintoki to be happy, with the tragedy that he wasn't really aware that he was part of Gintoki's happiness (chs. 673/677/683/690/699/703).

Part (1) (2) (3) (4)

[deiaiko]

#19.3 Unravel

It had been some time since Agni felt this nervous. Not even talking with Jinsung Ha recently had made him feel like this. He fiddled with the mask on his hand as he waited for Grace to come back. He had thought hard on how to deliver the news, but he knew that no matter how he phrased it, Grace would be upset. Velt nuzzled under his palm and Agni gave her a few pats, before deciding that she would be better inside her bowl in his lighthouse, just in case the shinsu acted up around Grace after he received the news.

Grace came back wearing the comfiest shirt and shorts Agni knew Grace liked to wear on lazy days. He joined him on the floor, and they ate dinner together. Agni always finished last, so while waiting for him to finish his meal, Grace told him about his day with Bam. Grace was intrigued by how much his way of thinking had changed, and how glad he was to be able to be by Bam's side when he was having a bad day. It reminded Agni of the hidden floor, when Grace faced his sworn enemy.

They left the used bowls on the coffee table and went to brush their teeth. Afterwards, they turned off the light and went upstairs to sit on their bed. Grace's curious gaze never left him, and Agni curled his feet nervously.

Grace was the one who broke the silence. "So…what is it?"

Agni's breath hitched. This was the part he dreaded most. "I talked with the crocodile earlier. Did you know that he could manipulate stone already?"

"Huh." Grace needed a few seconds to let the information sink in. "Didn't Rak learn it on the Hell train? How does he know it?"

"Turns out our crocodile also traveled back to the past like us. He found the young crocodile and taught him."

"What?!" Grace gasped, wide eyed. "That means our Rak is–!!"

"He's dead." Agni quickly snuffed out that hope. They had been in delusion for long enough; it was time that they faced the bitter truth. "He suffered a fatal injury from the explosion. He couldn't have lasted long without proper help." Agni omitted the actual cause for Rak's death, but still kept his words true. "I'm sorry."

"…Oh." Grace looked lost, just like Agni was. His lips parted a little, but they closed before any sound escaped.

Agni gently squeezed Grace's hand, encouraging and comforting as he let the silence stretch on, giving Grace some time to process the information.

"Agni…" Grace whispered, "do you think Hatz and Isu…?"

Agni bit his lip and avoided his gaze, as the nightmare of that day replayed in his mind. He witnessed Hatz get his arm ripped off when trying to protect him. He could still recall the clang of a sword hitting the floor, and Hatz's suppressed scream that gnawed deep at his guilt. He witnessed Isu get beheaded after being taken hostage, the memory of warm blood painting them both still vivid like it happened yesterday. 

Agni refused to acknowledge their possible deaths, because it felt like a nightmare that one day he could hopefully wake up from. He avoided the topic when Grace brought it up, so he wouldn't have to say it aloud and make it real. He had been so hard on himself, because he couldn't get rid of the feeling that he had failed Grace and everyone else involved.

Agni knew this had to change if he wanted to live better, now that they had gotten a second chance. So he swallowed down the lump in his throat that had built up over the years and asked mostly to himself; "What are the odds of their survival?"

"There's always a chance–"

"Grace." Agni looked him straight in the eye. "They were already severely injured before the explosion hit."

Grace fell silent and went still.

Agni felt a pang of guilt upon witnessing Grace's reaction. "Sorry. I didn't mean to snap." Agni fiddled with his hands. He realized that he didn't know how much Grace knew of what happened. "My scar…do you know how I got it?"

"I…was told it was from the family heads' battle." Grace looked thoughtful. Agni knew he was trying to be careful with his words. "A stray attack?"

"It could have been worse." The memory of the scorching heat on his skin felt like it had only happened yesterday. He passed out right when he was about to heal Isu, and only found out later that he also lost sweetfish at that time. The days he spent recovering from the burn, to withstand the excruciating pain every second he was conscious, and finally coming to terms that it'd be a permanent scar, was one of the turning points that had changed him forever. Were Grace not there to care for him, he might have ended up destroying himself even more.

Agni hadn't realized he had his left hand clawing on his cheek until Grace pried his hand off and frowned, "You're doing it again."

"Maybe I should wear the mask…" Agni muttered to himself. After all, Grace gave it to him less so he could hide the scar but more to prevent him from unconsciously hurting himself. The only time he could safely take it off was when Grace was around.

Agni bit his lip nervously when Grace didn't reply. He no longer had the courage to look Grace in the eye that spoke so much concern, so he leaned close and rested his head on Grace's chest. "Rak, Isu, Hatz and Hwaryun were trying to get me out of that damned place. But we were caught while escaping, and…it was a bloodbath. I was…too occupied to react to the incoming heat. Rak shielded us from the explosion. And when I woke up…"

"They weren’t with you," Grace finished it for him after Agni trailed off a moment too long.

Agni nodded dazedly, "I've been telling myself that they're still alive, after a blow that could kill rankers. But…who am I kidding? I was lucky enough to survive with just this little–" Agni vaguely pointed to himself– "inconvenience."

Agni felt a hand gripping his arm, and he pulled away to see Grace looking at him with a pained expression. His eyes were glossy and his lips were pulled into a thin line. Trusting his instinct, Agni reached out to gently trace and cup Grace's cheek with his free hand.

"I'm sorry," Agni muttered. "I'm sorry, for not telling you sooner."

Agni silently witnessed tears that streamed down on his love's face. It was a bitter sight that Agni wished he'd never have to see again, that he had tried to avoid for so long by not telling him. He pulled Grace in and held him close to his chest, as if Agni was trying to gather his own crumbled heart back together.

Grace mumbled their late best friends' names as he held onto him tighter, shaking from each breath he took between sniffles.

Agni felt his own eyes sting with unshed tears. He remembered the years he spent climbing the tower together with his old team. Despite their banter being his source of headaches, Agni knew he too had come to acknowledge them as his cherished friends. Only when they were gone did Agni realize how much he'd miss having them around. Seeing the younger them didn't exactly close the gaping hole in his heart, but at least the emptiness was more filled.

Agni squeezed Grace tighter. "We have their younger selves with us now. We will protect them better this time."

Grace only nodded and sank further into his embrace. And Agni planted kisses on his hair, relishing the thought that after everything he had gone through, Grace was still a constant in his life. As long as he had him, everything would be okay.

When Grace started shaking again, Agni caressed his hair and hummed a comfort song they had known by heart. Still, it didn't make falling asleep any easier for Agni, especially not after admitting that his nightmare was very much real. However, as he had been through grief…this, too, would pass.

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[shannonsketches]

like why did they change where Vegeta was when Cell announced the cell games in the anime

why did they make this vegeta starting shit with yamcha instead of chillin in the lab with his family? why did they take Bulma out of the lab? Why'd they say she was Out while Dr Brief was repairing 16? Why did they change Bulma working on advanced robotics to running in late with her baby?

it's the same scene except: - Bulma's actively at work being a scientist - Vegeta's not being rude to her (or anyone else!) - Vegeta waits for Trunks instead of leaving the room - Cell interrupted the airwaves, which means Trunks and Vegeta were just hanging out with Bulma and Dr B while they were working

Those are all Great Character Details!! That the anime rails against!!

[sercphim]

[scorndotexe]

"your father thinks it's all my fault, your sister thinks it's all my fault, you think it's all my fault" okay at a certain point you have to look inward and ask yourself "am i making life difficult for everyone around me?"

[reksink]

Whiteboard Scugs 💚

[ectonurites]

SUPER DARK TIMES (2017) DIR KEVIN PHILLIPS

[stargayzerlily03]

I know it sounds silly, but I'm actually very much afraid to make friends and/or mutuals in the natm fandom, because of the terrible harrasment and bullying I had to face in the previous fandom I was in. I was sent threatening messages, slandered and outright made terrible lies about. I haven't recovered from it and it's only been 2 months since I had to leave the fandom and deactivate my old account so the harrassers would leave me alone.

[darlenicy]

kinda got the feeling, that I mischaracterize darcy in my rewrite

[charles-leclerc-official]

the 2022 td-39 regulation also being influenced by mercedes throwing a tantrum 😐 what happened to the good old fia (ferrari international assistance) 😔

Fred's working on it, trust

[voluptuarian]

idk I really love the ideas explored in cosmic horror and I think those ideas could be used in non-horror genres, or in less straightforward combination with other genres to create really interesting fiction. Cosmic horror is like: an event happened. It was terrible, and beautiful, and utterly beyond previous understanding. Like trauma it can only be lived through, not told or explained, and so surviving it is the ultimate isolation for those who see it alone, and a supreme bond for those with shared experience. It has destroyed your previous worldviews, changed your understanding of everything, altered your mind, changed perhaps even your body. You are different and you cannot explain why or how. You have been cast adrift from the old world and are now at least eternally on the edge of a new one. You can choose to turn away from this new reality but you cannot leave it behind, no more than you can change the neural pathways in your brain or the pattern of your cells.

And like, maybe this is horrible for you. Or maybe it was once. Maybe this is only the temporary anguish of growth and you will emerge transformed into something else. Maybe this horror is only the fear of unfamiliarity and inexperience, and like a first taste or a first sexual experience, fear will give way to something strange, but desirable. Maybe you will come not only to enjoy the new, but prefer it. Rather than isolate you, maybe you will be joined to a new community. In losing your old understanding, reality, self, maybe you have found freedom.

Wouldn't a caterpillar fear change if it could understand what would happen to it, that it would first be unmade in order to be made anew? Wouldn't the cocoon be a place of total horror, the future butterfly self a nightmare scenario? And then, after all, when it has changed-- it's a no more an immature crawling thing, but something more profound, with avenues of movement and understanding beyond anything it's old self could have conceived of. Would that still be a horrific reality for the butterfly, or what it had been meant for all along?

Even if the moth could be warned that the fire would kill it, wouldnt there still be an attraction in the flames, even as they burned it?

We are frightened of many things that pose no danger to us, and no ill will. And anything frightening, looked at long enough, will lose its fearfulness, become mundane, absurd, attractive. If you look into the abyss long enough, what will look back at you? What do you bring with you into the abyss, and how will the abyss itself be changed your influence? And will the abyss, altered intimately by your presence, experience horror at the change and fear of the one who brought it?