#idk where I got this from so

[emberglowfox]

birds of a feather

[riaki]

i literally cant stop thinkin’ about highschoolbully!gojo who used to be your ride or die ‘til he started getting attention from those popular jock type guys who are always assholes to everyone. and him being.. well, him means he preens under attention no matter who it’s from, so naturally he started to gravitate towards that group and their little troop of cheerleading fangirls. and then he started distancing from you and without either of you really realizing it, you’ve slipped between the other’s fingers. but the way he acts towards you makes you think he let you fall without moving a muscle to slow you down.

soon enough, a year swings by and by the end of it he’s gone from your life, save as just another face in the gaggle of boys who make crude jokes and laugh at smart kids and pop milk cartoons during lunch just for the hell of it. but you’re minding your own business, ‘cause you’re mature enough to realize that people come and go, no matter how close you might’ve been and you think it’s unfortunate that so many memories could be thrown aside in a blink of an eye, but it makes a lot of sense when you walk past satoru and his friends bullying some random kid. you don’t know him, but you’ve heard enough to realize it’s his girlfriend satoru’s flirting with while his ‘gang’ kick at the kid. and it’s sickening, but you don’t say anything when you walk by.

and when you don’t ever see the kid afterward and catch the dark eyebags under his girlfriend’s eyes, you come to the cruel realization that satoru isn’t the boy who’d bandage the scrape on your knee you got from tripping in the playground or buy you a soda because he’s noticed your sweat when you were walking home and you don’t have any money left on you.

it’s a glass half empty, half full type of situation. on the one hand, you don’t have him anymore. on the other hand, you don’t have him anymore. that is, you lost your best friend, but you’ve also lost someone who has the potential to absolutely ruin your life. and you don’t know whether to be glad or not, so you just mind your own business even if it hurts a little when he ignores you, stops tossing paper at your head in class (unless it’s to embarrass you) and stops walking you to and from school.

but the cherry on top of the shit cake is that he doesn't get it. so when he approaches you in the library one day after satiating the need to tear pages from books and make them into paper airplanes to throw at people, he doesn't seem to understand why you try to ignore him, or put off his attempts to hold a convo. but the worst part is that he's just sleazy and clueless about it. it's like he took an eraser and wiped every single year of your friendship off the chalkboard with one fell swipe, and you wish he'd done that too to the less-than-appropriate messages he and his friends had written towards one of your classmates.

he doesn't understand why you're hesitant to talk, and that's what makes it the worst. he always thinks he's in the right, and he keeps setting you off and it sucks that he knows exactly what sets you off. "i'm an asshole? what're you talking about? really, you're in over your head. you never change." he laughs, and you ignore him, and he gets bored, and he's about to leave when he spots your wallet open next to your book, on the table. there's a polaroid peeking out, and he recognizes the tufts of white hair to be him. but there's a weird feeling in his chest, and he thinks he gets it from you, so he leaves because he thinks you're weird.

and it goes on; you practically become a nobody in satoru's eyes, because of that weird, weird feeling you give him. it's unfamiliar and he's never gotten it before and he doesn't like it. but it's unavoidable when your professor pairs you two for the end-of-term project. and of course, you're ready to do all the work, because that's how it always was between you when you were kids. but sometimes he'd surprise you by helping, and he'd show you that he was actually intelligent just to earn your praise because he liked it. but he ignored you, and you did everything, and it would've been okay if not for his friends egging him on to present your entire project when the day came and leave you with no content for a grade.

that's the first time it hits him: does he really want to do that? but it's not like it'll be the first time; you've always taken the hits for him, because you're naturally smart and you'll pick yourself back up in no time, and you get why he does it, so it'll be okay. so he agrees, and he enjoys the time he gets to spend with you through it, but the nagging weird feeling that blooms in his chest like a pesky weed only grows stronger. that's all his feelings ever seem to do around you.

but before you know it, presentation day swings around. you had coffee this morning (on his card), and you're ready enough to shoot him a small smile that sends his heart a-flutter. so you go up, feeling up to the task and ready until— he starts talking, and talking, and talking, and people don't think that he's taking your words out of your mouth because he's intelligent when he wants to make you praise him and you don't get the chance to get a word in and you notice the guys are laughing and hitting each other's shoulders to themselves in the upper rows and before you know it it's over. people are clapping but moreso they're looking at you and they're whispering— but it's terribly loud and they don't bother to hide it. they call you things that shouldn't bother you but they do anyway, because it's satoru's fault, and you're such a fool for thinking you could have it your way again.

so you leave class early, excusing yourself and ignoring the way your professor gives you a distasteful look and scribbles something next to your name. you're out the door in a second, neglecting your bags and satoru's a little lost because— didn't he just do good? people were clapping, and laughing with him and not at him, but it's attention either way so he doesn't mind. so why do you? why did you look at him like he stabbed you in the back? and his friends are calling his name, and he wishes he could chase after you and do something but he doesn't.

and it's a little sickening what they do next; one of their girls grabbed your bags and tossed it to them, and they've started rifling through it as if they own it, tearing up your shit and dumping everything onto the ground and he's kind of just... glued to the chair by his feelings. his heart feels like it's been patched together and the weird fuzzy feeling he had in his chest that's been cultivating has extinguished to be replaced with something he realizes he's only ever felt when it comes to you— guilt.

he's so lost in his thoughts that he doesn't realize his friend is silently offering him something— nudging his side to get his attention. he takes it without really realizing he moved his hand, and his silent friend with the gauges in his ears and the dark hair gets up and leaves without another word. when satoru looks down, he realizes he's been given your wallet. "the reward for betraying your baby," they call it. like all you're worth is the money in your account.

he's a little curious. that's how he's always been; asking you questions, rummaging through your stuff, laughing sheepishly and shaking it off when you caught him red-handed. so he opens it up, ignoring your sad little cards and the funny look on your license. he's looking for something, subconsciously; but he doesn't find it. there's no white tuft of hair to suggest his presence in your life; just empty black leather. nothing else.

and he doesn't see you after. or the following day. or the following weeks; weeks that turn into months that turn into the end of school and he's graduating but you're not by his side. and neither are his so called 'friends'; the only thing he has to their name is your own ruined friendship. it's a shame; he feels alone. very alone. no fuzzy weird feeling, not even that thing people call guilt. no attention to chase, and connections are ever harder to make. it shouldn'tve mattered that much, right? it was just a presentation. why wouldn't you just come back to him like you always did? were you not still friends...?

but the blood is still on his hands, and he doesn't manage to ever wash it off. guilt has a way of festering; of weighing on the heart 'till there's nothing left to feel or think but unfortunate circumstance and what could've been done differently. it just sucks that he never tried hard enough to keep you from slipping between his grasp. and now, he doesn't even have a polaroid to your friendship's name.

pt.2

[hinamie]

alongside someone like you

[vintrage]

fire cannot kill a dragon BITCH

[lucabyte]

Taking pride in One's own appearance.

[venomgaia]

gal who calls you girliepop and collects bugs

[halorvic]

[knockknockitsnickels]

I think this is one of my favorite lines from the Wraith route because of (imo) how much the meaning changes depending on if you got there via Spectre or Nightmare. For Spectre, it honestly strikes me as a genuine question. Why are you doing this to her? If you're on the Spectre route, you presumably already know the Narrator can't really be trusted, since you had to reject his reward to get here. What are you hoping to gain from continuing to hurt her? For Nightmare, it honestly just makes me sad. As the Shifting Mound describes her, "She desires only companionship, but the only thing she knows is how to hurt." This line feels like a plea from someone who genuinely doesn't understand why you keep rejecting her. She wants to be with you, but she just can't understand how to do that in a way which doesn't hurt you.

[tubbytarchia]

@mcyt-yuri-week Day 5, Rose/Thorns I never stop thinking about SL episode 8 never ever

[what-am-i-doing-in-this-fandom]

STOP I'm thinking about the part in Gravity Falls where Stan shows up with freshly bought (stolen) light bulbs only to see Ford screwing a new one in surrounded by family.

And OH my GOD. AGH.

Stan gets a little (ir)rationally upset about this because... It's.. Guys,,,

Stan perceives it as Ford once again easily receiving the praise and love of their family when he had to fight tooth and nail to receive even half of it.... I'm not well ✋😔

[front-facing-pokemon]

[smallidarityfan]

smallidarity highschool au

came up with this au like actually 2 years ago where it's mainly empires 2 smallidarity centric, with Jimmy as a student council member and Joel as an honours student who doesn't like the way Jimmy runs things around the school.

As payback for the regulations Jimmy put up that Joel thought was stupid, Joel does these elaborate 'The Office' style pranks on Jimmy (specifically) while Jimmy retaliates by trying his best to dig up dirt on Joel. This banter goes on for a while— however Joel ends up doing the pranks less as a statement, and instead more just to see how Jimmy would react... with his comical, cartoony villain yells, and... weirdly cute face....? (YAOI YAOI YAOI YAOI)

very very old au drawings below:

from July 2023

😭😭 joel does NOT look like a highschooler here 😭😭😭😭 (i also wanted to draw angst in the first two ig idk a year later it's pretty cringe [i am still cringe]) (also partially inspired by when I read "Go for it, Nakamura!" and the mc reminded me of joel for no actual reason. or maybe i was just thinking about that manga while drawing smallidarity. idk)

from November 2022:

I think these doodles were genuinely the first instance of me converting from being against mcyt shipping to for shipping LMAOO

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[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.

[teddybeartoji]

touching teeth with gojo. sounds weird i know but my beloved biters and chewers just stay with me here okay. you're both sitting on your bed in the dim-lit room, the only light being the computer screen on the floor. there's some music playing quietly in the background but it's all muffled in – your focus being on the man sitting before you.

his pupils are blown wide and his lips are parted, deep breaths slipping from between them. his chest is rising and falling fast, the excitement bubbling in it, ready to burst. you're facing him, sitting on the bed with your knees tucked underneath you. you're not doing any better than he is – you're heaving like he is, eyes so big and wide, fingers itching to feel him already.

you don't really remember how you ended up here but that doesn't matter. his lips strech into a hungry smile, the rows of perfect teeth flashing you teasingly. he knows you're ready to lunge because he's ready to lunge. you lean forward an inch and he does the same. everything is so slow, the clock in your room has stopped in its track, the music has gone quiet. your own lips mirror the smile the boy in front of you is sporting and you see something flicker in his eyes. curiosity? want? need? a mixture of all of them? they drop down to your mouth and he gulps. you look delicious. he looks delicious. it's a feast.

you part your lips and he automatically opens his wider too, completely mirroring you. you lean closer, he leans closer. the distance between you isn't there anymore, you can smell his cologne, fuck – you can almost taste him. your own eyes flick to his mouth and as if your hand has a mind of its own, it raises to touch his soft flesh.

satoru's breath hitches, feeling your fingers against him. you slowly drag them all over his mouth, pushing and pulling his lips until they're properly pink and a little bit swollen. he's really panting now, sounding a bit like a dog. a puppy, eager to play. a cub, eager to bite.

he can't tear his eyes from your lips either, he's intoxicated. he's addicted, and you only make it worse when you sink your teeth into them. he lets out a quiet little groan, from the depths of his throat, making your grin stretch even wider.

your hand cradles his face, tracing over his cheekbone before resting on his jaw. your thumb pokes at his bottom lip, the quiet open up, baby coming from you is making him feel dizzy but he obeys nonetheless. his mouth opens wider than before, displaying the sharp canines you've been thinking about for the longest time. oh, he's perfect.

you press your thumb inside his warm mouth, dragging it over his teeth, feeling the edges of them against your soft skin. satoru's eyes close as he fists the bedsheet underneath your bodies. he's so warm, and you feel yourself sigh when your thumb meets with his tongue. his lips lock you inside, his tongue swirling around your finger before he hollows his cheeks and sucks on it. you can't breathe anymore.

you've never been this enamoured with anyone before. he's sucking on you thumb, teeth gently grazing against it and you're in love with him. you tell him to open up again and he listens in a second, he's good like that. you tell him to look at you and he does – big beautiful doe eyes staring back at you, ready to do whatever you ask him to do. whatever you tell him to do. you award him with another smile and he just can't help but match your expression. there's spit all over his mouth and the desire to clean him up is eating you alive, but you have to wait. you need to take this slowly.

he's looking at you like you hung the stars in the sky and you love him. deciding to push him even further, you wrap your fingers around his wrist and pull it closer to yourself. he doesn't say anything, only observing and learning. you raise his hand to your mouth and you part your lips, inviting him in.

his leans forward with his whole body, hypnotized by the sight before him. you hold his hand with both of yours, molding his fingers into a fist, only leaving his pointer finger out. you guide him in, watching his adam's apple bob at the warm feeling. you guide him over your own canines, just as you'd done with his, letting him explore the inside of your mouth. his own hangs open and he looks so cute like this.

you take your hands off of him and watch him fall into the deep pit of hunger all on his own. his heavy finger presses down on the row of sharp edges, secretly wishing it'd drew blood. he runs his finger over the sides of your teeth, smoothly gliding over them causing the skin of your cheek bulge out. he tries to swallow the thing stuck in his throat but he can't. he feels like he's suffocating; gasping for air, gasping for more of you.

while he's focused on the finger disappearing into you, you take the time to trace of his lips again, promptly pushing through them and connecting you both. teeth and skin. wet and warm. his eyes glance up only to find you already staring at him and he feels himself harden in his pants.

gently, you bite down on his finger, he does the same. he gnaws on you and you do the same. it's romantic. it's erotic. you need more.

so, suddenly you move from your sitting position, pushing the boy in front of you down onto the soft bed. situating yourself over his abdomen, you press another finger into his mouth, reveling in the way his eyes roll back into his head for a moment. his finger is still locked between your sharp teeth, leaving deep dents in it. god, he wishes you'd draw blood. his free hand goes to your hip, squeezing the flesh so hard it'll bruise. you need more.

the room feels too hot, your bodies feel too hot. satoru feels like he's about to melt into the bed, your heavy gaze burning him alive. fingers press flat on his tongue and his eyes widen once more, and when you press them deeper into his mouth, down his throat – his hips buck under you. his eyes close as he tries his best to keep from gagging. you bite down on him harder and his eyes do another round around his skull. fuck.

cracking open his eyes, he's greeted with a big toothy grin. it's reaching your ears, and with the way your eyes shine in the dark room, it's a bit scary. is this the beast one might meet in a forest somewhere? the one that will eat and devour him? the one that'll open him up and consume him?

his heart thrashes in his ribcage, calling for you, reaching out to you. he's not the predator he thought he was; he's the oblivious prey, who walked into your love all on his own and who is now stuck in it.

it's not like he wants to leave anyway.

[why-the-heck-not]

20.12.23, wednesday

My main hobby is just procrastinating in any way I can. The plan was to make a cup of coffee and then start working. What actually happened is that I watched a 3 part video series (by james hoffmann ofc) on Aeropress coffee and made a few cups with different variables. Still not sure if I found The Recipe for me, but it’s getting better (tho I don’t love the coffee beans I have)