#not as detailed as id like it to be

[mephsworks]

was watching Sweeney Todd and had a thought, so i needed to get it out as a doodle asap

bloody version under the cut

[autistickaitovocaloid]

Today in vc we discussed the concept of a gmod funeral so I drew my interpretation.

[andstuffsketches]

vanity

[underwaterwasteland]

My piece for the @tltfashionzine!

[geezmarty]

karlach and the benefits of having a sorcerer gf

[dorkicon]

men will flay their soul bare before trying to talk about their feelings lol

[commsroom]

the u.s.s. horrible unending nightmare 💥 (once again from the incredible @hehearse)

[chloesimaginationthings]

can you. Can you draw scrap baby. And molten Freddy. OMG NO YOU SHOULD TOTALLY DO MILLIE FROM THE BOOKS OMG!!! That would be lit. You know what else would be lit. More circus baby 🥺🙏

I have actually drawn scrap baby before!!

[makowcy]

about an hour painting so i dont forget how to draw

[giddlygoat]

to be fair he’s butch 24/7 but i just needed to get this out of my system

[lunacias]

(Silence. CARPENTER tries to rally HAYWARD's spirits. She's afraid she's going to lose him.)

"All three of us - we can all go on living, Hayward. Just like you said."

[beargregor]

wait i'm curious, what makes you say that gregor doesn't like everyone else (if i read that post right)? just curious since i've never seen anyone else say that

i don't necessarily think gregor dislikes everyone else at lcb but i do think that gregor is an incredibly petty person that isn't nearly as close to the rest of the sinners and even outright dislikes some of them cough cough rodya cough cough which a lot of people just Refuse to see because he's as much of a doormat as he is. there's several examples i could get into to try and prove my point however i'll just focus on what i personally think to be the biggest ones.

additionally, this is going to be kind of long, so i'm adding a read more. read more! read it. sorry for being so wordy. i have several diseases.

Pt1. gregor is the type to try and get along at least decently with everyone, especially if he gets a good first impression from them.

this is less a point in favor of gregor's distance w/ the rest of the sinners and more just a contributing factor to it. once again there's several examples i could point to here but i think the most in your face one happened in canto I with yuri, as several people have pointed out. even before gregor comes clean about growing attached to her as quickly as he did because she reminds him of his sister, we get this interaction.

i'll go ahead and make the disclaimer now that i don't necessarily think gregor is the most reliable of narrators, especially when it comes to his feelings and interactions with most people, but from the way he acts when the topic of yuri comes up (and the way we still see him act even all the way up to c7, nearly a whole year after yuri's death) i don't see reason to question his sentiment here. gregor immediately got that aya and yuri were close, potentially even taking note of their traded belts, and went out of his way to get something nice for yuri despite hardly knowing her.

i feel like a lot of people have forgotten as much, especially since it's been so long since c1, but gregor actually spent a good bit of season 1 doing the exact same thing with the other sinners! gregor reads a connection between him and ishmael pretty quickly despite getting off to a rocky start

mostly because gregor can tell that ishmael is pretty sardonic in a very similar way to him. there's been multiple instances where ishmael and gregor have essentially expressed the same sentiment at different moments, most notably gregor's little argument after ishmael got shot with a decay ampule in c4

and ishmael's response to pilot talking about self-sacrifice in c5

i could go ahead and pull up more examples, but in general pm has gone out of their way to show us that gregor and ishmael are pretty similar, so it makes sense for gregor to assume that they're friends, right?

this will be pushpin 1. keep note of this for Later.

ishmael's only the first sinner we see gregor trying to do this with in s1, we also see him try it out with heathcliff, sinclair, and ryoushuu

he's tried to get along with charon, being one of very few sinners that we've seen actually try to establish a connection with her at all

even rodya, despite my insistence that gregor doesn't like her nearly as much as the fandom thinks he does

all of these seem pretty fine and dandy, right? sure it frequently leans towards self-degradation, micromanaging, and commiseration, but gregor can at least be pretty chummy with most of the sinners, can't he?

Pt2. hell's chicken was more than just comic relief guys please

i'm fully aware that this is quite the hot take, but i think hell's chicken deserves a lot more credit for character writing than the fandom gives it. hell's chicken gave us foreshadowing for several events, such as the donqui bloodfiend reveal

heathcliff's distortion in c6 (as well as hong lu's highly speculated distortion at some point in the future)

and ryoushuu and sinclair's continued connection by making him the odd one out on her team

which, hey! that implies something about gregor's odd one out, don quixote, too, doesn't it? yes. yes it does. that's pushpin 2. keep note of that for later.

speaking of pushpins, hey! that's pushpin 1!

splitting into teams is one of the major events in hell's chicken, and most of the sinner's choices are either motivated by very little, backhanded, or motivated primarily by not wanting to be on the opposite leader's side. i didn't include all of the picks, just because i feel like including most of them already gets this across, but i think gregor took one major thing from this: most of the sinners, when push comes to shove, will only side with gregor when they refuse to or can't take his opponent's side.

now, don't get me wrong, i'm fully aware that this is primarily intended to be comedic relief, but when gregor is being described as having his trust broken by ishmael or nearly crying because no one on his team properly sided with him for him, i feel like it's pretty fair to read into this.

something that i think is pretty important to remember in conjunction with this is that we know that gregor is the type to hold a grudge, both from his general attitude towards the G corp soldiers in c1 as well as his continued distaste for vergilius

even beyond the splitting into teams of hell's chicken, the sinners have given gregor plenty of reasons to feel bitter. i feel like this is something people have noticed but haven't really put a finger on, but it's kind of wild just how often the rest of the sinners make gregor the butt of the joke

and sure, we could argue that a fair few of these aren't really made with any ill intent. quite a bit of it could have been meant as harmless teasing, but with gregor being more sensitive than most, it coming from nearly all sides, and as often as it does? yeah, i think he's prone to taking it a bit personally.

Pt3. yes i do still think gregor was the third most important character in canto VII you guys gotta hear me out okay

of course, all of this leads up to the bit of the story i highlighted, doesn't it? c7? i totally get why people haven't really picked up on all the gregor things i did in it, seeing as they were mostly not *directly* said about him or by him.

personally, i think that gregor's distaste for talking about himself on any serious level and thus leading to him getting sort of "sidelined" narratively (which i take issue with that claim, but still. it's effective for getting what i mean across atm) is supposed to lead players to take a deeper look at the times gregor gets held up to other characters and compare and contrast what's being said about them by the matchup. as i showed earlier with his immediate latching onto ishmael, i think this is something gregor himself is at least partially aware of too.

so, that begs the question, who was gregor compared to in canto VII that makes me think it's one of the most critical pieces in understanding his character?

really, i'd like to avoid getting too lost in the analysis of this canto specifically, since i'd like to do a proper post about this later, but i figure i can bury the lede a little before doing it properly.

c7 features several characters being made to perform in sansón's play, acting out the relevant backstory for this segment of the plot. a lot of these characters have rather direct, degrading reasons for playing the roles they do.

outis, a character with an inflated ego who wants her journey to have a purpose, is made to play an aimlessly wandering villager with a single line.

hong lu and ryoushuu, two characters for whom families and the expectations placed upon them are likely going to play a major role, are made to play bloodfiends.

rodya, a character who resents her lot in life and is constantly shown to be eager to leave her destitution behind her and become someone special, is made to play a helpless villager that's too poor to even offer any money to the hero that saves her.

heathcliff, a character that has spent most of his life getting dehumanized by comparing him to beastly animals, is made to play a literal bear whose sole purpose in the plot is to get beat up and then quickly left by the wayside.

sinclair, a character that has two opposed parties essentially treating him as a macguffin to procure for their side, is made to play the character who was arguably the catalyst for this entire canto, not to mention playing a decently major role in ruina.

our star don quixote is made to play her father, the first kindred, but there's someone by their side the entire time, isn't there? don quixote's dear, steadfastly loyal companion. a character which don quixote has tasked themself with getting to come out of their shell?

hello again, pushpin 2.

gregor has been made to play our unreachable star, sancho. someone had to, of course. you can't really tell a story without it's main character, now can you?

now, i should once again give a disclaimer. i am not trying to say that i think adapting what happens to donqui/sancho in c7 to gregor is the road pm is going to take here, not only would that toe a bit past the line of foreshadowing, but it'd also just amount to rehashing that plotline again, which i don't think would make for a particularly exciting story.

what i DO think is that we can take a lot of the things that are said to either directly be the case for sancho and use them to inform how we see gregor.

and god, does playing sancho have some fucking implications for our favorite ossan archetype.

starting off, the earliest moment we get to see of sancho is quite literally her just waiting for death to take her in a pile of ashes.

which, i should remind everyone, is actually pretty damn close to what happens to gregor's literary counterpart at the end of the metamorphosis. gregor samsa experiences one final breaking point that pushes him over the edge and makes him decide to just wait for starvation to take him.

gregor and sancho both consider themselves to no longer be human, something which sancho goes out of her way to highlight repeatedly throughout the canto and gregor is quick to get defensive on her behalf for when outis starts really tearing into her

sancho spends quite a lot of this story denying herself the joys of community and friendship, despite knowing that, even with the rest of the sinners frequently making jokes at her expense and outright insulting her, they were things that she desperately craved.

and, while this is getting into my "outis is a red herring meant to distract us from gregor's eventual betrayal" theorizing, i also think it's worth noting for this discussion that sancho's fellow kindreds, her family, all seem to be under the impression that she dislikes them and ultimately her departure was an act of betrayal

and that, despite gregor being one of LCB's resident mood makers and attempted conflict de-escalators, one of the sinners that's most prone to making appeals to the bonds they've all forged together, only him and faust remained silent during everyone's speech

so yeah, i think there's quite a lot of little details and hints building up to the reveal that gregor's not quite as fond of everyone as he presents himself to be. i do think a lot of this ultimately comes down to gregor getting in the way of his own happiness, similarly to donqui, particularly because he's been frequently portrayed as something of a self fulfilling prophecy, especially by giving him as many christ allegories as they have by way of priest and garden of thorns. gregor is convinced that the rest of the sinners don't like him because he's not convinced anyone could like him, so he convinces himself that he hates them because why should he care if someone that he hates hates him too?

a lot of this ultimately ties back to my personal interpretation of what happens in the metamorphosis as well as my own theories regarding all the times gregor has made weird callbacks and references to lobcorp and ruina, but yeah. i think about this guy and his deeper characterization a fairly normal amount, i think.

to end this off i'll highlight one of my favorite little "gregor is fucking seething and trying so hard to keep it cool" moments, in the credits CG for c7 we see rodya teasing him by drawing a little horse on his window and actively pointing and laughing at it, which gregor really doesn't seem all too pleased about.

i personally think this ties into the other cruel part of sansón forcing gregor to play rocinante, which is the more literal "he's actually just straight up playing rocinante" side of things. gregor was quite literally made to play something less than human, less than even animal really, as he was reduced to nothing more than the shoes don quixote wore as she got to play the leading role. sansón directly makes jokes about gregor being nothing more than shoes in the play twice, which adds to this reading, i think.

this, imo, really plays into the adaptation of the metamorphosis! i've seen a lot of readings for the book that posit that, despite being the protagonist, gregor samsa can't really be considered the main character due to nearly everything he experiences in it being used to further his family's character development at his expense, which i think fits nicely with limbus gregor seemingly having the most said about him through indirect means by holding him up to other characters. also it's rodya carelessly making fun of His Big Major Insecurities™ again like she did in c1 which i always find fun. rodya i love you but god you're the worst.

[lonelytuatara]

i may have misunderstood how this round of the yuri olympics was supposed to work BUT at least it got me to draw a bunch of webcomic fanart

flower language info and comic links below the cut:

comics/ships/flower language info in order of appearance: Tess and Alinua from Aurora/@comicaurora - larkspur (levity) and helichrysum (healing) Marina and Arianna from Castoff/@castoff-comic - tansy (courage/hostility) and white mulberry (kindness/strength) Olivine and Goma from Fairmeadow - sloe (austerity/challenges/strife) and stellaria (welcome to a stranger) Tempest and Callisto from Heart of the Storm - tamarisk (crime) and celandine (escape) Undine and Kokoro from Sleepless Domain - forget me not (remembrance) and thyme (courage) Luck and Ludo from Tiger Tiger - woods rose (…luck) and elderberry (creativity/zeal)

[ganondoodle]

(totk rewritten)

finally, all the arm and spirit abilities- for the first half of the game (rauru) and for the second half with the shiekah arm replacing links arms instead and the spirit abilities gained through ganondorf

(please excuse my handwriting and sometimes repeated info on the first two, i lost motivation/patience at the end and couldnt get myself to basically redo it all from scratch just to make it a bit more cleaner)

note, the camera rune is unconnected to the arm, its the shiekah stone copy link has (zelda carries the one from botw, a copy was attempted to be made for link but it lacks all runes except the camera, the map and its teleportation, and journal/archive)

note for the heal effects of some spirit abilities- im also reworking the healing system, making it more like the older games, so healing isnt as easy and much more restricted, thus making those effects of spirit abilities more valuable ( lil potion icon on the d pad will act a little bit like in skyward sword, opens your limited selection of healing items and if chosen link switches to holding it and letting you consume it with -a- while walking around in real time- to avoid more pausing and mass healing on regular items while in menu)

additional note, the automatic recharging of the magic meter depending on the environment gives you a reliable but less abusable way of using abilities and allows for even more creative dungeon/challenge design by using it effectively- it works by absorbing magic from its surroundings, so if its an area with little magic it recharges slower, if its a very spiritual or healthy place it will recharge faster, it can be used to make things more challenging and also as subtle storytelling (example, theres a graveyard with the magic energy around being off the charts, even if there are no spirits to see, it could hint at the people buried not having died peacefully, no matter what their gravestone says...)

the usage of magic and how much the different abilities cost also allows for a much more dynamic fighting style for players to choose and try out, balancing them all out with their cost instead of a fixed timer, and the recharging beign affected by the environment perhaps forcing players that favor high cost magic abilities to use the lower cost ones for example, or not being able to charge one up bc the enemy is too fast and doesnt give you enough time to charge it

about half of the small overworld dungeons (not shrines) are also locked/inaccessible for the first half and new quests appear as the second half commences- together with the additional changes raurus return brings with it (sonau buildings, enemies being mostly cosntructs that he summoned etc) and whole set of new abilities giving you a fresh new way to play while (hopefully) not making you feel too restricted for the first half

... making these detailed concepts took me longer than id like to admit q-q

[asfodeltide]

[screebyy]

A little crowlyon dawning comic wheee i finished it please clap

Next

I have lots more written on this but idk if i will do another comic or write part of it as a fic or some mix of both. im just very normal about them right now 🙂

ID/transcript below cut

Panel 1: Crow is walking down a path outside of the dreaming city with a brown cross-body messenger bag slung over his shoulder. Crow is holding the strap of the messenger bag and looking up in exasperation as he talks to Glint, who is floating beside him and speaking emphatically. Crow: “There's still time to turn back…” Glint: “Don't!” Crow: “But -” Glint: “You said you wanted to go through with this!” Crow: “I know but -” Panel 2: Close up of Crow’s eyes as he spots something off-screen. He looks startled. Crow: “!-”

Panel 3: Jolyon is standing next to a natural stone wall, looking away from the viewer. He is resting one hand on the wall and staring out at the Dreaming City watchtower and buildings in the distance, which are overtaken with taken corruption and several taken orbs hang in the air around the city. Crow is standing in the foreground, looking at Jolyon with one hand resting on his messenger bag. Crow: “Jolyon.”

Panel 4: Close shot of Jolyon turning towards the viewer, he is only visible from his shoulder to his nose so his expression is neutral and unreadable.

Panel 5: Camera is looking over Jolyon’s shoulder as he looks at crow. Crow looks at Jolyon with determination. He is holding the strap of his bag with one hand where it falls across his chest. Glint is transmatting away with an enthusiastic expression. Jolyon’s face is not visible.  Crow: “Thanks for meeting me” Glint: “ok good luck bye”

Panel 6: Close shot of Crow’s face. He is looking down and to his left, blushing lightly. He looks uncertain and slightly embarrassed. Crow: “I’m sorry if you… didn’t want to hear from me.” Jolyon (offscreen): “It’s fine.”

Panel 7: Close shot of Jolyon’s face. He is staring down at Crow with a distant, slightly pained expression.  Jolyon: “What do you want?”

Panel 8: Close shot of Crow’s hands gripping the strap of the messenger bag. He is twisting it with both hands, clearly fidgeting due to nervousness. Crow: “I’m…”

Panel 9: Side shot of Crow and Jolyon looking at each other. Crow is leaning slightly forward, while Jolyon looks entirely neutral. Crow: “I’m trying to make amends.” Jolyon: “Amends. For what?”

Panel 10: Close shot of Crow’s face. He looks confused but determined, and is looking up at Jolyon with a furrowed brow.  Crow: “For-... For Uldren, for everything-”

Panel 11: Extreme closeup of Jolyon’s eyes. He looks angry and his eyes are suddenly glowing with intensity as he glares down at Crow. Jolyon: “No. What specifically?”

Panel 12: Low angle looking up at Jolyon, who is glaring down at Crow with an intense, angry expression, bordering on hatred. Jolyon: “Tell me. What exactly do you remember?”

Panel 13: Extreme closeup of Jolyon’s mouth as he sneers, speaking through gritted teeth. Jolyon: “Crow.”

Panel 14: Shot of Crow’s face, he looks startled and distraught as he stares at Jolyon. Crow: “...”

Panel 15: Crow looks away to his right, looking ashamed. Crow: “I remember enough. I remember when things were good between us. And when they were… less good.”

Panel 16: Extreme close up of Jolyon’s left eye, he is looking down at Crow and looks alarmed. Crow: “I remember the garden.”

Panel 17: Wide shot from behind Crow. Crow is looking up at Jolyon. Jolyon is flinching and looking swiftly away from Crow to his left. Crow: “After that… things start to get confused. Honestly, I don’t understand everything that happened between us at the end… But I know it wasn’t what he wanted.”

Panel 18: Shot of Jolyon looking away, looking extremely upset as Crow talks. Crow: “So… I’m sorry. For all of it.”

Panel 19: Extreme close up of Jolyon’s eyes, he is squeezing his eyes shut and still looks emotional. Crow: “And so is he.”

Jolyon: “...”

Panel 20: Wide shot from behind Jolyon. Jolyon turns back to look down at crow, his face is not visible. Crow is still looking up at him. Jolyon: “Okay. Is that all?”

Panel 21: Shot of Crow’s face, turning down to look at the messenger bag at his hip. Crow looks nervous and is blushing with embarrassment. Crow: “Um…”

Panel 22: Close shot of Crow’s hand as he opens the messenger bag and reaches inside. A purple box is visible inside the bag. Crow: “No.”

Panel 23: Wide shot of Crow. He has pulled the purple box out of the bag, and is looking down at it, blushing slightly. In an inset panel, Jolyon is looking at him suspiciously. Crow: “Do you know about the dawning?” Jolyon: “Yes… The Awoken don’t celebrate it.” Crow: “I know.”

Panel 24: Close shot of Crow’s face as he looks down at the box. He is smiling wistfully, and blushing. Crow: “But… in the city, we give each other sweets, to say thanks. And… I don’t know. Now, it always reminds me of this time…”

The background shifts to a black backdrop, with white snowflakes falling quickly.

Panel 25: Extreme close up of Uldren Sov’s face in a flashback. It is dark, and snowing. Uldren is wearing a hood and is hunched over while looking straight ahead at the viewer. His hair is obscuring his right eye, and he looks serious and intense. Crow: “It was centuries ago. Back when the last city was just a tiny settlement.”

Panel 26: Close up of Uldren holding a pair of dark gray-purple binoculars, with glowing magenta lenses. He is resting his hand with the binoculars on one knee in the air. Uldren is wearing a dark blue shirt and black gloves with burnt orange detailing, and a long black cloak. Crow: “I… He was doing surveillance on earth. Keeping tabs on the people trying to build a sanctuary beneath the traveler.”

Panel 27: A wide shot from behind Uldren, who is sitting on top of a dilapidated building on earth. He is looking down on a festive nighttime scene. There are several buildings that have been partially destroyed and reclaimed by time, but dark silhouettes of people have made a home in them. The windows are all glowing with firelight, and the buildings have been decorated with glowing garlands and colorful flags. Between the buildings, many people are visible, holding hands, hugging, and waving at each other. It is snowing very hard, and snow is piled up around Uldren and the village. Four inset panels show closer views of people within the village.  The first shows a woman hugging a man from behind. The man is holding a steaming hot cake inside a baking tray, and is wearing baking gloves. The woman is pressing her face against his neck, and the man is turning towards her and laughing. The second panel shows a human man throwing his arm over the shoulder of a blue exo. The Exo is waving at somebody to the left, and the man is looking the other direction and lifting a tankard of beer in cheers. The third panel shows an Awoken person and a human woman sitting at a table. The Awoken is holding a warm mug of tea, and is smiling lightly at the human woman. The human woman is turned towards the Awoken and is leaning close to them. She has placed one hand on their arm tenderly. The fourth panel shows a closeup of two people, one with dark hair and one with light hair. The light haired person is cupping the dark haired person with one hand, and is leaning in to kiss their other cheek. The dark haired person is blushign and laughing with their eyes closed. Crow: “They had almost nothing. But they were celebrating. Sharing, and laughing.”

Panel 28: Another closeup of Uldren’s eye as he watches the scenes below him, he now looks sad and distant. Crow: “It was snowing, nonstop. It was so cold. And he was so lonely…”

Panel 29: Uldren is walking away from the viewer, through a dark pine forest covered in snow. His cloak is blowing in the wind.

Panel 30: Uldren’s ship is flying towards the Dreaming city in the distance, weaving between two cliffs in the reef. Snow is blowing in the ships glowing purple trail.

Panel 31: Wide, side view of Uldren as he walks through the snow-covered dreaming city. In the background, ornate arches and pillars can be seen, along with an awoken statue. Snow is falling hard, and it looks windy.

Panel 32: Shot over Uldren’s shoulder as he bangs loudly on a wooden door. His hood is up and his face is not visible.

Panel 33: Waist-high shot of Jolyon opening the door. Jolyon is wearing a green sweater with the sleeves rolled up, and gray sweatpants. Jolyon: “Hello?”

Panel 34: Side shot of Uldren rushing inside, tackling Jolyon with a hug. Jolyon looks startled, and is stumbling back inside the doorway as the snow blows inside. Jolyon: “Wha-”

Panel 35: Side shot of Jolyon and Uldren embracing. Uldren has buried his face in Jolyon’s shoulder, and Jolyon is cupping the back of his head tenderly with one hand while his other arm drapes around Uldren’s shoulder. Uldren is clutching Jolyon’s sweater with one hand. Jolyon: “Aren’t you supposed to be on earth? Why are you back so soon?” Uldren: “Why do you think? I was freezing my ass off.”

Panel 36: Close shot of Uldren’s face pressed into Jolyon’s sweater, he is smiling wide and blushing slightly. His hair is falling over his face and his eyes are not visible. Uldren: “Listen- this is kind of stupid, but… Do you want to bake something with me? Something sweet?”

Panel 37: Shot of Jolyon’s hands in present day, holding the purple box that Crow has given him. The lid has been removed, revealing that it is full of cookies. They look like italian almond cookes, covered in powdered sugar and slivered almonds. Jolyon: “Hah… you remember that?”

Panel 38: Crow glances away, smiling nostalgically and blushing lightly. Crow: “Yeah. We made… well, I guess they were kind of like almond cookes? There were almonds in them, at least…”

Flashback Panel 1: In the background, a memory from the flashback is visible. It shows Uldren and Jolyon standing in a kitchen. Jolyon is standing behind Uldren and holding his waist affectionately. Uldren is holding a mixing bowl on the kitchen counter with one hand, and is pouring something into the bowl with his other hand. Several ingredients are visible strewn all over the counter, along with piles of spilled dough. Jolyon: “Haha, what are you doing? You’ve got to measure.” Uldren: “Following my royal intuition.” Jolyon: “Your intuition kind of looks like cat puke.”

Flashback Panel 2: View of Jolyon and Uldren from the front. Uldren is mixing the dough with a wooden spoon, and looking down at the bowl with a soft smile. Jolyon is behind him, with one arm wrapped around his waist. His other hand is holding Uldren’s arm tenderly. Jolyon is leaning down to kiss Uldren’s cheek. Jolyon: “You’re making a mess of my kitchen, Sov.” Uldren: “I’ll clean it up.” Jolyon: “Will you?” Uldren: “For you? Probably.”

Panel 39: In present day, Jolyon is staring down at the tin of cookies, smiling faintly. Crow (offscreen): “We didn’t really have much of a plan…” Jolyon: “Uldren wasn’t big on plans. Or recipes.”

Panel 40: Jolyon says from offscreen, above the rest of the panel: “Whatever they were, they didn’t turn out very good.” In the panel, Crow is blushing furiously, looking nervously at a thought bubble to his left with a shaky smile. Within his thought bubble another memory is visible, of Jolyon and Uldren kissing passionately on a couch. In the background of the memory, several “BEEP” sound effects are visible. Jolyon is on top of Uldren, holding Uldren’s head in one hand while kissing his neck. Uldren is smirking, while pulling Jolyon’s shirt off with both hands. Jolyon (flashback): “Oven’s going off. We should probably get that.” Uldren (flashback): “I don’t give a shit.” Crow (present day): “Um. Yeah. They were kind of… burnt…”

Panel 41: In present day, Jolyon is smiling faintly, looking at one of the cookies as he holds it up in front of his face. Crow (offscreen): “These are better, I hope.” Jolyon: “Seems like it.”

Panel 42: Close up of Jolyon taking a bite of the cookie.

Panel 43: Crow is smiling enthusiastically up at Jolyon. Jolyon (offscreen): “They’re good.” Crow: “Good!”

Panel 44: Close up of Jolyon. His smile is falling, he looks seems distant and emotional as he looks down at Crow. His eyes are glistening with the first signs of tears. Jolyon: “I uh…”

Panel 45: Jolyon turning to his right, digging the heel of his hand into his right eye as his tears start to fall. He looks distraught, squeezing his eyes shut. Jolyon: “I should go.”

Panel 46: Shot over Crow’s shoulder, Jolyon is walking swiftly away, holding one hand over his face. Crow is looking after him, with one hand reaching awkwardly towards Jolyon. Crow: “Wait…” Jolyon: “Thank you.”

Panel 47: Shot of Crow’s face as he watches Jolyon leave. He looks startled and upset. Crow: “...”

Panel 48: Crow facepalms, looking frustrated and embarrassed. Crow: AUGH.

Panel 49: Crow is sitting on a rock on the cliffside, he is hunched over and propping up his face on one hand. He looks defeated and is sighing. Glint has re-appeared next to him, and looks enthusiastic. Glint: “That could have gone worse! He said they were good! How do you feel?” Crow. “Fantastic. Why did I let you talk me into this?”