#so I wrote them down

[alyszaen]

I would miss that warmth when you find a spot with sun after a while. I would miss the purring if cats and the clicking of hooves and the little barks of a dog I'll never see again. I would miss my friends building me into their fics. I would miss someone talking about something they love, going into a full rant, and me realizing how much they mean to me. I would miss doing makeup. I would miss writing. I would miss being genuinely appreciated at work. I would miss the smile on a guests face after an event I am to thank for went well. I would miss the feeling of invincibility after leaving a concert. I would miss power of a good movie. I would miss getting pulled into a fictional world. I would miss the first snow. I would miss the new seasonal energy drink flavour. I would miss waking up from a nap. I would miss the warmth of my bed in the morning. I would miss blasting Charmer during a shower. I would miss all the possible places I still haven't seen. I would miss the euphoria of wearing a new outfit. I would miss out on all the silly little fights that make me understand someone. I would miss helping out a stranger. I would miss my rings. I would miss the feeling of freshly shaven legs under a fuzzy blanket. I would miss the honesty of a child. I would miss my brother sending me tiktoks. I would miss playfighting with my friends. I would miss saying offensive. Iwould miss I would miss the taste of a donut. I would miss my moms food. I would miss the smell of my dads perfume. I would miss hugs.

I would miss love.

I would miss so much.

I would miss everything.

I would miss out on everything that is to come.

[lazylittledragon]

ok someone please correct me if i'm wrong but am i weird for thinking those 'audiobooks don't count as reading' posts are ableist as fuck????

[introspectivememories]

was it casual when i sat in your lap in public? was it casual when i said "recently my heart is crying because you're leaving"? was it casual when we decided how your last name would fit with mine? ("yuki tsunoda-gasly" / "no tsunoda, only gasly" / "yuki gasly?") was it casual when we sang adele's "someone like you" together at your going away party? was it casual when i knew it was you just by touching your ass? was it casual when i knew it was you by smell alone? was it casual when "will you miss me?" / "for 2-3 minutes maybe" / "i'll take that. even if it's just 2-3 minutes, i'll take that"? was it casual when that bus was completely empty and we still sat right next to each other, all the way in the back? was it casual when i picked you up multiple times so you could dunk a basketball? was it casual when i begged to come over to your house multiple time and then you finally let me and we cooked fried rice together? was it casual when we played christmas twister together and i said "your big eggplant is touching my ass"? was it casual when we were pressed up against each other on a scooter going two miles per hour? was it casual when-

[writingsbychlo]

the slytherin boys + barbie

draco: pouts when you say you’ll go with pansy but also refuses to dress up as ken, or dress up in the slightest. would take you both to watch it and surprises you last minute on the day by wearing a pink t-shirt he borrowed from enzo. rolls his eyes when you get excited but is actually very happy with himself for it.

mattheo: would want to do a double feature with oppenheimer too. makes it a whole date scenario. buys all the snacks but makes you carry them in your purse. wants to dress up for oppenheimer (???) so he wears a suit and a fedora and tells you to wear a pink minidress for barbie. highkey the best dressed couple to go see the double feature, everyone comments on it and he never lets it go. (“see!! I told you it would be cool to dress up for both.”)

theo: would say he’s only dressing up if he can wear the shirtless ken in the fur coat outfit. buys the tickets and the snacks and helps you pick your outfit even if he’s still pouting because you won’t let him wear the mink coat. has the “I’m just Ken” song stuck in his head for a week after and sings it non-stop, drives everyone insane. talks in your ear all the way through but in a funny/cute way, with jokes. (I firmly believe he would do this with every movie though). orders a “I am Kenough” replica hoodie and wears it to smoke in the astronomy tower.

enzo: had a google alert set for ticket release day bought them with the intensity one would buy taylor swift concert tickets. does not care in the slightest for oppenheimer. would wear a full pink outfit with you and possibly even let you bleach his hair to be ken as long as you promised to dye it back after. (“look, cousin, now we match!”, draco refuses to speak to him for a whole week.)

tom: agrees to go and will wear one of your pink scrunchies on his wrist as a gesture of love, and it works. does, however, love your barbie outfit and makes sure to whisper some very dirty things to be sure you know. is stoically thrilled when you surprise him with oppenheimer tickets for the same day. holds your hand through barbie and kisses your knuckles occasionally. scoffs when you laugh at all the ‘typical men’ scenes (Zack Snyder cut of Justice League 💀). is deeply concerned when you play “What Was I Made For” on the way home after and immediately switches it to the “Barbie World” credit song

[poorly-drawn-mdzs]

Gaslight, Gatekeep, Girl found dead in a hidden room.

[First] Prev <–-> Next

[wannabemasterofwindintraining]

Idk what to caption this uhh ninja go brrrrr

[tunastime]

do androids dream of electric sheep?

I am nothing if not a vessel for self-indulgent docsuma, especially @shepscapades's dbhc self-indulgent docsuma. sometimes you fall asleep in the lab, and sometimes your friend feels compelled to make sure you're okay <3

(3964 words)

Doc sometimes slips into daydream.

It’s not unlike him. He’d been doing it for some time now, some fix halfway between awake and Sleep Mode. Not quite his mind palace, but still wedged into predictive processes, still trying to work to replay memories. In quiet moments, more often than not, he finds that it’s easier to slip away, to tuck himself into his work, drafting, or building, or walking thoughtful circles and let the mechanical parts of his mind slip away into calculation.

In those same dreams, he tries to calculate the probability of events with what he has, blocking out the movements of who he knows best, who he may be able to pinpoint. He works in quiet as his mind runs in the background, wondering how conversations may go, how actions could be perceived. He maps what might happen if someone got hurt, or if someone needed help, or if someone fell asleep in the lab. Someone. Just anyone. He tells himself it could be anyone, but he would be lying if he didn’t know who.

It was hard, right—it felt wrong if he didn’t. Something he was designed to do, put to waste because it felt silly to imagine waking his lab partner, his friend, making sure he was alright, helping him. Was it wrong to want to be helpful? Was it wrong to want anything? It feels—it’s silly. Want was such a human word. He’s not sure he can really want at all. The paper in front of him is getting fuzzy around the edges, though, as he forces himself back into his true waking mode, and focuses on the task in front of him, now a line of text in his eyesight.

Doc leans hard on his hand, cupped around the side of his jaw as he studies the plans in front of him. He’s long since set them to memory, easily recalled with the summon of command, but he works out the fine details of the draft in front of him, still unsatisfied with his new creation. He works quietly, mentally mapping the lists of supplies he might need, the time it may take. If he were to concentrate the slightest bit more on the display in the corner of his vision, he might note how late it had gotten. Without any windows down here, the night sky can’t leak in, which means Doc doesn’t know it’s gotten dark until Xisuma starts to yawn or he manages to peek outside. 

He sets his pad down, eyes skimming the surface. Right, and where was X, anyway? The space, ever growing, up, down, sideways, that he used as his lab had gone still and quiet some time ago. Enough for Doc to take note of. Enough to be a little odd, he would assume, even for him, and the behaviors he knows well from Xisuma. Xisuma didn’t just wander off without a word—he was much too narrative for that. Doc sits up, hand falling to the table. 

“X?” he asks, furrowing his eyebrows. The room stays quiet, aside from the hum of recirculating air and electronics. Doc taps his hand against the table—it was some sort of tic he’d picked up from Ren, a sign of his impatience. He couldn’t shake the habit of mimicking it while he was thinking.

Okay, right. Last time he saw X. He gathers up the recall of the path Xisuma would’ve taken from his side, checking over his work at Doc’s request, and around the lab itself, looping back to a series of benches to work on. Leaning from his spot, he tries to pinpoint the peek of green helmet or shoulder piece. He finds neither in the direct line of sight, though, and slowly, bracing his prosthetic arm on the table, Doc stands. 

It’s a gentle quiet that fills the room, nice and easy and soft to step through as Doc makes his way around the space. Despite having another work bench quite close, Xisuma had a habit of leaving his stuff about, flitting between projects as he saw fit. It was interesting, sometimes, to watch him move around the room—not that Doc had done any of that. He seemed to bounce from point to point, sometimes staying still for hours, unmoving, lost in work. It was in those hours that Doc found himself watching, just for a moment, studying the shallow curve of his nose and the way his hair fell into his face from behind his helmet. 

His office is here, too. Though it’s no different than any other working space in terms of equipment, the space itself is fully outfitted, lined with tools and a large work table, his computer, a desk with a chair. Through the glass, he can see the shape of Xisuma at his desk, likely too caught up in whatever he had been working on to notice Doc’s concern. Doc pauses as he slides open the door, standing in the doorway, announcing himself to the cluttered room.

“Xisuma,” Doc starts. “I know it’s late, if you want to head home, I’m sure I can finish…”

Xisuma is slumped over on  his desk as Doc enters. There’s a brief moment, no more than a second, where Doc’s mind spins a scenario hard and fast, the crumpled shape of Xisuma over his desk. But he can see the slow rise and fall of his shoulders. He registers the slow, steady heartbeat in Xisuma’s chest, and his shoulders sag with relief. He stands in the doorway for a moment. Xisuma looks small, head pillowed on his arms. He’s still running a series of code on the console next to him, which illuminates the back of his head in pale lines of data. His hair falls half loose across his shoulder, like he’d forgotten to finish tying it away from his face, and the slow, deep breaths make it seem like he’d been sleeping here a lot longer than Doc realized. He’s without his helmet, too, which sits beside him on the desk, discarded.

Long enough to get a sore neck and complain about his upper back hurting. Long enough to worry that he might not be getting enough oxygen. Doc sets his shoulders. There’s something in his chest that feels like it skips—regulator, pump, or otherwise. They work in tandem to produce whatever fluttery feeling invades the space where his ribs should be. He presses the heel of his synthetic hand against the depression of his chest, rolling his wrist. The feeling fades for a moment, shuddering through his wrists like it might rest there. He was never going to get used to it, was he?

He steps into the lab proper, sticking his hands into his pockets. He picks his way around the room, trying to walk quietly around it. Xisuma stays asleep, shoulders rising and falling in that even tempo. Doc crouches beside him—Xisuma is properly slumped, back curved forward as he rests. What little Doc can see of his face is soft with sleep, eyelids fluttering just so. When X doesn’t move, he rests his palm over the curve of his shoulder, gentle and slow. He tries not to focus on the fact that so much of his face is exposed to him, aside from just his eyes and the bridge of his nose. He’s seen him before, briefly, every so often, but it was so different watching him now, calm and comfortable. Doc forces himself to focus.

“Xisuma,” he says, voice dipping low and quiet. He runs his hand over the part of his shoulderblade he can reach. He pats the high of his back. “Xisuma, hey…”

X takes a long breath in, making a squeaky sort of sound high in his chest. Doc feels him hum out from under his hand.

“Doc,” he says, voice rumbling in his chest. It was a tired sort of rumble, just on the edge of being rough with sleep, just enough to bring that feeling back to Doc’s internal components, like thirium was sludging too quick too warm through him. He huffs a little breath, a sound caught in his throat.

“You fell asleep at your desk, X,” Doc says, not able to weasel the amusement out of his voice. He runs his hand over his back again, just to see Xisuma’s eyes open tiredly, and shut again. It was so unlike the version of him that he knew in his mind, seeing him savor the brief contact, even from Doc. Especially from Doc. Xisuma was always the one reaching out for him, repairing or correcting or studying. All with purpose. There was no lingering touch between them. And though this had its purpose too, Doc lingered, feeling Xisuma breathe under his hand. 

“Sorry,” X mumbles, finally moving to lift his head, to open his eyes. Doc’s hand slides away as X sits up, over his back and back to Doc’s side. Xisuma blinks, rubbing the sleep from his eyes with the heel of his hands. A frown comes between his eyes as he tries to focus the world around him a little clearer. Like it were mimicking the score across his cheek and nose, there’s a fine indent pressed into his cheek. Doc smiles at him, scrunching his nose in a way he’s seen X do a hundred times. 

Xisuma jolts, half reaching for the helmet beside him. If Doc were to really look, he might see the pink-red flush over his cheeks and ears.

“Sorry—I didn’t…”

There he lingers, halfway to reaching. Doc looks away from him, purposefully averting his eyes.

“I don’t mind,” he says. “You have to be comfortable too.”

Xisuma hums, smiling a little, hanging his head as he leaves his hand on the table.

“Hah,” he says, ears still pink. “Right. Sorry, sorry, Doc. Didn’t mean to worry you.”

“It’s okay,” he says. “I didn’t know where you had gone off to, so I figured I would come make sure you were okay.”

X nods. Doc watches him twist around, hearing the faint give and pop as his spine adjusts to sitting upright. 

“‘M alright,” he says. Then he laughs a bit—the sound is airy and half in his chest, enough to shake his shoulders but more of a wheeze than anything else. Everything fit so well to the timbre of Xisuma’s voice, it seemed, be it the way he moved about, or the way he laughed, or the way his shoulder sloped or face was shaped. Not that Doc had been looking. Regardless, Xisuma sighs, and smiles back at him.

“Just embarrassed is all,” he manages. “Thanks, Doc. I appreciate you.”

X leans back in his chair. Doc watches him resettle and hum to himself as he gets comfortable against the plush backing. Doc makes a clipped sound, reaches out and moves away again, halfway between shaking him awake and letting him sleep.

“X,” he says. “Would it not be more comfortable if you were sleeping in your spare room?”

Xisuma frowns. 

“Would be,” he says, eyes still closed, mumbling. “It just gets awfully cold in there. ‘N if I’m perfectly comfortable in here, why not stay tha’way?”

It’s almost amusing, the trickle of stubbornness that leaks into the tired slur of Xisuma’s voice. It’s almost endearing. He watches X fold his arms over his chest, armor only partly discarded, watches his face wrinkle as he notices and tries to rearrange himself. Doc smiles, something that he simply can’t help—it feels so right, considering how ridiculous this is. He considers his options and weighs the success rates, the action taking a fraction of a second in time, though the scene plays out in his head in full.

“Because you’ll hurt your back,” Doc says plainly. X frowns, clearly mulling it over. There—that’s one that Doc knows, that face, where X slips into thought and worries the inside of his cheek and works his jaw. Doc raises his eyebrows, as if to question him without saying anything, without Xisuma even looking at him.

“Mhh,” Xisuma huffs. He pulls his knees up. Somehow, he manages to fit himself into his desk chair, curling his tall body over his knees and leaning sideways into the back. Doc hums, makes the approximation of the sound he knows.

“Xisuma,” he says. “I’m not going to let you sleep in that chair, you know. You are being stubborn.”

“M‘kay, okay…” Xisuma wheezes, finally uncurling himself.

It takes him a second. Watching Xisuma stretch and blink awake is like watching him come to life. He stretches up and around, face pulling as he likely unsuccessfully shakes the tension from the line of his spine. As he twists, he freezes, face scrunching all at once as he winces, hand shooting up to cup his neck.

“Ow. Jeez.”

He can see it tight in his shoulders and neck, even as X deflates, looking up at him blearily, still slightly slumped in his chair. His eyes shut again. 

“Xisuma…” Doc says, mouth twisting.

X sighs.

“‘M fine, Doc,” he manages to murmur out. “Just’a sore neck. Mm’exhausted.”

“Sounds like you need a real bed, mm?” Doc replies, setting his hands on his hips. Xisuma peeks at him, one eye opening, and shutting again.

He sees the fraction of a smile lift the corners of X’s mouth.

“Sure, sure…”

Doc looks over Xisuma’s face. With his eyes shut, face softening, hair tumbling over one shoulder, he looks comfortable. It’s as if someone took a brush to his features and smoothed out any hard edge—either that, or the static has leaked back into Doc’s vision. He feels a chug in his chest and his joints as he locks up.

X hasn’t moved. Doc reaches out, tapping his knee. Xisuma huffs, clearly startled from the half-sleep he’d drifted back into.

“Too tired t’stand,” he manages. Doc makes a questioning noise.

“I think you can make it,”

There’s a beat of silence. Xisuma cracks an eye open again, shuts it, furrowing his eyebrows. Doc watches him curiously, mind running through the list of possible scenarios. He’s made it part way when Xisuma says:

“‘M using you t’stand, then.”

And he makes a little, amused heh, before he says:

“That’s fine.”

There’s something he means to say alongside that, but as soon as X’s very warm, very human hand makes contact with the fabric of his lab coat and the cool synthetic of his arm, he loses focus. He should be used to this—the amount of times X has performed his routine maintenance, sweeping his hands over the replaced shoulder joint to check for seams, or made sure the regulator functioned, or backed up personal data, fingers skimming the shallow port at the back of his neck. He should be, but that contact alone sends a prickling-warm jolt up his arm. It feels foreign to let the touch linger. But Xisuma lingers regardless, hand flat against the space where Doc’s left ribs should be. He’s gone from holding, to simply sitting there, arm bent at the elbow, held weakly up. 

“Mrghh…” he complains. Doc taps his elbow, trying to jolt him back awake.

“C’mon, X, you can get up.”

X shakes his head slowly, his hand finding the inner curve of his prosthetic arm, squeezing just once, like he’s remembering it’s there. Then, X leans into him, all at once, slumping into his chest. Doc lets out a wouf in surprise. He holds still, aside from the simulated breath in his chest. After a moment, Xisuma makes a small, tired sound, almost like a laugh.

“Houfh,” he mumbles. “I, mm, don’t…don’t think ‘m gonna make it, Doc.”

“Mhm…” Doc chides. 

Xisuma laughs again, lying still for a moment, voice still heavy with sleep. There’s a moment where he shifts, and there’s a small, painful noise that he makes.

“Ow, mrrgh—ow, okay—” he gripes. Doc’s synthetic hand finds the curve of his shoulder, patting gently.

“Oh, X—just…stay still, mhm?”

“Mm,” Xisuma says tiredly, “Alright.”

As much as he wants to move him, X is still wearing that damn armor.

Doc lets him lean into his chest as he tries to weasel off the bits of armor left over. It’s a struggle, keeping X comfortable and trying not to pull him around awkwardly, while trying to remove his chestplate with one hand. Once the armor pulls away, he resettles him, slowly scoops one hand under his legs. Something about this, about the way Xisuma leaned heavy into him, felt so painfully human he feels it curl up between the wires connecting his regulator to his side fans.

“Ready?” he says, mostly to the top of Xisuma’s head.

“Mmh…” X murmurs.

He hefts him into his arms, settling him against his chest. When Xisuma sighs, it’s profound and heavy and he tucks his face into Doc’s coat. Doc can feel the remnant of heartbeat from where his arm rests behind his back, thudding away behind his ribs. His breathing stays even, though shallow. One of Xisuma’s hands clasps over the back of his neck, keeping him still.

It’s a careful walk to Xisuma’s spare room. Doc is careful not to bump anything, measuring the subtle rise and fall of his chest as he walks. He drifts back to sleep, though, through the lab, through Doc shutting the lights off. He’ll have to come back through to power down their various computers, but for now, the dull white-blue glow illuminates the room. He carries him into the halls and through and to his room. It’s smaller than the room in his base by a sizable margin—just enough for the essentials. X stirs as Doc pauses to flip on the lamp, the light warm and yellow briefly illuminating the room. This can’t be a daydream, now, with the way X sighs and wriggles himself free as Doc pulls back the quilts and lets him down. He sits down with him, and the warm shape that Xisuma makes curls toward him, just a fraction, as he pulls the blankets over him. 

Part of Doc knows that Xisuma won’t remember him carrying him to bed, or making sure he was warm, or keeping the light on so he wasn’t disoriented when he woke. Xisuma sighs, sinking into the pillows, expression relaxed and content. Doc hums.

“That’s better, yeah?” Doc says. He reaches out, instinct, want, desire, something, hammering away in his chest, as he brushes hair from X’s face, tucking it behind his ear. He brushes through the hair close to the base of his neck, across his cheek with his synthetic thumb. His dark hair is fine and soft and it must be a daydream—or it isn’t and he was right, because there have been moments like this in his head. Wondering if Xisuma would let himself succumb to soft comforts. He’s spent his own share of time lying next to him, ignoring the way Xisuma curls up next to him, pretending he himself didn’t move closer when Xisuma lies still. It was this dance that Doc didn’t understand, that he wasn’t sure if he was overthinking. Or overstepping. But Xisuma shifts, pressing his cheek to Doc’s synthetic palm, and Doc suppresses a shudder. It sparks something that could’ve been painful right up his arm and through his chest, bright and warm and staticky. 

Doc hums, smiling to himself. Something like a dull thrum knocks in that space of his pump, pushing itself a little further, a little harder. It was sweet. X trusts him, not only to see him without his armor, but to help him to bed, to help him sleep. But Doc lifts his hand away, feeling that ache, the nervous shudder through his system.

X makes a sound, then, something small, eyes fluttering as Doc pulls away. Doc pauses.

“Mhh,” X manages. Doc swallows—he shouldn’t have to. That’s not something he should have to do, or be able to do, but the action just feels appropriate. It goes right along with sighing and laughing, and as he does it, Xisuma says:

“Thanks,” in a small, soft voice, and, muffled, and slightly slurred with sleep: “Didn’t have’ta stop.”

“You’re supposed to be sleeping, Xisuma,” Doc says. He can feel his temperature tick up several notches, no doubt a blue flush coming to the high of his cheeks, the bridge of his nose. He laughs, just a bit. “Did I wake you up?”

X sighs, stretching as he does.

“No,” he manages. “No, y’didn’t…”

“Oh,” Doc says. “Were you awake this whole time?”

Xisuma nods slowly. Ah. Ah. Doc dismisses a temperature notification.

“A little.”

“Mm,” Doc hums. “Silly Xisuma.”

Xisuma laughs. The sound is high and a little fuzzy and a bit caught in his throat. His bright eyes blink up at him and shut again as a smile settles on his face. 

“Doc?” he asks. 

“Mhm?”

Xisuma yawns, smothering it with the back of his hand, just barely. He tucks that hand close to his chest, curling up further still under his thick comforter. 

“Could you…could’you do tha’again? The…” Xisuma lifts his hand, miming a brushing motion as he does. Another temperature warning, higher than the last, blips into Doc’s field of vision. It’s immediately dismissed, but he pulls in a breath, quiet, trying to turn it into a soft laugh.

“I can do that,” Doc says gently. Gingerly, he brushes his fingers through X’s hair, sliding back against his head. He combs through, lifting his hand to go back to his forehead, back to cradle his skull. X’s eyes fall closed again.

Doc can tell the moment that Xisuma truly slips into sleep. He lingers in his space, tracing out the base of his skull with his thumb, taking in the sensation of warmth and contact and stimulation, fingers flickering white up to his wrist. He wishes biting down on his tongue would do anything. He wishes that the hollow of his chest didn’t hold a weight that no diagnostic could fix. He felt too awkward and stilted and not nearly gentle enough. But as Xisuma stays asleep, he draws his hand away. He mumbles his good nights as he stands slowly, shutting out the light and wandering from the room. 

He makes his way back into the lab. He replays the memory of Xisuma’s small smile, the fine line of his scar as he’d pressed his face into the pillow, the way he’d relaxed against Doc’s touch. He replays the memory, again, and again. It has to be a daydream. Has to be. There’s no other logical explanation to all of that.

Maybe that would explain the ache in his chest, far too human to be his own.

Doc goes back to work. He sits down at the lab table, spreading his arms as he braces against the white tabletop. He furrows his eyebrows. Something doesn’t feel right, too warm or out of place. He feels gross. Not gross bad, maybe, gross different? Broken? Not broken, maybe. Weird. Wrong. Out of place. It doesn’t make any sense. Or it has, and he’s refusing the obvious answer. Xisuma didn’t ask for any reason. Xisuma asked because he was tired, and tired people do silly things, and silly people are a handful, and Xisuma is a handful—a lovely one. Doc shuts his eyes. His chest hurts. It’s an awful hurt, actually, less painful than it is just weird. He thinks for a moment he might be better off if he left, maybe the weight of whatever lingered in his memory would be better off if he were to take a break from standing in the same spaces. 

He sends Xisuma a message. From his office, he hears his com ping.

Docm77 whispered to you… Xisuma I’m stepping out, sleep well :-)

[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.

[paranorahjones]

Love and Attraction in My Adventures with Superman

As someone who has never been particularly drawn by superhero media, I wasn't really sure what to expect when I first started watching My Adventures with Superman about a week ago. I had seen a few posts here on Tumblr that had piqued my interest, but all I really knew about it was that it was well-loved and had an art style that I knew I liked.

I absolutely did not expect to fall head over heels for the show entirely, or to be moved to tears multiple times by the wildly sweet, revolutionary relationship between this adaptation's Clark Kent and Lois Lane.

I say "revolutionary" because this romance touches on a lot of things that I feel are lacking in most modern portrayals of romance, and it handles them masterfully.

Most of what I reference/talk about in this post will focus on the first four episodes of season one (with a particular focus on the fourth episode, Let's Go to Ivo Tower, You Say) , because they are my favorite episodes and I think I can communicate what I want to by pulling mainly from those episodes. But I will be pulling bits and pieces from the whole series so consider yourself spoiler-warned.

The main point is this: I absolutely adore the way that physical attraction and emotional attraction are balanced between Clark and Lois.

The fact that this is possible comes from how well-crafted the dynamic is between the two of them; Lois' raw passion and energy inspires confidence and a mutual passion in Clark, and Clark's gentleness and kind heart inspire a tenderness in Lois that she was never given an outlet to show or receive. From this dynamic, a wealth of physical and emotional intimacy is naturally born. But never in the series do the two aspects of attraction feel out of balance; rather, they play off each other effortlessly. When one is brought into focus, the other quickly follows.

From the first episode and onward, it's obvious that Clark and Lois are awed by each other's physical appearance. Lois outright describes Clark as "beautiful" (which, if you saw one of my earlier posts from not too long ago, is something that makes me so incredibly happy to see in mainstream media).

To be fair, she doesn't say that to his face and says it in a moment of extreme frustration. But I still count it.

Anyways.

Upon seeing Lois for the first time, Clark is practically frozen in wonder for a good few seconds.

Lois, too, experiences this initial moment of attraction and almost immediately makes contact, with a playful punch to Clark's chest as he holds the door open for her.

This is a detail I really love, because first of all wow, I aspire to have her level of confidence. But also, it becomes clear early on in the series that Lois expresses herself very physically. She has no qualms regarding physical affection. Clark, on the other hand, is much more reserved and, at first, generally only initiates contact after an invitation from Lois, or after enough time has passed in their friendship for him to know that Lois is very physical and wouldn't have a problem with it.

There is also an immediate emphasis on Clark's concern for Lois' physical well-being. Take a sip of water every time Clark asks Lois if she's okay just in the first episode alone and you will be well hydrated.

Later on in this first episode, while trying to infiltrate a warehouse, Lois confidently asks Clark to boost her up to a window so she can get inside the building. Clark is immediately flustered, showing how much he feels out of his depth even with physical contact that, on the surface, would have no romantic connotations. (But to be fair, Lois is asking him to put his hands around her waist and lift her up when they literally just met like maybe six hours ago. I would be flustered too.)

And when Lois loses her balance and Clark effortlessly catches her, his first response (after blushing, of course) is to ask her:

Even in moments where the romantic tension is thick enough to cut with a knife and Clark clearly knows it, his first priority is to make sure she's okay.

And thus begins one of the strongest underlying themes throughout the whole building-up of their relationship, which is trust.

I'm gonna jump ahead now to the scene that inspired this whole post: the stairwell scene in episode four.

A basic rundown: Clark, Lois, and Jimmy are given an assignment to attend a tech unveiling for the city's top investors at Amazotech headquarters. Lois, naturally, ignores the parameters of the assignment and tries to use it as an opportunity to expose corruption in the city and get her stop-the-presses story. Clark very reluctantly follows her lead, believing that she will get herself into trouble . . . until Dr. Ivo, head of Amazotech, makes a few rude comments about Lois' appearance (Lois doesn't hear these, only Clark). This deeply irritates Clark and prompts him into revealing how much he knows about Dr. Ivo's corrupt business dealings, in an attempt to intimidate the truth out of Dr. Ivo, who responds by having Clark thrown out of the building and into a pile of garbage in an adjacent alleyway. Lois comes to find Clark (who is unhurt) and teases him about whether or not she should let him back in the building, since he didn't follow the assignment. Clark jokes that he doesn't even meet the dress code anymore, revealing that his suit jacket was torn as he was tossed out of the building.

Lois then reveals that she came prepared for this, and tells Clark to "take it off."

Clark immediately becomes flustered again and begins stammering as Lois pulls him back into the building by his jacket, continuing to tease him.

It's in these moments, as you can see, that the lighting of the scene changes. As soon as Lois says "take it off", everything is bathed in a rosy light. This happens frequently between these two; often, when we the audience are seeing one of these characters through the perspective of the other, the lighting takes on a very dreamy quality. This will come up again momentarily.

As Lois and Clark ascend the stairs, Lois removes her jacket and pulls a sewing kit from her pocket, admitting that she carries one on her because she herself has torn a lot of her clothing on her escapades.

The two then sit down on the stairs, and Clark removes his jacket. The lighting changes again, and we see Clark from Lois' eyes. It's clear by the dreamy lighting and the way that Lois blushes and involuntarily chokes out a "Wow . . ." that she is once again awed by him and deeply attracted to him on a physical level.

And this scene represents so much about their growing dynamic. It honestly has me floored.

But before I explain fully, I have to go on a tangent about my beloved Clark.

Throughout the beginning of the series, I believe Clark shows several signs that indicate that he is insecure about his physical appearance. Which you wouldn't expect, right? I mean, look at him. He's objectively a dreamboat. He was designed to be that way.

But at this stage of knowing so little about where he really came from or who he is, I think Clark struggles with not having a way to explain his physique. He admits that he wasn't an athlete in school; he was in the chess club. He doesn't work out as an adult. And yet he has the muscles of a bodybuilder. But, like so many other aspects of himself, he doesn't have a way to explain it. This causes a disconnect in how he sees himself physically; he likely feels as though he doesn't deserve his naturally impressive physique. And you could argue that he even does his best to hide it. As a civilian, he generally wears bulky, layered clothing like sweatshirts and sweaters. He slouches and carries himself in a very inward direction; his shoulders are often forward and his arms close to his sides, as if he is habitually attempting to make himself smaller.

This is one thing that brought me to tears when I saw it. The idea that a person can feel insecure about having physical attributes that would normally be seen as positive (and that they can't explain and/or feel that they don't deserve) is not very well-explored in media, but it is experienced by quite a few people, myself being one of them. But often in the real world when someone attempts to express this kind of insecurity, they are shut down and mocked and told to "be grateful" for what they have because others would envy them. Which I can say from personal experience is unbelievably damaging to a person's self image. So seeing this possibly be represented in Clark Kent himself was incredibly moving to me.

But back to the scene itself.

In the most recent gif above, this is the most vulnerable Lois has seen Clark thus far. What I think is so beautiful is the way that she invites him into this vulnerability by making herself vulnerable first.

Rewind a bit. Outside the building, Lois tells Clark to take his jacket off. Not a big deal, right? It's not like he's not wearing an undershirt. But Clark becomes flustered, not outright expressing that he's uncomfortable with this, but certainly indicating that he's not exactly at ease with it either.

Next we see them climbing up the stairs, and as they do so, Lois removes her own jacket and reveals her bare back to Clark in the process.

I believe this was incredibly intentional. This scene would have carried a very different tone if Lois' outfit was revealing in any other way. But the fact that her back is exposed symbolizes that she trusts him, in a physical and emotional sense. It's like when my cat Penny rolls on her back and exposes her fluffy tummy. Lois revealing this part of herself was her saying "I trust you, I feel safe with you, and I'll be vulnerable with you if you'll be vulnerable with me."

And only after that does Clark remove his jacket.

Because there is the factor of attraction at play, there is a lot of blushing and stammering going on in the beginning of this scene. These are two incredibly attractive people who are incredibly attracted to each other, after all. But immediately after the initial romantic tension, there is emotional vulnerability as well. Lois confides in Clark about her relationship with her dad, and the crippling self-doubt that she has kept very close to her chest. Clark jumps to reassure her in earnest, telling her that she has "changed his life for the better, in every possible way."

And that is what I meant at the beginning of the post when I mentioned balance.

Every moment of physical attraction in this series is followed by or harmonized with a moment of emotional vulnerability. Clark and Lois both invite each other deeper into each aspect of connection, and thus their relationship builds in an incredibly natural and beautiful way.

At this point, I think this post is about five miles long as the crow scrolls and I should probably stop now before all my thoughts run away with me. I could go on forever about the impact that this series and these characters have had on me, though. I will forever be grateful to the creators for giving us such an incredible series, and such a beautiful romance.

[feroluce]

I love the fact that the Silvermane Guards are essentially just a very devoted "We Love Gepard Landau" fanclub, and I desperately need for all of them to get into ship wars about it behind their Captain's back. The soldiers are all split into several factions:

Some of them ship him with Sampo 🛡💣 (enemies to lovers/hateship enjoyers; this does not necessarily mean they like Sampo- in fact it's more like most of them want to sic their Captain on him skzjsmdm)

Some of them ship him with Bronya 👑🛡 (knight and princess trope enjoyers and also a sorta-kinda "that is our mom and dad" type of deal; this faction gets riled up and ridiculously hypes Gepard up to Bronya every time she comes down to the frontlines mskdkxmd)

Some of them ship him with the trailblazer 🛡💫 (the smallest and newest faction, but steadily gaining!)

Some of them ship him with Pela ❄🛡 (workplace romance enjoyers; Gepard once charged out into the Fragmentum alone to save Pela from an expedition gone horribly wrong, and when this faction saw Gepard carrying Pela back princess style they threw a whole party)

Some of them ship him with Dunn 🛡🗡 (also workplace romance; Dunn is very flattered by this because yeah wrong Landau, but wow, the troops really think he's good enough to woo the Captain, what an honor)

And some of them ship themselves with the Captain 🛡❤ (yumejoshi enjoyers; this faction throws a massive group effort every Valentine's Day and are also all very supportive of each other)

The final faction is an odd one, because they're defined not by who they ship their beloved Captain Gepard with, but rather by who they don't ship him with. Their name is generally shortened to the A.B.S. Group- Anybody BUT Sampo 🚫💣 DKSZJJSMSOZ

[winters-rose-daughterofcain]

Let Penelope be a loser guys come one. "Why was she asking him to kiss her?" "Why was she the desperate one?" "Why didn't she make him work for it-" Because she likes him!!!!

Because pretty much any time not spent around Colin in episode 1&2 she's unhappy. Because he was being kind and she was relaxing around him and enjoying herself and doing well talking to people, because she's liked this boy for years and never truly gave up on him even when everything practical told her too. Because she was finally dressing the way she wanted and making a plan to get away from her family and it was actually working, she was genuinely desirable and a viable option, for once everything is going right and she also has Colin even if not the way the romantic side of her would hope, and then it all goes to absolute shit.

Suddenly she's an embarrassment and unwanted and the chance of marriage or escape or freedom has gone from slim to none, suddenly any respect or desirability she had is gone, and all because of the connection that has made her the most happy, all because people found out about Colin and his kindness and suddenly it all feels silly and desperate and like the childish dream of a 'sad, stupid girl'. Suddenly everything is ruined and she is once again a laughing stock. And she then had to go home and write about it, putting the nail in her own fucking coffin.

Because she is miserable and lonely and a young girl yearning to be loved. Because all of a sudden Colin is in her garden bribing her maid to get her alone, suddenly she's reminded that someone dose care, someone dose want her, someone dose hear and listen to her, someone still see's her as worthy of love even if (as she thinks) there is no possible way it could be the same kind. And that someone is the kind, handsome boy she's liked since she was a child. Someone she trusts, and it gave her just enough hope to try.

She asks him to kiss her because she wanted that one moment, that one memory of love and passion and intimacy with the boy she loves after having any hope of more from anyone completely dashed. She never wanted or asked Colin to grovel or beg, she just wanted an apology and she got one it literally didn't need to be more than that. He was on his knees in that damn carriage professing his love and need of her, dreaming of kissing her in a garden literally less then twelve hours after this and interrupting her dances to stop a proposal, he's a fucking loser (said with love), they both are. Let the girl ask for a kiss when she's yearning and upset and in love with her close friend god damn it.

Edit: this was like half a joke um but yeah more serious expansion here lol.

[evilkaeya]

I think about this every single day

[siren-of-agony]

Answers to "please stop"

No.

I can't.

I won't.

I don't want to.

I don't know how.

I will soon.

But then how will you learn?

We're almost done.

It's almost over.

Ask me again!

Oh well, if you're asking that politely…

Fine. For now.

Only once I've come up with something more fun.

Only once you've come up with something more fun.

Or what?

I know you can go a little bit longer.

You know I won't.

I love it when you beg.

I hate it when you beg.

I'm so bored by your begging.

Not until you're too weak to ask me to.

But I don't have anything better to do.

I wish I could.

Alright! See? All you had to do was ask nicely.

I'm not doing anything.

What, exactly?

Just once more, I promise!

Just once more, I promise! (🤞)

You're doing this to yourself.

You wanted this.

You want this.

You know you made me do this.

Are you ready to give me what I want, then?

I will once you give in.

What will you give me in return?

Why should I?

You know there is only one way to end this.

You know there is only one way this will end.

(Answers to "it hurts")

[thelien-art]

Nahar; Steed of Orome

White in the sun, and shining silver at night 1 - the sleeping earth trembled at the beat of his golden hooves 2 - the fire that was stricken from the hooves of Nahar was the first light that returned to Valinor 3

 J.R.R. Tolkien; The Silmarillion, "Valaquenta: Of the Valar"

J.R.R. Tolkien; The Silmarillion, "of the Beginning of Days” 

J.J.R. Tolkien; The Silmarillion, "Quenta Silmarillion: Of the Darkening of Valinor"

[poorly-drawn-mdzs]

In Stars and Disco

(Disco side of the swap)

[applecranberryjuice]

Something something it's a metaphor. Hair as a form of communication but also as passage of time and also as a way for letting people in and also as a detail etc etc you get it

Actual explanation in the tags btw

I'm really nervous about this comic actually, is not the best. It doesn't make sense, and the art is mid, but I put love in it and I think that's enough