#sorry this took me a while to get to!

[sometimesrufus]

I wonder what did/does rufus plan to do with hojo how much is he aware of what hojo is doing

I, too, wonder this.

My read of Rufus's interactions with Hojo are that he doesn't like the man, or what he does, but thinks him a necessary evil at present. As in, he has information that may be useful to him.

If things go according to OG... [SPOILERS]

Hojo dies, so the real question will be how much does he do to clean up Hojo's messes?

I've never been very canonically clear on how much Rufus knows about Deepground. On the one hand, he's a better hacker than the Turks, so he must be capable of accessing the information. So then the question becomes... did he bother?

Imo, evidence for that isn't very strong. Because, in the books/AC/DoC, Rufus is pretty committed to putting things to right. He makes medicine, tracks down the last bit of Jenova, and funds the WRO. I get the feeling that Rufus either didn't know or didn't prioritize the information while Jenova/Sephiroth still had to be dealt with. I'm sure he would have cooperated with the WRO fully once Deepground started causing trouble.

[dapg-otmebytheballs]

weirdest thing is that my rejection sensitive dysphoria actually get triggered by dan and phil. like, the fact that their views are only in the hundred thousands instead of the millions actually triggers my rsd for some reason, which makes NO SENSE. the same goes for the bad reactions to dan's catboy photoshoot. it probably means i'm too parasocial, but its like, i feel genuinely bad and like screaming or crying, or like i'm wrong and the world is wrong just because their views aren't what they used to be. its so fucking weird.

anyway, everyone go watch the past vids in the background as you do shit on loop, lets get them to 1mil views per vid.

Oof I understand this. It's kinda v similar to people saying mean things about your special interest/hyperfixation and that making you feel much worse than some random person's opinion should. We do have to figure out how to work through it ourselves or we'll end up always being miserable lol, but having a space to talk about it like this helps! Same here though, when they aren't doing well a part of me is so genuinely sad about it, and a little scared, I feel like every success they have gives me hope and every failure makes me keenly aware of my own. They've had such a positive response from the viewers with the return though, so I'm quite glad for it! The numbers certainly aren't what they used to be, we'll all eventually rewatch everything tho lol, it's gonna get there. Even bigger youtubers than them have trouble hitting a mil views on usual videos nowadays (yes I checked, sometimes stats are fun XD)

[outoftheirdifferences]

ᴍᴜꜱᴇ ᴅᴇᴍᴇᴀɴᴏʀ ᴀɴᴅ ᴍᴀɴɴᴇʀɪꜱᴍꜱ ɢᴜɪᴅᴇ.

bold for applies / italics for sometimes or depends

Angel

EYES. avoids eye contact when nervous, maintains eye contact when agitated, avoids eye contact due to being neurodivergent, enjoys eye contact as a means to read and convey emotion, looks down when emotional, looks up when emotional, cries openly, wipes tears quickly, suppresses tears, wandering gaze when lost in thought, holds gaze while thinking, seeks out eye contact for reassurance, seeks out eye contact to gauge enthusiasm during conversations, eyes constantly move during conversation, expressive eyes, emotions only evident through eyes, uses eye contact to intimidate, looks up while thinking, looks down while thinking.

HANDS.  clasps behind back, rest in lap, fidgets with clothes, twiddles thumbs, chews at nails, pushes back cuticles, draws patterns on table/counter surfaces, makes animated gestures while speaking, only gestures to emphasize, utilizes sign language, speaks only through sign, calluses, scars, smooth, wrinkled, worn, soft, delicate, bone-y, slender, thick, vein-y, touches others while speaking, reaches out while laughing, reaches out to comfort others, reaches out to seek comfort, places face in hands when exasperated, places palms over eyes to hide when overwhelmed, rests chin in hands, taps fingers when impatient, taps fingers when nervous, taps fingers while thinking, scratches scalp,  strokes chin, rubs back of head, toys with objects around them, runs fingers over surfaces while walking by.

MOUTH. chews lip, chews at inside of cheek, licks lips, bites tongue, chews on straws,  resting frown, resting smile, neutral resting expression, resting pout, grinds teeth, flexes jaw, covers mouth when laughing, covers mouth when shocked, covers mouth when concerned, hands to lips while thinking, covers mouth when chewing, chews with mouth closed, chews with mouth open, smirks, grins, subtle smiles, wide smiles, sad smiles, intimidating smiles, menacing grins, openly smiles, tries to suppress smiles, bares teeth when angry, lips quiver when emotional, stutters, speaks quickly, speaks slowly, good pronunciation, poor pronunciation, moderate pronunciation, purses lips, sucks in lips, holds mouth open when shocked or confused.

LEGS.  bounces leg when nervous, draws knees to chest when sitting, draws knees to chest as a means of comfort, sits on knees, sits with legs crisscrossed, sits with legs spread open in chairs, crosses legs when sitting in chairs, sits with one leg folded under the other, places feet on furniture, never places feet on furniture, sits on counters, sits on desks, sits on tables, sits on edge of seat, sits hunched over with forearms on knees, arches one knee up, sits on the arm of chairs/couches, feet on dashboard, swings legs back and forth when sitting somewhere elevated, wiggles toes when nervous, wiggles toes as a general tick, shuffles feet, kicks foot into ground, stomps feet, loud footsteps, quiet footsteps, silent footsteps.

HAIR.  runs fingers through hair, tugs at hair, picks at scalp, chews on hair, twists locks of hair while thinking or nervous, smooths out locks of hair while thinking or nervous, prefers hair out of face, prefers long hair, prefers short hair, wears hair back, keeps hair down, smooths back hair, plays with other’s hair while talking, plays with own hair while talking, strokes hair to comfort others, likes having hair stroked for their own comfort, braids others’ hair while talking, braids own hair while talking, flips hair out of face, pushes hair out of face, leaves hair alone even when falling into face.

tagged by: @thecaptainsxcrew

tagging: Everyone who wants to!

[starscream-is-my-wife]

A bit ago I was looking through the g1 timeline wiki and I saw that Skyfire and Starscream now had a 5 million year old age gap and I was like oh? That makes their dynamic so much more interesting especially how innocent he was portrayed in fire in the sky, I also wanted to share my hc on why Skyfire never brought up Starscream again

[xxplastic-cubexx]

Hi!! Your Cherik is so good and gorgeous 🤩🤩 If you don't mind wanna try to draw some Fall of X Cherik please?

thank you so much !!

i have a couple of ideas relating to the fall of x period specifically since theres. A Lot i wanna play with, so i hope this lil thing may be a satisfactory start :]]

and the obligatory bonus:

[fridgrave2-0]

hehe ghost-turbo haunting felix au

turbo is connected to the last piece of his code in the whole arcade - a trophy he gifted to felix in mid 80s as a symbol of him genuinely caring about their relationships on par with being the best racer. felix also gave him one of his medals and both kept their gifts next to other rewards, but when roadblasters and turbotime were unplugged, the medal was gone with everything else

now, after burning in cola-lava turbo is basically dead, but scraps of his code still were intertwined with the trophy (after all, it was his first winner's cup, but felix never knew about it), giving turbo an opportunity to exist as a shadow incapable of interacting with anything and anyone besides felix, who kept the trophy even after the roadblasters incident

also I went crazy in tags, feel free to check them out

[gatoburr0]

[cherie-doll]

Cod men reaction .

He and reader were on a mall date and reader suddenly stopped to look at a kids toy/a book/a book series. The thing is, reader grown up as the oldest grandchild, they used to have that toy/book(s), but it was ruined by their younger siblings/cousins.

Based on my real situation. Sorry for the broken grammar, I was typing this with one hand while eating pizza.

this reminds me of how i used to collect the archie comics as a kid and i loved reading them until my younger sibling ruined it bc they slobbered all over the pages like a dog, also, i hope that pizza was good i'm lowkey hungry

༢ུ· Price, Ghost, Soap, Gaz, Roach, Alejandro, Rudy, Phillip Graves, Makarov, Keegan, König, Horangi, Nikto

Price would turn right away when he noticed you've stopped walking. He's watching you, the skin creasing around his eyes as he smiles and his eyes soften. There's just something to seeing you in awe, recognizing that thing you've wanted for a long time, the nostalgia that must've bubbled up inside of you seeing it again. He'll come up beside you and say "why don't we buy it?".

Simon stared, confused at what could be so interesting, and when he saw it was only a silly stuffed animal. At first he thinks it only caught your attention because it was cute, but it was quite plain, a little ugly looking plush too. But you remember hugging it when you slept as a child, it had a certain smell to it too, until it got ripped apart by your sibling's puppy. You had cried but never got a new one. Without prompting from his part you start telling him the story of how much you loved that thing, and how you still sort of do. Silently nodding and already pulling out his wallet.

Johnny actually pointed out the game you mentioned playing when you were younger, the game you described to him because you couldn't remember the name of it. "Isn't that the game you've been talking about?". You excitedly reply that it is as he picks up the box, your eyes going straight to the price tag but he's already going to checkout to buy it. You ask him what he's doing, "you've been wanting to try it out again, right?" he replies with a smile.

Kyle remembers the time he helped you go through boxes when you moved in with him and how he opened a box filled with old stuff from your childhood. He had found a set of beat up books, some with pages missing, chunks ripped out or with crayon scrawled on them. You tell him it was a series you loved reading as a kid but was messed up by your siblings who played a mean prank on you. He later goes on out and purchases the same set of books and surprised you with them when he arrives home.

Roach once noticed a keychain made of seashells hanging on your bag, some of the shells were broken but it still looked like it had been a pretty little trinket. He played with it, fidgeting with it until he asked you why you still carried the old broken keychain. You tell him it was a gift from your late grandfather that he had made, kids had pulled at it and it had fallen to the floor, breaking in pieces. You had tried fixing it before but were missing pieces. He didn't buy you a new one, instead he spent an evening gathering seashells that looked close to the broken ones and rearranging them in the same order. It was difficult but was worth seeing you happy.

Alejandro could probably late to having to give up your toys to younger siblings or cousins because he had to do the same. So, it feels as if he heals something within himself when you both stop and look at the toys in a secondhand store that bring you a sort of nostalgia. He remembers summers spent playing outside and having to share the toy plane with his siblings. He notices you staring at a toy too and decides to give into making the little kid still in both of you happy.

Rudy has seen how you still keep the little dolls aligned neatly on your shelf. He's noticed how you put up a new one every time you find one when going through your old stuff. He's listened as you tell him how there is one specific doll you remember owning that was your favorite to play with, until it was either taken by some other kid who thrown away accidentally. He spots it at an antique shop and recognizes it because he's always thinking of you. Knowing this will make you feel complete he buys it and excitedly goes home to show you.

Phillip would have been walking along just like any other day he takes you shopping at the mall for you to let some stress out by swiping a credit card. He felt the absence of your hand on his arm and when he turned around he saw you in the toy shop through the glass display. When you held it in your hands, you felt your old emotional attachment to the toy reignite, it was smaller than you remembered but still as secure and comforting as ever. You turn to find Phillip beside you, he only nods, giving you the green light to just go ahead and buy it.

Makarov would hardly deny you from buying anything you wanted. It just strikes him as odd for there to be a change in the pattern you keep of buying clothes, jewelry and other luxurious items for a stuffed animal. But he knew that soft look in your eye, the reminiscing of a memory from long ago still etched in your mind that bloomed in your heart again. His eyes went from plush to you and back to the plush again. He told you to buy it and anymore you might have wanted.

Keegan found it slightly amusing that you had gotten so excited over seeing a children's series you thought had become lost media. He had taken you to the bookstore and instead of finding some cute romcom or some classical piece of literature you ended up in the corner of the kid's book section immersed in rereading the series that had become your escapism when you were a kid. You were going to leave it back where you found it when leaving but Keegan just chuckled and told you to buy the entire series.

König stared curiously at how entranced you were by the plush the kid held in front of you while at the food court. At first, he thought you were having baby fever or something, but really you were more interested in kid's backpack plush. You remember having one as a kid, you used to take it everywhere with you until you lost it, not knowing if one of your parents gave it away. You passed by a store that sold them, and König guided you inside the store to buy one for you. It was funny when the lady at the register asked if it was a gift for your kid.

Horangi knew you always had a thing for collecting adorable figurines, toys, anything that reminded you of when you were a kid. You took care of them so well too, placing them on shelves which he built btw, and dusting them off frequently. When asked why you were so particular about caring for them, you said it was because your old toys were always being broken from your siblings playing too rough with them. It must've broke your little kid heart to see them on the ground, all dirty and chipped off pieces. Now, he is always surprising you with one when he comes back from the store.

Nikto's first thought was that you had picked up the figurine as a gift for one of the kids in your family. At first, he couldn't understand that you were getting it for you, you were staring at the toy so fondly. What memory could have arisen in your mind at the moment? But he recognized the feeling of finding serenity in the little mundane things in life; in your case a toy. He offered to pay for it and as he drove home, he kept glancing over to you and seeing how you had the little thing in your hands, holding it instead of leaving it in the bag. He couldn't even tease you for it.

[shittyutmv]

I really thought you gave him furry head here

he is Such a dogboy

[greenglowinspooks]

(DCxDP) The obligations of a rogue versus those of a parent (Pt. 3)

—

Tw: Vivisection mention, torture mention (GiW agent receiving), me not actually knowing how telegram works

Will be crossposted to AO3 eventually.

(Pt. 1 here) (Pt. 2 here) - (Pt. 4 here)

(Masterlist/subscription post)

—

It’s an average, ordinary afternoon in Gotham, and Jason is in hell.

Specifically, Jason is in hell because he’s been researching the GiW for the last week or so, ever since a cryptic message from Scarecrow of all people.

He still hasn’t gotten anything substantial out of it that Scarecrow hadn’t already provided. Most location data had been previously scrubbed from the database, weaponry details were apparently all stored physically, and the experiment logs seemed to be only accessible from within one of the bases, whose locations Jason did not have.

Apparently Babs and Tim were having similar issues with gathering information. He had sent a copy of the files over to them in a moment of weakness, but they were having the exact same results as him.

To make things worse, the GiW was more active than they had been previously, combing through Crime Alley and the rest of Gotham tirelessly. At least they weren’t harassing him anymore, he thought, but now he had even less of a clue what they wanted.

And to top it all off, the Joker had escaped Arkham a few days prior to Jason receiving Scarecrow’s note, and he still hadn’t done anything. That could only mean that he was planning something big, which meant more grief for Jason, because the clown was obsessed with him.

So yes, Jason wasn’t having the best week.

He got up from his computer, stretched, and walked over to the window.

The sky was Gotham’s usual grey, clouded with a toxic miasma made up of traditional pollutants and the aftermath of gas attacks both, which could generously be called ‘smog.’

The streets seemed busier than usual, or maybe that was just because Jason was having a hard time keeping his eyes focused.

With blurry vision and a dull ache in the back of his head, Jason paced through his apartment, going through everything he knew.

The GiW, or Ghost Investigation Ward, were part of a secret government project having to do with ‘ecto-entities,’ which were mostly made up of ghosts.

The GiW was able to kidnap and steal away anyone who was ‘ecto-contaminated’ to be dissected, and it was completely legal.

According to the non-censored patrol reports he was given, Jason himself was considered ecto-contaminated. So were Bruce, Damian, Steph, and Cass.

There were also several rogues that were in the same boat, but their names had been redacted, presumably by Scarecrow. He wasn’t entirely sure why, but he guessed it was either for leverage or privacy. Knowing Crane, it could be both.

Anything useful about the GiW seemed to be stored physically within their compounds, or on an operating system that couldn’t be accessed outside of certain areas.

Anything useful about ghosts was conveniently removed by Scarecrow.

And, lastly, he knew from capture logs that they had numerous captive ghosts which were definitely being experimented on. One of these ghosts was named Daniel, last name redacted, and had been turned over by his parents in return for allowing them to run their own experiments on the boy.

From what he could tell, it had been around fifty two days since he had been turned in.

Fifty two days of experimentation and dissection.

Jason had to find him.

But first, he had to find the locations of the GiW bases, and plan his entrance carefully. He couldn’t let them get away because of a simple mistake.

The only location data he had been able to find was on a picture of the boy, Daniel, a picture of a vigilante in a red suit, and a quick note left about Daniel which hadn’t been transferred into the main database.

The note was…

Jason had been around crime for a very, very long time. He understood it intimately, in a way most people would never hope to achieve.

He understood hatred, too.

And yet, the words in that note were almost incomprehensible to him.

They were mockery of a child in pain. A child that was not seen as human. A child that was seen as a threat, a monster.

The man had detailed the security surrounding the child being cut back. Apparently, the kid had some sort of sonic scream. They were removing the muzzle that inhibited it because he had screamed himself hoarse, and he couldn’t make a sound anymore.

He also mentioned that the kid was cut open at least once a day, sometimes multiple times. He was opened up, played with, and sewn back shut.

The man joked that they should just put a zipper on him, so they wouldn’t keep wasting their stitches.

Jason really, really wanted to kill that guy.

The metadata on the note traced back to a newly-bought building in Gotham’s financial district, while the photos both came from Amity Park, Illinois.

Amity Park, Illinois did not exist in any official capacity.

Tim, who had taken the Batplane to check the precise location listed in the metadata, had reported that there was a town there after all, and it was on complete media lockdown from the rest of the world. He hadn’t even been able to use Bat, Justice League, or Young Justice channels to message anyone outside of the city until he left.

Jason had checked the building in the financial district firsthand, and found that the man who had submitted the note had done so while resting on a patrol of the city. He seemed to go there often to avoid his superiors, and Jason found it easy enough to get the drop on him the third time around.

His advanced interrogation techniques hadn’t been enough to get the man to name any locations. Worse, the man definitely recognized Red Hood, and would definitely tell the rest of the GiW about what had happened as soon as he left.

So, Jason did something about that. He couldn’t kill him, unfortunately, so he did the next best thing.

The GiW sent him to a public hospital within a few hours of finding him with shattered hand bones, broken arms, and a throat with near-permanent damage. The man wouldn’t be able to speak for a month at least.

He might never write again.

Jason, having read the note over and over until the words stained the backs of his eyes, thought it was the least he deserved.

Jason sighed, stopping his pacing. He wasn’t getting anywhere with this. If anything, working himself up was only going to lower the chances of him magically coming to a realization about where the kid was or what in the hell was going on.

He walked into the kitchen, popped some leftovers into the microwave, and started them up.

Once they were done, he brought them out to his desk, intending to eat as he continued to work on the GiW case.

When he saw his screen, he froze.

Telegram had been opened to a new chat with someone he had never messaged before.

TooFine: who are you?

TooFine: why are you looking into the giw?

The messages were a couple of minutes old, probably sent while Jason was spiraling pacing. He just stared at the screen, dumbstruck.

Shakily, he responded.

RedDead: How the hell did you get my contact info

Whoever was on the other side of the screen paused for a second. Jason considered sending a quick text to Babs to tell her what was going on, but he decided that he could handle this by himself.

TooFine: got it from the backdoor I put into the giw system.

RedDead: Shit

TooFine: ok your turn

TooFine: why r u looking into the giw? seriously man

RedDead: I don’t have a single reason to tell you. Give me one and I might answer your questions

TooFine paused again. Clearly they both had issues trusting someone over the internet, and rightfully so. What they had both admitted to doing was incredibly illegal, and if someone turned them in, they would be in deep shit.

TooFine: ive been trying to take down the giw since it was created. I can help u if ur honest with me

RedDead: Oh yeah, because no one has ever lied to another person on the internet before

RedDead: But fine

RedDead: I’m looking into them because they’ve been shadowing me for over a month at this point, among other reasons

TooFine: other reasons?

Jason sighed. He shouldn’t have added that. He knew that the other guy would ask, but he said something anyways.

RedDead: They’ve got a kid. I don’t like it when people hurt kids

TooFine: Danny? he’s alive?

RedDead: From what I can tell

So he knew the kid. Or, at least, he was pretending to. It would make sense for him to be cagey about his intentions, and for him to be desperate enough to reach out.

TooFine: oh my god

TooFine: do you know what city? fuck

TooFine: fuck fuck fuck

TooFine: I need to find him man please

RedDead: He’s somewhere in Gotham

RedDead: I’ve been trying to find him for a week now but no dice. They keep everything important on separate servers

TooFine: listen man you’re a good hacker but you’re not as good as me. you need my help if we’re gonna find Danny

RedDead: Okay, what are you trying to get me to agree to?

TooFine: i’m coming to gotham and we’re going to meet up

RedDead: Hell no

RedDead: Stranger danger

TooFine: if I tell u who I am will you say yes

RedDead: ?? How am I supposed to verify if you’re telling the truth

TooFine then sent him what seemed to be a selfie. Jason’s jaw dropped at the kid’s sheer audacity.

RedDead: There’s something seriously wrong with you

TooFine: my name is Tucker Foley. i live in amity park. i’m in 10th grade

RedDead: ???????? WHAT THE HELL

TooFine: i can send u my address too

RedDead: PLEASE DON’T??

RedDead: WHAT’S YOUR FUCKING DAMAGE? DON’T DOXX YOURSELF TO ME

RedDead: WHAT IF I WANTED TO KILL YOU OR SOMETHING? WHAT IF I WAS A FED

TooFine: i have to take that chance.

TooFine: Danny is my best friend. they’ve had him for over a month and no one’s doing anything to help. mr. Lancer was the only one who cared and he gave up after they blackmailed him

TooFine: they’ve had him for OVER A MONTH. I THOUGHT HE WAS DEAD.

TooFine: Sam and Jazz and I are coming to gotham and we’re going to find him no matter what it takes

TooFine: you have to help us

Jason considered, for a second, the choices he’d made in his life that had led up to this moment. He also considered, if he was in this kid’s position at his age, if he would be doing the same.

He decided to throw the kid a bone.

RedDead: [4735.jpg]

TooFine: HUH

RedDead: I’m guessing you know me

TooFine: RED HOOD??????

RedDead: No I’m just a very dedicated LARPer

TooFine: am i gonna die for Danny right now

RedDead: If I were literally anyone else, probably

RedDead: But no, you’re not. I’m gonna help you find your friend

TooFine: your username is red dead and you’re. yeah ok

RedDead: Oh come on, it’s funny

TooFine: Danny would love you

RedDead: So Danny clearly has great taste in jokes

TooFine: nope. literally loves puns and wordplay

RedDead: Nevermind

They both paused for a second. Then, Jason had a thought.

RedDead: Wait you’re in the 10th grade and you’re hacking into government databases?

TooFine: please don’t tell my parents.

RedDead: And how are you supposed to explain a sudden vacation to Gotham to your parents?

TooFine: wait so you’ll help me?

RedDead: I really hate to say it but I’m not the best at hacking, and my usual help is busy trying to track down the Joker. So, yep, we’re teaming up

TooFine: LET’S GOOOOOO

RedDead: God. I’m asking a 16 year old to help me take down a government agency and save another 16 year old

RedDead: I feel like the bat

TooFine: oh my god this is awesome. Danny is gonna flip when the actual real-life Red Hood comes to save him.

RedDead: I already regret this

TooFine: too late.

TooFine: btw do u have any place for 2 teenagers and 1 adult teenager to stay in gotham? preferably without dying but yknow.

Jason groaned. He was really, really gonna regret this, and he knew it.

Still, the alternative was some overeager kid dragging two other idiots to Gotham to find their friend and getting themselves killed. At least this way he’d have help, and damn good help at that.

He really was turning into the Bat, wasn’t he?

—

[hailsatanacab]

“To whom,” Alfred rasps, pausing to clear his throat and establish his sense of decorum, “May I ask, to whom do I have the pleasure of speaking?”

The creature stops, blinks its owlish eyes at him, and lets out a bark of laughter.

“Forgive me,” it says, still chuckling lightly, raising a hand to rub at the back of his neck. Alfred is suddenly struck by the feeling that this creature is not as timeless, nor as old or as wizened, as it wished to present itself. “I am making a terrible first impression. My name is Phantom, current High King of the Infinite Realms.”

Contractual Obligations by me!!!

I couldn't get the image of Ghost King Danny out of my head, so here he is!! Acrylic on canvas, and I'm so happy with it - he came out a lot better than I thought he would 😅

[kinnbig]

✨ Simple Gif Colouring for Beginners ✨

I wrote up my basic gif colouring process for a friend recently, but a couple of people here mentioned they'd also find it helpful! so, as requested, this is a beginner-friendly walkthrough of the way I colour my gifs :) it's aimed at brand new gif makers with no prior experience with photoshop or photo editing.

when I first started gif making I found colouring and photoshop in general suuuper daunting, so I've tried to simplify everything here as much as possible. hopefully this will be relatively easy to follow and not too intimidating!

a couple of things to begin with:

I'm only talking about colouring here - this is not a full gif making tutorial. I've linked to some of my favourites of those here!

I personally like to make bright, 'clean' looking gifs with vibrant but natural colours, so that is the style of colouring this tutorial is geared towards. most of gif colouring is subjective and about personal taste - the only thing that I'd say is possible to get wrong is skin tones, which I talk about a lot in this guide.

as I mostly gif Thai dramas, most of the advice is geared towards colouring for East Asian/South East Asian skin tones - but the techniques should be fairly universally applicable (and here are some tutorials that talk about gif colouring for other skin tones).

I'm not an expert! I'm not claiming this is the best or the only way to colour gifs - it's just how I do it.

this post is very image-heavy. if the images aren't loading (or the gifs are running slowly or cutting/looping weirdly), then try viewing the post in its own tab (rather than on the your dash or someone's blog) and refreshing the page.

okay, full walkthrough beneath the cut!

contents:

1. intro a. natural gif colouring goals b. very very basic colour theory 2. super simple colouring (the essentials) a. curves b. selective colour (and skin tone correction) c. hue/saturation d. saving and reusing colouring e. another simple colouring example 3. other adjustment layers a. brightness/contrast b. levels c. vibrance d. colour balance e. channel mixer 4. troubleshooting a. curves b. saturation 5. fin!

1. intro

the colouring part of gif making can be super overwhelming, especially if (like me when I first started!) you're completely new to photoshop and/or have no experience with colour theory or photo/video editing.

if you're opening photoshop and making gifs for the first time, I highly recommend getting used to making a few basic, uncoloured gifs to begin with. just to practice, rather than post anywhere (though you can always come back and colour them later if you want) - but it'll make the rest of the process much easier if you're already beginning to get used to working in timeline mode of photoshop. give yourself a bit of time to practice and get a feel for things like how many frames you tend to like in a gif, where you like to crop them for the best loop, what kind of aspect ratio you like etc* - so that you're not trying to navigate all of that for the first time on top of everything else!

* frames: for me between 60-90 frames is ideal, but 40-120 frames is the absolute min-max I'd personally use in a normal gifset loops: for the smoothest loops, try to avoid cutting someone off mid-movement or mid-word if possible. aspect ratio: for full-size (540px) gifs, I tend to go for either 8:5 (slightly 'skinnier' gifs), 7:5, or 5:4 (particularly big, thick gifs lmao)

✨ natural gif colouring goals

part of what can be so daunting about starting gif making is not knowing where to start or what you want to achieve. this is definitely something that gets easier with practice - the more gifs you make, the more you'll get a feel for what kind of look you like and the more instinctively you'll know how to get there. it also helps to see if any gif makers you like have made "before and after colouring" posts - these can help with getting a sense of the kinds of changes made through gif colouring. here's one I made!

in general, I like to make my gifs bright and 'clean' looking, with vibrant but natural colours. these are the things I'm usually hoping to achieve with colouring:

brighten dark scenes

remove muddy, yellowish lighting or filters

saturate colours

correct any skin lightening filters or overexposure

make lighting and colours as consistent as possible between gifs within a single gifset, especially gifsets featuring gifs from multiple scenes/episodes/videos

this guide is focusing on natural colouring, but of course there are many cool ways to make stylised/unnaturally coloured gifs. imo you'll need to master these basics first, but if you want to learn how to do things like change the background colour of gifs or use gradients or other cool effects, then @usergif's resource directory has loads of super helpful tutorials!

✨ very very basic colour theory

[disclaimer! I don't know shit about fuck. I do not study light or art. this is just an explanation that makes sense to me exclusively for the purposes of gif making.]

the primary colours for light/digital screens are red, blue, and green. having all three colours in equal measures neutralises them (represented by the white section in the middle of the diagram).

so to neutralise a colour within a gif, you need to add more of the colour(s) that are lacking.

in practice this usually means: the scene you want to gif is very yellow! yellow is made of red and green light, so to neutralise it you need to add more blue into your gif.

it can also mean the reverse: if you desaturate the yellow tones in a gif, it will look much more blue.

looking at the colour balance sliders on photoshop can make it easier to visualise:

so making a gif more red also means making it less cyan.

removing green from a gif means adding magenta.

taking yellow out of a gif will make it more blue.

tl;dr:

neutralise yellows by adding blue (and vice versa)

neutralise reds by adding cyan (and vice versa)

neutralise green by adding magenta (and vice versa)

2. super simple colouring (the essentials)

starting with a nice sharpened gif in photoshop in timeline mode. (these are the sharpening settings I use!)

some scenes are much harder to colour than others - it helps to start out practising with scenes that are bright/well-lit and that don't have harsh unnaturally coloured lights/filters on. scenes with a lot of brown/orange also tend to be harder.

I usually save a base copy of my gif before I start colouring just in case I end up hating it, or find out later that it doesn't quite fit right into a set and need to redo it etc.

so here is my base gif!

it's an okay gif, but it has a bit of a yellow tint to it that I want to reduce.

colouring is easiest to do in adjustment layers, which can be found under layer -> new adjustment layer - or for me they are here:

there are lots of different types of adjustment layers that do lots of different things - but for me the absolute essentials for colouring are curves, selective colour, and hue/saturation.

I also use brightness/contrast, levels, exposure, vibrance, colour balance, and channel mixer sometimes, depending on the gif - but I use curves, selective colour, and hue/saturation on every single gif.

✨ curves layer

the first thing I always do is a curves layer. when you first open one it will look like this:

first I usually click the ‘auto’ button, just to see what happens. sometimes it makes a big difference (it usually brightens the gif a lot) - but on this gif it didn’t do much.

if it had made the gif look nicer then I would have kept it and added a second curves layer on top to do the rest of these steps.

the next step is selecting the white and black points with the little eyedropper tools.

the bottom eyedropper lets you pick a white point for the gif. click somewhere super light on the gif to see what happens - for this gif, I clicked on the lampshade on the left. if it looks weird, I just undo it and try somewhere else - it usually takes a few goes to find something that looks good.

here's what that did to the gif:

then I pick the top eyedropper and use it to pick a black point by clicking somewhere really dark, again playing around until I find a black point that looks good.

here's what the gif looks like after picking the white and black points:

this can take some experimenting, but you can make super easy drastic changes to your gif just with this. in this case, the curves layer took out a lot of that yellowy tint.

and this is what the curves graph looks like now:

you can click and drag those lines to make further changes if you want - I usually leave them alone though. the colours of the lines indicate which colours have been changed in the gif - for example, you can see from that steep blue line on the graph that blue has been added to neutralise those yellows.

next I usually do another curves layer and just press the ‘auto’ button again to see what happens. usually it brightens the gif a bit more, which I like.

‼️if nothing is working: usually with a bit of fucking about a curves layer works well - but sometimes you can’t find a good white and black point anywhere, and instead your gif turns wacky colours and nothing looks good. this happens more often with very heavily colour tinted scenes :( the troubleshooting section at the end goes over some options, including starting with a levels layer instead.

✨ selective colour (and skin tone correction)

skin tones are made up of a mixture of yellow and red.

removing yellow (or adding blue or red) to a gif will make the skin-tones too red - and removing red (or adding cyan or yellow) to a gif will make the skin-tones too yellow.

adding blue to this gif with the curves layer took out the yellowy tint, which I wanted - but it also took the yellows out of Kim's skin tone, which I don’t want. so I need to put yellow back into the skin tones specifically - without putting it back into the rest of the gif.

selective colour layers let you select an individual colour and adjust the levels of other colours within that colour. you can change how yellow the green shades are, or how much cyan is in the blues, for example.

I need to add yellow back into the red tones to correct the skin tones on this gif. this is the case for most gifs in my experience - the vast majority of the time, unless a scene is very heavily tinted in another colour, a curves layer will add blue/remove yellow.

in the 'colors' dropdown, select the 'reds' section and drag the 'yellow' slider higher - this will add more yellow into just the red shades within the gif.

the amount of yellow you need to add back into the reds depends on how much yellow was taken out of the gif initially - I just play around with the slider until it looks right. if you're not sure, it helps to have some neutrally-coloured (not white-washed!) reference photos of the people in your gif to compare to.

here's the result. Kim's skin is a lot less pink toned and much more natural looking:

✨ hue/saturation

this adjustment layer lets you adjust the hue and saturation of the gif as a whole, and also of each colour individually.

I don't use the hue or lightness sliders unless I'm trying to do something more complicated with the colouring.

clicking the dropdown menu that says 'master' lets you edit the saturation of each colour individually. this is useful if your gif is still super tinted in one colour.

I thought the yellows on this gif were still slightly too bright, so I switched to the yellow channel and desaturated them slightly. (remember if you do this then you need to go back to selective colour and add more yellow into the red skin tones to balance out the desaturation!)

then I increased the 'master' saturation of all the colours to +5:

I usually find the right amount of saturation is somewhere between +5 and +12, but it depends on the gif.

‼️if the gif feels undersaturated, but the saturation slider isn't helping/is making the colours worse, try a vibrance layer instead.

done!

✨ saving and reusing colouring

you can copy and paste adjustment layers between gifs to make your colouring even across each of your gifs for one scene - so if you're making a set of multiple gifs of the same scene, or you think you might want to gif the same scene again in the future, you can save it as a psd so you can reuse the colouring again later.

each gif's colouring will then still need tweaking - different cameras/angles/shots of the same scene can still start out with slightly different colouring.

I recommend uploading the gifs as a draft post on tumblr so you can see what they all look like next to each other and catch any inconsistencies.

✨ another one! (speedrun!)

HI KEN!

the white point for the curves layer was in the window behind them.

the curves layer removes the muddy yellow tint, but again it makes their skin tones (especially Ken's) very red toned, which is adjusted by the selective colour layer.

3. other adjustment layers

imo many many gifs can be coloured really nicely with just those three adjustment layers, but some need different adjustments.

✨ brightness/contrast

pretty self explanatory!

I personally usually avoid using the 'brightness' slider because I rarely like the effect - I only tend to use the 'contrast' one. 

the 'auto' button is sometimes useful though, especially if you’re struggling with the curves layer.

✨ levels

levels alters the white and black points of the gif, like curves - but unlike curves it doesn't also alter other colours.

use the sliders beneath the graph to alter how dark/light the gif is. you can slide the black slider further to the right to make the blacks darker, and the white slider to the left to make the whites lighter.

levels is a good place to start if your curves layer isn't working.

(I'm going to hit the image limit for this post lol so here are some screenshots of a table I made to demonstrate this rather than actual gifs. sorry!)

on both sides, I dragged the sliders up to where the big jumps are on the graph - this is usually a good place to start!

✨ vibrance

vibrance... makes the colours more vibrant. it's more subtle than saturation.

it's really helpful for gifs that feel grey. sometimes adjusting saturation just makes the greys kind of weirdly tinted, but a vibrance layer can fix that.

vibrance is much more subtle!

✨ colour balance

colour balance affects the overall balance of colours within a gif.

it's good for scenes with heavy tints.

I tend to stick to the 'midtones' dropdown, but you can also alter the colour balance within the shadows and highlights if you want.

✨ channel mixer

I avoided channel mixer for such a long time because it scared me. but it's great for scenes that are very heavily tinted in one colour.

basically, it works with the levels of red, green, and blue within a gif. you select an output colour and then play around with the levels of the colour you selected within each other colour.

kind of the reverse of selective colour?

so in the 'blue' channel, the levels of blue are at 100%, and the levels of red and green are at 0% - but you can impact how much blue is in the reds and greens and blues.

this tutorial explains it well - but imo the best way to get to grips with channel mixer is just to play around with it a bit (sorry)

(when I made this guide for my friend, I also made a slightly more complicated gif colouring walk-through that included using channel mixer. there isn't space to include it within this post, but if anyone is interested I could always upload it as an 'intermediate' gif colouring tutorial - lmk!)

4. troubleshooting

‼️curves

usually with a bit of fucking about a curves layer works well - but sometimes you can’t find a good white and black point anywhere, and instead your gif turns wacky colours and nothing looks good. this happens more often with very heavily colour tinted scenes :(

for example, with this base gif:

using many of the brightest points as a white point turn it wacky colours, like this:

yikes :(

some options for these cases:

try brightening the gif first with the 'auto' button on the curves layer or with a levels layer. having a brighter gif to start with can give you better options for picking a white point.

try finding an alternate, whiter/brighter white point. look for places the light reflects - on this gif, using the light on Porsche's cheekbone works well as the white point. it also helps to find places that would be white if the scene wasn't tinted - the lightest part of a white shirt is often a good place to start, for example.

skip the curves layer, and instead use a levels layer to alter your white/black points, and colour balance or channel mixer to balance the colours.

‼️over/undersaturation

if your gif (especially the skintones) is looking a little washed out or lifeless, it might be undersaturated. boost that saturation - or if that's not working, try a vibrance layer.

oversaturation is often easiest to spot in the mouths and ears of any people in a gif. if the mouths are looking unnaturally, vibrantly red, then you've gone too far with the saturation.

5. fin!

and done! I hope this was coherent helpful to somebody.

if there's anything that I've missed or that doesn't make sense pls feel free to shoot me an ask or a message and I'll do my best to help! I've also collated a bunch of additional reading/resources below.

happy gifmaking 🥰

✨ some links!

photoshop basics by @selenapastel

gifmaking for beginners by @hayaosmiyazaki

gifmaking guide for beginners by @saw-x

dreamy's gif tutorial by @scoupsy-remade (includes instructions on how to blur out burned-on subtitles or annoying video graphics)

beginner's guide to channel mixer by @aubrey-plaza

how to fix orange-washed characters by aubrey-plaza

colour correcting and fixing dark scenes by @kylos

does resampling matter? by usergif

how to put multiple gifs on one canvas by @fictionalheroine

watermarking using actions by @wonwooridul

resource directory by @usergif

[artuurle]

more doodles of this thing that haunts my brain and his boyfriend

More doodles centered around pre-godhood shenanigans under cut to keep post short for the sanity of others lol

tha legally mandated Only 1 bed trope ...

getting the old uniform out!

annnnd the obilgatory sad bonus U u U

[fatehbaz]

patience being tested. being forced by a bizarre unfortunate situation to adhere to university requirement technicality by taking this simple basic elementary "introduction to environmental history" class.

this class is from facilitators/program which do, like, "history of the American frontier" or "history of fishing and hunting" and still basically subscribe to that old-school twentieth-century idealization and celebration of characters like Teddy Roosevelt and reverence for a mythical arc-of-history-bent-towards-justice narrative of the often-clumsy but ultimately-benevolent US federal government and its mission to "save nature" through the miracle of "sustained yield," while heroic federal land management agencies and "heritage" institutions lead to way, staffed by exceptional individuals (appeals to nostalgia for the frontier and an imagined landscape of the American West; ego-stroking appeals to flattering self-image that center the environmentalist or academic). where they invoke, y'know, ideas like "ecology is important because don't you enjoy cross-country skiing in The Woods with your niece and nephew? don't you like hunting and fishing?" which makes it feel like a time capsule of appeals and discourses from the 1970s. and it invokes concept of "untouched wilderness" (while eliding scale of historical Indigenous environmental relationships and current ongoing colonial violence/extractivism). but just ever-so-slightly updated with a little bit of chic twenty-first-century flair like a superficial land acknowledgement or a reference to "labor histories" or "history from below," which is extra aggravating when the old ideologies/institutions are still in power but they're muddying the water and diluting the language/frameworks (it's been strange, watching words like "multispecies" and "Anthropocene" over the years slowly but surely show-up on the posters, fliers, course descriptions, by now even appearing adjacent to the agri-business and resource extraction feeder programs, like a recuperation or appropriation.) even from a humanities angle, it's still, they're talking at me like "You probably didn't know this, but environmental history is actually pretty entangled with political and social events. In fact, we can synthesize sources and glean environmental info from wacky places like workers' rolls in factories, ship's logs, and poetry from the era." and i'm nodding like YEP.

the first homework assignment is respond to this: "Define and describe 'the Anthropocene'. Do you think 'the Anthropocene' is a useful concept? Why or why not?" Respond in 300 words.

so for fun, right now in class, going to see how fast i can pull up discussion of Anthropocene-as-concept solely from my old posts on this microblogging site.

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ok, found some

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I think that the danger in any universal narrative or epoch or principle is exactly that it can itself become a colonizing force. [...] I’m suspicious of the Anthropocene as concept for the very reason that it subsumes so many peoples, nations, histories, geographies, political orders. For that reason, I think ideas like the Anthropocene can be a useful short-hand for a cluster of tangible things going on with the Earth at the moment, but we have to be very careful about how fluid and dynamic ideas become concretized into hegemonic principles in the hands of researchers, policymakers, and politicians. There’s so much diversity in histories and experiences and environmental realities even between relatively linked geographies here in Canada [...]. Imagine what happens when we try to do that on a global scale - and a lot of euro-western Anthropocene, climate change and resilience research risks doing that - eliding local specificities and appropriating knowledge to serve a broader euro-western narrative without attending to the inherent colonial and imperial realities of science and policy processes, or even attending to the ways that colonial capitalist expansion has created these environmental crises to begin with. While we, as a collective humanity, are struggling with the realities of the Anthropocene, it is dangerous to erase the specific histories, power-relations, political orders that created the crisis to begin with. So, I’m glad that a robust critique of the Anthropocene as a concept is emerging.

Text by: Words of Zoe Todd, as interviewed and transcribed by Caroline Picard. “The Future is Elastic (But it Depends): An Interview with Zoe Todd.” 23 August 2016.

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The Great Acceleration is the latest in a series of human-driven planetary changes that constitute what a rising chorus of scientists, social scientists, and humanists have labeled the Anthropocene - a new Age of Humans. [...] But what the Anthropocene label masks, and what the litany of graphs documenting the Great Acceleration hide, is a history of racial oppression and violence, along with wealth inequality, that has built and sustained engines of economic growth and consumption over the last four centuries. [...] The plantation, Sidney Mintz long ago observed, was a “synthesis of field and factory,” an agro-industrial system of enterprise [...]. Plantation legacies, along with accompanying strategies of survival and resistance, dwell in the racialized geographies of the United States’ and Brazil’s prison systems. They surface in the inequitable toxic burdens experienced by impoverished communities of color in places like Cancer Alley, an industrial corridor of petrochemical plants running along the Mississippi River from New Orleans to Baton Rouge, where cotton was once king. And they appear in patterns of foreign direct investment and debt servitude that structure many land deals in the Caribbean, Brazil, and sub-Saharan Africa [...]. [C]limatologists and global change scientists from the University of London, propose instead 1610 as a date for the golden spike of the Anthropocene. The date marked a detectable global dip in carbon dioxide concentrations, precipitated, they argue, by the death of nearly 50 million indigenous human inhabitants [...]. The degradation of soils in the tobacco and cotton-growing regions in the American South, or in the sugarcane growing fields of many Caribbean islands, for example, was a consequence of an economic and social system that inflicted violence upon the land and the people enslaved to work it. Such violent histories are not so readily evident in genealogies that date the Anthropocene’s emergence to the Neolithic Revolution 12,000 years ago, the onset of Europe’s industrial revolution circa 1800, or the Trinity nuclear test of 1945. Sugarcane plantations were already prevalent throughout the Mediterranean basin during the late middle ages. But it was during the early modern era, and specifically in the Caribbean, where the intersection of emerging proto-capitalist economic models based on migratory forced labor (first indentured servitude, and later slavery), intensive land usage, globalized commerce, and colonial regimes sustained on the basis of relentless racialized violence, gave rise to the transformative models of plantations that reshaped the lives and livelihoods of human and non-human beings on a planetary scale. [...] We might, following the lead of science studies scholar Donna Haraway and anthropologist Anna Tsing, more aptly designate this era the Plantationocene. [...] It is also an invitation to see, in the words of geographer Laura Pulido, “the Anthropocene as a racial process,” one that has and will continue to produce “racially uneven vulnerability and death." [...] And how have such material transformations sustained global flows of knowledge and capital that continue to reproduce the plantation in enduring ways?

Text by: Sophie Sapp Moore, Monique Allewaert, Pablo F. Gomez, and Gregg Mitman. "Plantation Legacies." Edge Effects. 22 January 2019. Updated 15 May 2021. [Bold emphasis added by me.]

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Geologists and other scientists will fight over [the definition of the beginning start-date of the Anthropocene] in scientific language, seeking traces of carbon dioxide that index the worst offenses of European empire which rent and violated the flesh, bodies, and governance structures of Indigenous and other sovereign peoples in the name of gold, lumber, trade, land, and power. [...] The stories we tell about the origins of the Anthropocene implicate how we understand the relations we have with our surrounds. In other words, the naming of the Anthropocene epoch and its start date have implications not just for how we understand the world, but this understanding will have material consequences, consequences that affect body and land.

Text by: Heather Davis and Zoe Todd. On the Importance of a Date, or Decolonizing the Anthropocene. ACME An International Journal for Critical Geographies. December 2017. [Bold emphasis added by me.]

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From Aime and Suzanne Cesaire, C. L. R. James, Claudia Jones, Eduoard Glissant, through Sylvia Wynter, Christina Sharpe, and so many others, critical anticolonial and race theory has been written from the specific histories that marked the Black Atlantic. [...] Glissant also reminds us, secondly, of how cunning the absorptive powers of [...] liberal capitalism are - how quickly specific relations are remade as relations-erasing universal abstractions. [...] This absorptive, relations-erasing universalism is especially apparent in some contemporary discourses of […] liberalism and climate collapse - what some call the Anthropocene - especially those that anchor the crisis in a general Human calamity which, as Sylvia Wynter has noted, is merely the name of an overdetermined and specific [White] European man. […] [T]he condition of creating this new common European world was the destruction of a multitude of existing black and brown worlds. The tsunami of colonialism was not seen as affecting humanity, but [...] these specific people. They were specific - what happened to them may have been necessary, regrettable, intentional, accidental - but it is always them. It is only when these ancestral histories became present for some, for those who had long benefitted from the dispossession [...], that suddenly the problem is all of us, as human catastrophe.

Text by: Elizabeth Povinelli. “The Ancestral Present of Oceanic Illusions: Connected and Differentiated in Late Toxic Liberalism.” e-flux Journal Issue #112. October 2020.

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The narrative arc [of White "liberal humanism"] [...] is often told as a kind of European coming-of-age story. […] The Anthropocene discourse follows the same coming-of-age [...] script, searching for a material origin story that would explain the newly identified trajectory of the Anthropos […]. Sylvia Wynter, W.E.B. DuBois, and Achille Mbembe all showed how that genealogy of [White subjecthood] was [...] articulated through sixteenth- through nineteenth-century [historiographies and discourses] in the context of colonialism, [...] as well as forming the material praxis of their rearrangement (through mining, ecological rearrangements and extractions, and forms of geologic displacements such as plantations, dams, fertilizers, crops, and introduction of “alien” animals). […] As Wynter (2000) commented, “The degradation of concrete humans, that was/is the price of empire, of the kind of [Eurocentric epistemology] that underlies it” (154).

Text by: Kathryn Yusoff. “The Inhumanities.” Annals of the American Association of Geographers, Volume 11, Issue 3. November 2020.

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As Yarimar Bonilla suggests in regard to post-Irma-and-Maria Puerto Rico, “vulnerability is not simply a product of natural conditions; it is a political state and a colonial condition.” Many in the Caribbean therefore speak about the coloniality of disaster, and the unnaturalness of these “natural” disasters [...]. Others describe this temporality by shifting [...] toward an idea of the Plantationocene [...]. As Moore and her colleagues write, “Plantation worlds, both past and present, offer a powerful reminder that environmental problems cannot be decoupled from histories of colonialism, capitalism, and racism that have made some human beings more vulnerable [...].” [W]e see that contemporary uneven socioecologies associated with the rise of the industrial world ["the Anthropocene"] are based [...] also on the racialized denial and foreshortening of life for the sacrificial majority of black, brown, and Indigenous people and their relegation to the “sacrifice zones” of extractive industry. [...] [A]ny appropriate response to the contemporary climate emergency must first appreciate its foundations in the past history of the violent, coercive, transatlantic system of plantation slavery; in the present global uneven development, antiblackness, and border regimes that shape human vulnerability [...] that continues to influence who has access to resources, safety, and preferable ecologies [...] and who will be relegated to the “plantation archipelagoes” (as Sylvia Wynter called them) [...].

Text by: Mimi Sheller. “Thinking Beyond Coloniality: Toward Radical Caribbean Futures.” Small Axe (2021), 25 (2 (65)), pages 169-170. Published 1 July 2021. [Bold emphasis added by me.]

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Indigenous genocide and removal from land and enslavement are prerequisites for power becoming operationalized in premodernity [...]; it was/is a means to operationalize extraction (therefore race should be considered as foundational rather than as periphery to the production of those structures and of global space). [...] Wynter suggests that we […] consider 1452 as the beginning of the New World, as African slaves are put to work on the first plantations on the Portuguese island of Madeira, initiating the “sugar-slave” complex - a massive replantation of ecologies and forced relocation of people […]. Wynter argues that the invention of the figure of Man in 1492 as the Portuguese [and Spanish] travel to the Americas instigates at the same time “a refiguring of humanness” in the idea of race. [...] The natal moment of the 1800 Industrial Revolution, […] [apparently] locates Anthropocene origination in […] the "new" metabolisms of technology and matter enabled by the combination of fossil fuels, new engines, and the world as market. […] The racialization of epistemologies of life and nonlife is important to note here […]. While [this industrialization in the nineteenth century] […] undoubtedly transformed the atmosphere with […] coal, the creation of another kind of weather had already established its salient forms in the mine and on the plantation. Paying attention to the prehistory of capital and its bodily labor, both within coal cultures and on plantations that literally put “sugar in the bowl” (as Nina Simone sings) […]. The new modes of material accumulation and production in the Industrial Revolution are relational to and dependent on their preproductive forms in slavery […]. In 1833, Parliament finally abolished slavery in the British Caribbean, and the taxpayer payout of £20 million in “compensation” [paid by the government to slave owners for their lost "property"] built the material, geophysical (railways, mines, factories), and imperial infrastructures of Britain and its colonial enterprises and empire. [...] A significant proportion of funds were invested in the railway system connecting London and Birmingham (home of cotton production and […] manufacturing for plantations), Cambridge and Oxford, and Wales and the Midlands (for coal). Insurance companies flourished [...]. The slave-sugar-coal nexus both substantially enriched Britain and made it possible for it to transition into a colonial industrialized power […]. The slave trade […] fashioned the economic conditions (and institutions, such as the insurance and finance industries) for industrialization.

Text by: Kathryn Yusoff. "White Utopia/Black Inferno: Life on a Geologic Spike". e-flux Journal Issue #97. February 2019. [Bold emphasis added by me.]

[condohavenoking]

'Mister Frodo! Look! It's an Oliphant! No one at home will believe this.' — Samwise Gamgee | Lord of the Rings: The Two Towers

[cheerioskid]

Would love to see you draw more zombiewood, absolutely love how you draw them both

the losers <3