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eyrieofsynapses · 1 year ago

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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

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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.

#aurora comic #aurora webcomic #comicaurora #art analysis #...I hope those are the right tags???#new fandom new tagging practices to learn ig #much thanks for something to read while I try to rest my wrists. carpal tunnel BAD. (ignore that I wrote this I've got braces ok it's fine)#anyway! I HAVE. MANY MORE THOUGHTS. ON THE STORY ITSELF. THIS LOVELY STORY #also a collection of reactions to a chunk of the comic before I hit the point where I was too busy reading to write anything down #idk how to format those tho #...yeet them into one post...???#eh I usually don't go off this much these days but this seems like a smaller tight-knit fandom so... might as well help build it?#and I have a little more time thanks to break so #oh yes also shoutout to my insanely awesome professor for teaching me all the technical stuff from this he is LOVELY #made an incredibly complex program into something comprehensible <3 #synapse talks

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hailsatanacab · 1 year ago

Note

I'll ask after that secret number 8!

I only remembered secret number 8 because I saw your wip here! I'd started this one based on the same prompt, then lost said prompt and stopped working on it 😅

Instead of a snippet, I'm just dropping it all here - maybe that way I'll feel inspired to finish it?

———

It’s a full house for dinner tonight and, really, that should have tipped him off.

Bruce sits at the head of the table, smiling softly as he watches over everyone’s antics. Damian is regaling Dick with everything they saw at the zoo that day (Danny had been so happy to see Delilah the purpleback gorilla again, and her new little additions to the troupe, too!) and how well they are implementing the grant the Wayne Foundation had gifted them. Tim, Steph, Cass, and Duke are all engaged in a thumb-war tournament which Danny has no interest in participating in. It just wouldn’t be fair on them.

Danny loves that look. The one where Bruce’s eyes crinkle when he thinks none of the kids can see him. It oozes love and it makes Danny’s heart, his core, ache.

It’s been a little over a year since Alfred found him on the street and managed to wrangle him back to the manor to stay—even after the whole biting thing when he realised how rich they were.

A little over a year here and Danny’s starting to feel like family.

Starting to feel like he might, just maybe, like to make it official.

“Danny,” Bruce says, drawing everyone’s attention. Danny starts at his name, but Bruce’s voice is warm and calm, and his shoulders lose their tension almost immediately. “Danny, I have something I would like to tell you.”

“Uhhh…” is all Danny can croak out, eyes flicking back and forth between Bruce and the rest of them. Smooth. Looking good, Danny.

Except… they’re all happy. All smiles, all relaxed body language, all radiating calm and love and acceptance. Well, not Damian—his face is as thunderous as it always is—which at least means it’s nothing too out of the ordinary.

“Danny, first of all, I just want to impress upon you that this is in no way something you have to do. You are under no obligation to join us and, no matter what, you shall always be welcome with us in the manor.”

Wait, what? Danny squints at Bruce, trying to parse exactly what he’s saying… Is he—is this them asking to adopt him? Do they want to make it official, too?

It’s been a little over a year and of course Danny has imagined calling Bruce ‘Dad’. Of course he’s imagined being part of the family, of course he wants to make it official!

He can’t help the beaming grin or the bright and bubbling “Yes!” already waiting on his lips. All Bruce has to do is ask, all Danny needs to hear is—

“I’m Batman.”

The smile freezes on Danny’s face.

His lungs stop working, his heart stops working, he stops working, he just—

“And I’m Nightwing,” Dick smiles, breaking the awkward silence.

Danny’s eyes snap to him, and then down to Tim when he admits to being Red Robin. Duke is Signal, Steph is Spoiler. Damian begrudgingly tells him he’s Robin, but Danny can barely hear it over the ringing in his ears.

“I’m Black Bat.” Cass cocks her head, almost looking concerned. It always felt like she understood him the most. Whenever he was feeling low, too in his memories, or stewing after a nightmare, she was always there, ready to card her fingers through his hair and never mention his tears. It makes his heart ache to think of it now. “It’s okay, Danny.”

It’s meant to be reassuring, but how—how can it be okay? How?

Danny’s spent a little over a year with them. A little over a year with Batman.

Batman, who works with the Justice League, who works with…

A little over a year.

Just under 16 months since he escaped.

“Danny? Are you alright?” Bruce asks

Finally, his lungs kickstart and suck in a shuddering breath, only for everyone to drop their smiles.

Didn’t take them long, did it? Now that their ruse is up, there’s no kindness in their eyes, they’re just… cold, calculating. Evaluating.

“Why?” Danny gasps, his fingers tingling, his heart in his throat.

Just under 16 months since he—has he escaped? Or was this just another one of their experiments?

"I... I trusted you, why—" Danny chokes back a sob, gritting his teeth as his shoulders shake. Why? Why would they do this? "I was happy here, with you. I thought... Weren't you happy?"

"Danny..." Bruce is looking at him, eyes narrow and eyebrows pinched, in some cruel facsimile of confused concern and all Danny can think is how much of an actor he is. How well he can play the part of a doting father. How much he made him want that.

"I don't understand, why..."

"I'm sorry we didn't tell you before, I can imagine that it comes as a shock. We shouldn't have lied to you, Danny, but—"

"Stop it!" Danny slams his hands down on the table and pushes himself up on wobbly legs. Even standing, he feels so small. Smaller than Bruce, than all of his adopted siblings. They crowd above him when they all stand, too. "Just stop it! Why are you doing this, why are you still pretending? Stop it!"

It was easier, with Danny's biological parents. The knowledge that they'd do anything to get him on a lab table, to open him up and see what makes him tick, to rip him apart molecule by molecule, had always been there. He knew they hated ghosts. He knew they hated Phantom. He knew they hated him. It was easier because it was something he'd known all his life. When he died, when he became a ghost, he knew what to expect from them. It hurt, of course it did.

But it was easier than this.

"Danny, I'm going to need you to take a deep breath. You're having a panic attack and you need to breathe."

"Breathe?" Danny laughs, the sound harsh and choking, too high pitched in his hysteria. "You're joking, right? Or is this just more of the—the experiment?"

"Danny, please, we don't know what you're talking about, you—"

"You don't know? You're Batman! You work with the Justice League, you work with—" His words choke off as his stomach churns, bile rising in his throat. His whole body itches, screaming at him to leave, he can't go back, he can't, he can't, he can't!

Bruce takes a hesitant step forward and Danny scrambles back, his feet catching on the chair behind him and sending him careening to the floor. Where are the agents? Why aren't they swarming in, ready to apprehend him, strap him back on the table, carve him from the inside out.

"Please, Danny, calm down. We don't—"

Danny stops listening. His back hits the wall and he pulls his knees into his chest, his shoulders dipping down as he begins to sob. His heart throbs inside his throat, too painful to swallow around. Tears fall hot and heavy on his face.

Sure, he could run. He could phase out through the wall and he could be out of Gotham in a couple of hours. He's escaped the GIW once, he can do it again.

But that was before Batman knew who he was. Before he had the World's Greatest Detective on his tail.

Before he...

He really thought this would be different, you know?

He wanted to make it official.

"Why did... Why were you so nice to me? Why did you make me like you? I really—I really liked you. I-I thought we could be a family."

"Danny, we are a—"

"Don't lie to me!" Danny snaps, but the force of his anger leeches all the fight from him, and suddenly all that's left is a bone-weary tiredness. There’s a lump in his throat that hurts. There’s a line down his chest that burns. "I don't care. I don't care anymore, I don't. Just... don't make me go back there. Please."

Is it futile? He thought he knew how the GIW operated by now, the depths that they would go to achieve their results, but this... this was a whole new level of pain that Danny thought he had left behind him in Amity.

"We're not going to make you go anywhere, Danny, you're safe here, I promise."

"Safe? Safe? You must have—" he takes a deep breath, tries to stop the quivering of his voice. It’s all starting to make sense, now. "The reason you're telling me who you are is because you must have told them everything already. I know the Justice League—I know you're working with them, which means the ex-experiment is over now, and they're coming to take me back. And I can't go back."

"Danny—"

"I can’t!” Danny glares at Bruce with all the rage he can, fingernails digging into his skin. “I’m not going back!"

"That's right, you're not going back, Danny. I won't let that happen." Bruce crouches down in front of Danny, his hands open and raised as if he's trying to say he's not a threat. "I don't know who you're talking about, and I'm sorry about that, but I can promise you that you’re not going back there. We will keep you safe."

Danny pulls himself closer, tucks himself further into the wall, eyes flickering all across the room waiting for that tell-tale flash of white as the agents start to swarm.

He should take his chances now and run, he should go, he needs to go!

The rest of them, his brothers and sisters of a little over a year, are spread out, giving him and Bruce some space. The same concern colours all of their faces. Why are they still pretending?

Steph is chewing on her thumb.

Danny liked Steph and her brash confidence, her jokes. She's been promising to paint his nails for months now, they've just never found the time. He was going to go for green and black, or maybe a galaxy theme, depending on what she felt comfortable doing.

He likes them all.

"You were supposed to be my family." His mouth turns down at the corners and his voice shakes like a child. "You were supposed to—why? Why would you—I don't understand why you would make me like you..."

"This isn't an experiment, Danny," Bruce's voice is steady, soothing. "I promise."

"But you work with them and—"

"Who do I work with?"

"The Justice League."

"Yes, I do, but we—"

"And the Justice League works with them. The GIW." Danny trembles with the name, clutching tightly onto his hoodie. "I'm not going back there, Bruce."

Danny doesn't miss Bruce's look over his shoulder, nor Tim's nod in return. Tim turns slightly to the side to hide his movements, but Danny bets he has his phone in his hand, probably letting them know they can take him now. Guess this is it, then. They'll be here soon, and he'll be gone.

"Kill me."

"Danny? What do—"

"If you ever had any kindness for me, if you ever cared, kill me. Please, Bruce. I can't do it again."

"Danny..."

"End me now. Take my core out and break it, please, before they get here."

#dpxdc #dcxdp #dpxdc fanfic #wip game #thanks for the ask <3 and thanks for helping me remember this fic lol #also huge thanks for having the prompt linked because i have S O M A N Y prompt wips that i can't ever post because i've lost the post #didn't really know how to get danny to calm down #that's a lie #i have a few ideas of where this can go but no motivation for it - not against all the other wips #i'll keep at it and ig post to ao3 should it actually start looking alright #¯\_(ツ)_/¯#dudes did u kno u can pin shit to your clipboard on desktop because i fucking love that #also if you use the windows key + . there's like emojis and shit #(((φ(◎ロ◎;)φ)))#<- and kaomoji too!!!!!#anyway that's been fun facts and fanfic with me. ur welcome #oh shit my writing tag #hailsatanacrab🦀🦀writes #at some point 'oh shit my writing tag' will just become my writing tag #anyway thank you again for the ask #good night everyone!!!!!

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