#thats such a dilemma for so many writers as well

[animecarcrash]

im not surprised at all that school zone girls went on indefinite hiatus, you could really tell in the later chapters that the author wanted to write a different type of manga

[derthief-dieb]

Chapter 1 - Forget-me-not

Picturesque. Perfect. Yet… homely. It was a small mansion, somewhat modest in size - or, at least, as modest as a mansion can get. Against the backdrop of a nighttime cityscape, it stood dormant, much like its closest neighbors, all but one. 

This was the target. 

Well, more specifically, the painting inside the master study was the target. And that's exactly where the Thief would be heading. YN LN. master thief extraordinaire. A true professional in the art of trespassing and stealing. Not that it was technically a real profession, but people paid her for it, so it was good enough as one. 

Besides, it's what she was good at - her skills were best suited to this kind of job rather than any other job there was for her out there. She’d tried - many times, the longest she lasted was as a cashier at some supermarket. It took an entire year before she got bored and started messing around on the job, and another three months before they fired her for it. 

Ultimately, burglary is what she fell back to. 

Back to the job;

This one was rather simple, a little boring for her tastes, get into the building, find the master study, steal the painting hanging above the mantle piece. It was boring and uneventful - at least, thats how it was shaping up to be as she moved through darkened corridors with ease - not even a creak in the floor boards to send her anxiety sky rocketing! No fun to be had at all. The art of theft was lost on this palace - stupidly easy to get in, stupidly easy to move through, and stupidly easy to navigate. 

Perhaps that's why she began snooping around. After stealing the painting, of course. A beautiful piece - a pearly white vase full of wild, blue forget-me-nots. It was almost a shame to take it down and roll it up. But that's what she did, before eventually moving over to the desk in the room. Cluttered and untidy and covered in paper - various documents and letters and other such things, of course, YN didn’t hesitate to swipe up a few of the letters and give them a quick read. 

She’d done this before, on other jobs, and usually, it wasn’t an issue, there was never anything to be concerned about, just a few funny little tidbits about someone's personal life - this however, the contents of these letters made her face pale and her blood run cold. This was - they were plans. Nothing too detailed, but there was enough for her to understand what was going on. 

The writer of this letter and the man it was mailed too had plans to meet up to discuss something of great importance to them both. It was only briefly touched on in the letter but… well, the plans they wanted to discuss in more detail - how to remove the SSS from the playing field.

Honestly, if not for the evidence in her hands, YN would have had a hard time believing it - afterall, who in their right mind would discuss something like this through mere letters - something so easitl interceptable! But alas, the letters sat in her hands, and she wasnt sure what to do with them. 

Does she report this to the SSS? Say something? Do something?! Ah! But what can she do? She's a thief: a criminal. What would she say - ‘Oh, I was just in the middle of stealing some painting when I decided to intrude on this poor man a little more and found some letters about how they are planning to ‘get rid’ of the SSS’. no! She couldn’t do that. An anonymous tip then - also not possible, see, the whole thing with the SSS was that they were secret - not many people, if anyone at all, outside of themselves knew who actually worked there. It was a dilemma, but YN tried to reason with herself a little - she didn't need to report it or tell anyone - there was no concrete proof, just some ideals and plans to meet up and discuss something in person in a letter. There was no threat to life - no clear threat anyway, so it would be fine if she didn't say anything, right? 

YN didnt have much time to ponder on it though, as she heard footsteps fast approaching the study; had she been discovered? Probably not, but it wouldnt be a good idea to stick around. 

Looking around the room, she spotted the window behind her and hastily pushed it open, slipping out quietly just as the study door opened up. 

______________________________________________________________

chapter 1 done! I'm actually feeling motivated to write this right now.

No Yuri yet, but he'll turn up soon.

master post ~

[nopejustnoped]

I‘m aware that im saying this about a character who already has more than enough content out there, but…jason would benefit so much from something that isnt part of an event or a mini thats set in the past (both inconsequent). Like there are 5838228 events and 3 issue stories with jasons dilemma in the foreground and even if they‘re well done and interesting they never matter. RHATO fucking sucked ass, but there are so many little things from that time that still influence jason stories. That ugly suit, his "i had a falling out with bruce :(" status quo and his relationship to his adoptive family.

Every writer wants to be the one to write theee jason story where he solves all of his issues, reconciles with bruce etc and they try to do that in elsewhere story #733737 or mini #172727 and it never sticks (considering what some of have written i say hallelujah).

What im trying to say is he needs an on going with an at least semi capable writer who doesnt try to turn him into dick grayson or the punisher. It has to start off with jason being a villain and i personally dgaf if it stays that way or he turns into a anti-hero etc. What i do care about is: it has to happen on panel, i need to see the developement. I dont mind him having fights with bruce and co, i dont ever see them cutting ties but rhato #25 cant be the status quo anymore…also no oblivious jason who has never considered the consequences of his actions. If he changes his mind about his ideology and methods it should be bc of convincing reasons (note: i dont ever see him not killing at all)

Honestly winick wrote a lot of that into uth and lost days (as in the starting point of my delulu RH on going) and if a writer could start from there without the oedipus complex id be grateful xoxo (id kill for jason to have talia as some kind of mentor to him without her getting the blame for his actions, imo they need interactions outside of lost days and uth #25 so people can finally stfu about that awful part in lost days). Theyd need to add characters who connect him back to the normal world like dana or sth, bring back rena and eddie for all i care. Him not being a person outside of the red hood holds him back (one of my least favorite prts of tfz was jasons identity being public).

He should fuck with bruces plans and all, he should be a nuisance (think that prince of gotham arc [another bs story but i think it couldve been interesting if you changed 85% of it] where hes mocking bruce)

A lot of these things have been attempted by scott lobdell but that man was a shit writer so…(also the n52 premise was absolute shit which was also lobdells fault).

[the-eldritch-it-gay]

hi ! citlali's writer from a while ago, feeling a little panick-y

you don't have to acknowledge this ask at all , if it makes you uncomfy , i just wanted to run the design of one of her sons by you? /nf

his name is virgil and his father is a white vampire. i drew him a while ago and he posted today. so my dilemma;

a mutual said he was too light. (they/them just for the sake of telling you ig. we've only ever spoken once. i don't know anything about them, only that they post about intersectional feminism. they're black i think.)

anyways, it felt stand off-ish, but maybe i'm projecting (ND). i was taking into account Vampire Pattern Paleness and put a stupid overlay on top for pizzazz, but i'm not sure if that was a good thing or not . :/

i guess what i want to know is how you would have envisioned him ? i figured since you are indigenous+latine, it would be best to ask you? but i understand if this is a bit much. an indigenous-mexican, aren't the same as an indigenous+latine. i hope your weekend goes well, either way. thank you.

Right, so I'll address a few things here, all somewhat briefly just bcuz I'm a lil tired today. Those things are: how to draw mixed-race characters, a aside on vampires, and finally, how to handle getting feedback on a character of color. Sorry if this is a bit rambly also, as mentioned I am tired so my thoughts are kinda spaghetti.

1. How do you draw mixed-race characters

This is a specialty of mine! So many of my characters are mixed. Mixed race kids can look sometimes more like one parent or the other, hell, my biological sister looks like she's 100% European with the pale skin, blue eyes, blonde hair, and small features. Whereas I on the other hand, do Not look European at all. Our skin tones are very different, especially in the summer. She has to worry about makeup foundations not having a light enough color for her she's so light.

So, theoretically, if you have a mixed race character with a white parent, could they look light-skinned or very white? Yeah. But that's not really the go to, because while humans are created by random combinations of parent genes, characters are created deliberately. And deliberately choosing to make mixed-race characters all light-skinned or white in appearance has colorist and racist implications.

The safest route to go is to give the character traits from both parents. They don't have to be a perfect mix, but they should have physical traits from both parents. Their skin tone should be somewhere in between both parents skin tone.

Example, since I'm working on a piece thats a portrait of one of my OC familys that's mixed (black and indigenous).

The 3 kids (the kids are the ones on the left side) have skin tones that are somewhere between their parents. It's harder to tell in this image, but the kids (especially the two kids standing) have features that are a mix between their mother and father.

2. Vampires

So, with the basics in mind, how does vampirism come into this? Well, while I would imagine in your case, the father is pale in a traditional vampire sense. I would posit, though, that the unnaturally pale pallor is not a genetic thing, but a side effect of death and vampirism. So if virgil isn't a vampire, I wouldn't think he would inherit some Very Pale Skin. Even if Virgil is a vampire, I would more think it would simply give him a more vampiric look rather than pale skin. The melanin doesn't disappear when you die/become a vampire, if someone with brown skin was a vampire they wouldn't turn white, but would turn an ashier brown. Let's use Betania and Malcolm from above as examples

I overemphasized the desaturation here a lil bit just for the visual, but for each transformation all I did was lower the saturation of the skin tone. Which gives an ashy, sickly pallor without lightening the skin. Or here's an old drawing of a vampire OC of mine lmao

Putting that all together, instead of giving a child a skint one between a pure white and a brown, pick a skin tone between a light skin tone and a brown. Which is to say, pick a skin tone that a mixed-race human might have, then you can adjust the saturation for vampirism.

Which now brings us to our final point.

How to handle criticism of characters of color

I feel I would be remiss if I didn't address this. While it's understandable to get nervous about criticism or advice, it is also important to realize it's not an attack. If someone mentions that a character's skin tone seems too light, the best way forward is to listen. It could be resolved with a simple "oh, I didn't realize. Thank you for bringing that to my attention, I'll fix that" or "Thank you for bringing that to my attention, I'm still working on this design, how could I improve it?" or just "Thanks for the input, I'll work on that" something of that nature. People often negatively react to being told a character's skin is too light, to the point where often even I avoid bringing up the subject with an artist out of fear they might react negatively or make a scene.

Your language in talking about your mutual seems to subconsciously paint them as an aggressor or agitator or being a Mean Black Person. Even if that wasn't the intention, which I doubt it was, it doesn't come across great, especially when you're bringing that to an indigenous blogger's inbox. It would probably be best to handle this privately with your mutual rather than talk about them in a stranger's inbox. I don't mean any of this as an attack, but I just want to bring it to your attention so this can be a learning experience.

[maschotch]

Random ask but I was just thinking about how weird it was that hotch didn't immediatly call Hailey and tell her and Jack to get out of the mall in that one episode were a bomb was going to go off? (2×10) he did eventually but it always struck me as odd that he needed Derek to tell him to do it... such a big part of him is how protective he is of everyone around him and I feel like that should be even stronger with Jack, but it collides with his sense of justice and faith in the system and rules, so he hesitates, even when it could mean Hailey and Jack die in that mall. It would make sense if his sense of duty combated with his protectivness, but in episodes later he expressly breaks protocol repeatedly to help members of the team. He goes so far as to say "I don't care about protocol" when Garcia is shot, but it happens with Emily in minimal loss, Rossi, reid, ect. He breaks protocol to protect them repeatedly, it seems so strange and inconsistent that he wouldn't do the same for his son, who he loves more than anything.

I'd like to say it was a one off thing but it happens again in amplification when he tells jj not to call will and Henry. Same situation. I know jj was annoying in that episode but it was the same dilemma were she's in a position to save her families life and hotch is firmly against her taking any action. Another time he tells Emily that "this is the job, and I need to know you can be objective" when she considers adopting a foster girl... idk it might be the writers fucking up his character [again] but he does some things that are very protective of Jack but in other ways is more protective of his team than his son. It just doesn't make sense with his values, he may place too much importance on the job sometimes but at the cost of his sons life? At the cost of haileys? Eventually he does break protocol in 100. He literally kills someone to protect Jack, which I like to think is him learning in some weird way, but I also think it might be a bit of a mischaracterization on what hotch shows his values really are. Thoughts?

hmmm i dont really think its mischaracterization as much as its his conflict with different values. he’s protective, sure, but he values JusticeTM more. which is why in lessons learned/amplification, he knows its wrong to reach out to warn his family because its not fair to others who share equal risk.

but i dont think thats necessarily contradictory to his resolve to catch garcia’s shooter in penelope. its focusing on one case, but its a different circumstance than only certain people who may be in danger, if that makes sense? i guess you could argue theyre sacrificing time they could be so ending solving some other crimes, but its not as explicitly unfair as giving one person a warning and leaving everyone else to chance. idk if im really explaining it right akdhskdh but i dont think you can judge both situations equally

over time, i think he starts to prioritize protecting people he cares about over protocol, and i think that has a lot to do with the way 100 played out. he knew he would be under scrutiny with the foyet case, and he needed to let someone else make as many of the decisions as possible, well aware of how strauss would try to twist this around and pin whatever happened on him. so hotch let derek make a lot of the calls that day. and i mean… hotch respects and trusts derek, which is why he went along with him even if he disagreed (like when to burst into foyets apartment). but ultimately derek was wrong and that precious time they wasted waiting mightve been enough to save haley if hotch didnt have to wait on someone else’s decision. hotch doesnt blame morgan, but i think he blames himself for hesitating when he knew he shouldnt have

after that, we see hotch take a lot more risks when trying to protect people he cares about when they’re in danger. faking emily’s death without telling any of his superiors, defying the director’s orders and continuing to dig into jj’s secret work, etc. he’s had this running conflict throughout the show between family and work… he’s lost his family family by now, so now he’ll do anything he can to keep his work family safe. his dedicated adherence to rules and regulation slips away as he realizes he doesnt want to live with regrets just because he was worried about following orders

but again, i think the lessons learned/amplification circumstance is different. im not sure if post100 hotch would make a different decision… bc its not just “putting my family above protocol” anymore, now its “putting my family above other people’s families” and thats a line im not sure he’s crossed yet.

akxhakhd anyway i dont really think its a mischaracterization of hotch’s values. i think its an adjustment of his values as he goes through these different tragedies and tries to figure out how far he’s willing to go to save the people he cares about. for the others, like derek and emily, its not really a question bc to them nothing matters more than protecting people they love (or protocol matters so little that its not even a concern, in emily’s case) but w hotch its a little more complicated

[nextstopparis]

Hello again, funky little raccoon! I just have a quick question, do you think Arthur is more bad or good? (I know that’s probably a tough question because everyone has bad and good parts in them and it might be difficult to say which is bigger, sorry!) I know he’s done some things that he probably shouldn’t have, but then he also does some other things that are good and I don’t know??

Cause I’m having another little bout of love for him but then I’m like “ahh he’s not that good though! But maybe he can’t help it and it’s Uther’s bad parenting?” But I feel like although some of it was Uther’s bad parenting, he could’ve still changed?? And so now I’m really conflicted.

jsndksn omg hello!!!!

you're right lol this is a really hard question, but only because i could technically write you like. a 7 page essay on my opinion. now, i HATE to sound like one of Those people that try to turn things that really arent philosophical discussions into philosophical discussions but. i really think this heavily depends on what you personally define as a "good" person vs. a "bad" person. regarding arthur specifically, it also very extremely depends on your own interpretation of his character.

like. is someone good solely because of their actions to you, or does intent matter as well? which one is more important? what about if they repent for evil deeds theyve done? what if they want to but aren't given the chance? does that make them good or bad? does that even matter? all those fun questions.

ive personally always loved arthur because i believe he's fundamentally good. this is for a bunch of reasons (im not gonna go through them all) but one of them is because.... i think its obvious that..... whether properly executed or not.... the concept behind arthurs character was obviously a good person...? at least, to me it feels like thats what the writers were going for? someone with many flaws that is fundamentally good, just needs to be pushed to actually achieve his full potential of goodness? like going by the way they talk about him.... it just felt obvious that THATS what they were going for......

now, a lot of people have a problem with arthur because...as we all agree, i think.... they really did his character dirty for the sake of? comedy, prolonging the story, needless shock/tragedy, whatever. take your pick, lmfao. the way they portrayed arthur's fundamental goodness/difference to his father was through a mostly "tell" medium, rather than a "show" one, which rubs people the wrong way. i mean, you have all these people saying he's a great king, that camelots better now that hes king, etc etc, and yet time and again we see him regress his forward thinking every two episodes. we see him make promises that never turn into anything. whatever. and i get it. obviously that sits wrong with people. it sits wrong with ME. but that makes me hate the writing, not the character, because i personally see it as a fault with the writing. its not the characters fault the writers didnt take the "show dont tell" advice. there were a lot of storylines the writers just abandoned, it didn't seem out of the ordinary that arthurs promise to the druids would be yet another one, to me. they also completely abandoned the small detail that he was born of magic?? but also, you know. i understand that some people hate the character for it, and who am i to say anything about that.

so regarding your dilemma on like. how he's done pretty shit things. yeah, i totally get it. and unless he'd actually done something to repent for them, they shouldnt be ignored. but we're talking about a tv show that didnt really seem all that concerned about proper character development/actual redemption/whatever so. unfortunately, we didnt get that. what we did get, however, was arthur being willing to listen to criticism against him. we got arthur surrounding himself by very good people, who loved him and called him out. we got arthur wanting the best for his people. we got arthur ready to risk his life on every occasion just to save even one other person. we saw arthur explicitly express he wanted to bring peace. that he just wanted his people to have peace. we saw arthur want to repent. we saw arthur promise to keep his mind open about magic. we saw arthur be very concerned about justice, and not blindly convicting someone. we saw arthur want to be better.

again, its a lot of the "tell"ing thing and not much of the "show"ing thing, but... again... to me thats just the writing's fault. he sounded genuine, and im biased so i believe that the intent behind all the above was good/genuine. this makes him a good person, to me, with a lot of unresolved ..... er? everything?

i dont know if this answered your question at all, but i can only hope at this point jdnsjkncsk. at the end of the day, he's a fictional character, and its completely valid to just hate him sometimes and love him other times for literally any reason at all:) or you know. hate him all the time or love him all the time.

[my-happy-little-bean]

The Road Trip - Masterlist

pairings: logicality (platonic or romantic, depending on how you view it) words: 20.7k general warnings: swearing, implied deaths, lots of existential vibes & debating life/death, complex moral dilemmas, implied toxic familial relationships (specific warnings included at the beginning of each chapter) summary: from the day you were born, a mandatory appointment to the clinic is made for you so that by the time you turn 21, you know when you are going to die. for some—the lucky ones—they are promised a lifetime to explore everything life has to offer. but for others, life is taken away as quickly as it is given. patton morgan isn’t one of the lucky ones. given only a week to live, patton latches onto a chance encounter with logan fray—a complete stranger with the same fate as him—and decides to spend his final moments exploring what it is like to truly live, die, and be human. to do this, he takes a leap of faith and joins logan on one of the most human adventures one can have: a road trip.

[read on ao3]

note: you do actually start at the epilogue. your brain is not deceiving you :p idk if i made that very clear but thats what you do for Stylistic Reasons (tm) :’)

---

Epilogue 

Chapter 1 

Chapter 2 

Chapter 3 

Chapter 4 

Chapter 5

Prologue

Artwork ( @lemonyellowlogic ) 

Song (by meeee)

*author’s note below the cut because it got v long lol*

a/n - hello, friends! it is i, here with my submission for the 2020 ts-storytime big bang! i want to say that i've always thought about writing a story like this but in reality, i grew to like this story as it was being written! you were going to get some other sci fi moral dilemma story but alas, you get this instead — the same story, just not sci fi lol. i guess i only write one (1) genre and it's existential #deep shit (tm) + people are dying also :p

the warmest thanks to mel (@bangthekobrakid​​) for being such a wonderful beta! catchin all my dumb mistakes and also being the sweetest cheerleader, even during the times when i didn't like the story i wrote :') also thanks to puma and worm (@wisepuma23​​ [on ao3 as well] & socialbookworm [ao3]) for reading this over too, as well as for reassuring me that i'm not a shit writer and for being such wonderful friends <3

and big thanks to ava (@lemonyellowlogic​​ / lemonyellow406 [ao3]) for making me not one, not two, but F I V E pieces of art !! she brought so many moments in this story to life with such clever and pretty art and i'm always going to be thankful for it! you'll see her art sprinkled throughout the story, but check her tumblr (or mine!) to see all the art in one post :)

finally, a big shoutout to @ts-storytime​ and anyone who was apart of organizing such an amazing event! i'm so excited to see what everyone has in store, and i'm glad i got to meet so many people along the way. this story would not be complete without the help from all these wonderful individuals, and for that i'm so so so grateful.

anyway! i will let you get to the story now, haha. it's all up now so grab a cup of tea and enjoy ~

[fancyfade]

How do you feel about zatanna in general and also her role in identity crisis and its fallout?

Right it’s been a while since I read Identity Crisis but for the most part I was not like… offended by her actions in Identity Crisis? Like yes it’s wrong (well the psychically altering Dr Lights mind and stealing memories from her teammates. you can all discuss the erasing the characters secret identities from the minds of the villains on your own thing)

but also I feel like the story provided a way where it made sense for her? I haven’t read a ton of comics with her in it so I don’t know if it clashes with her established character. but they did show she was very young and just getting on the league and i think one of the members (Carter?) said that she might not have been able to put her foot down. we also see she regrets her actions.

she also does still decide to re-erase the secret identities of JLAers from the villains minds.

I feel like this is one of the many instances where there is a moral dilemma in comics specifically because of the repeating nature of comics and having to break the villains out of prison to use them again. like you could argue – maybe they can leave the JLAers secret identities in the minds of villains if they’re in a secure prison and can’t break out or communicate to their minions. but that will never happen because the writers want to re-use the villains. same for the “why doesn’t batman kill the joker” discourse where it’s portrayed as “if batman doesn’t kill the joker, he’s allowing him to kill more people in the future” and not “wow the writers sure love making the prison system look super fucking incompetent if it never sticks.”

in general (i started with her role in identity crisis cuz thats where i read most of the comic version of her :P) i like her enough when I see her but don’t think about her a ton otherwise. I feel like there are some instances where she can make the rest of the team redundant (in one of the countdown to infinite crisis plotlines, she just “orepsed pots” at despero and instantly KOs him after he’s brainwashed the rest of the team). I’m sure there are other instances where other team members seem to make the rest redundant, though. with how powerful a lot of people on the league are, i genuinely have no clue how the writers do things convincingly and give everyone stuff to do (because i Haven’t read many JLA comics)

i do like her previous friendship with bruce wayne when he was training (I think mentioned in BTAS and also some rebirth detective comics comics). it’s a cute detail IMO.

and ty for all the asks i love hte opportunity to blabber ^_^

[thegreatshono]

What's your opinion on indie comics?

So this was all originally posted on Twitter last night. but I don't think many of you follow me there, and I want to know your opinion too. So i'm reposting for your opinion: Okay my fellow indie comic lovers I need your opinion on something. I came across a indie comic at AWA this past weekend. The idea was fantastic, the art was solid, I was sold until they told me the price. $10 for a 30 page issue. I thought it was too expensive, plus I'm poor so I passed on buying the books. But I've been thinking about it a lot, IS the book too expensive? Now I've made my opinions clear that comics have gotten too expensive in recent years. Comics in the silver age (when adjusted for inflation) only cost like $1.25 but modern Marvel books now cost $5. That's a huge difference and I think the high price tag is hurting the industry.  HOWEVER, self published indie comics is another animal. We have to do everything ourselves. We have to do the job of writer, artist, graphic designer, publisher, distributor, marketing, social media, accountant, and probably other jobs i'm forgetting. A $1 profit on each book sale doesn't really cover the amount of work you have to do. You're an indie creator you're not selling 200K copies. So why not charge a higher price? The creators work really hard, they should make some money for all that work. Well the problem I see is people are custom to buying $5 for a floppy comic. If your comic is $10, then newcomers to your book might not want to buy it. They know immediately if they like a print, or a pin, or a sticker. They know instantly if they want to spend $10 on it. But you can't know immediately if you're going to like a comic. So it's a gamble. Should i spend $10 on this comic I might not like, or this print i definitely do like? Sure as a indie comic creator a $10 price tag might cover your expenses better, but if no one buys the book, you're covering no expenses. So looping back around. I need your opinion. Would you pay $10 for an indie self published comic that's about 30 pages long? Is that a reasonable price? Shadows of Oblivion #1, #2, and "Better Days" all average at 30 pages. Should I charge $10 for those books? I'd like to stick to my scruples and sell affordable comics so the maximum number of people can enjoy them... but it'd be nice to pay the bills too... It's a dilemma for me. Thats why I need your opinion. Sorry for the long rant... I hope you guys read it...

[shhhhitsasecretpoem]

He told me I should write.

He told me I should start writing, 

claimed I was, “ a great writer when explaining my feelings.”

Hmm. that's a nice compliment.

Well today I guess I'm not very sure where I should start. 

It’s gloomy and warm outside, the perfect day to sit inside and do

nothing

Unfortunately for me I've been doing nothing for the past couple of days. 

It’s been nothing and something at the same time. 

Anyways... here’s my dilemma. 

Imagine you've had a close friend for three years, and by close friend I mean best friend. 

Thought of as a soulmate

Then imagine one day this person says they aren't really sure if you two are soulmates.

world crushed

Well. that was me.

hurt

worried

confused

but still so in love 

Why did they have to say something like that?

And why did it effect my emotions so much?

 I still think about that

And three years later, we went from a break to broken up.

What even is a break?

How can one just take a break of space from another?

Especially someone that they love.

Was it me who fucked up?

Did I make the mistake?

When they moved out, we had a talk minutes before they left.

I’ll always be here for you

We both said, as we looked into each others eyes

Red, watery eyes,

Bags in hand. 

We agreed that s p a c e was necessary 

ha space

My confusion

and many others confusion was how can someone need space when they're in love.

The answer is, maybe they weren't in love anymore...

------

It was brought to my attention a few days ago that there's a difference between

love

and 

in love

------

I imagine we all think we know this, but it wasn’t until it was said out loud by another person that I had to re think that idea.

Was I still in love?

Thats an answer for another day

simply because I have yet to answer it

------

Here’s the next pickle I am in

I use pickle here for a clever reason

This other soul had used the word pickle almost 15 times the other day when they were explaining their bad day.

Pickle fits here

It has been roughly two months

Two months since our eyes locked

And by locked

i mean lock and key

-My stomach turned-

I blushed

I felt something heavy in my chest

Something i hadn’t felt in a long time

We didn’t speak that day..

I was way too nervous

standing behind me for a while,

I could see this person from the corner of my eye.

Said they were “getting a better look at me”

Please

Like you didn’t see straight into my soul the second we locked eyes

the following day i went to another event.

I had PRAYED they would be there.

~~I believed in a higher power more than ever that night~~

We were properly introduced

Intense attraction was finally felt up close

I couldn’t stop smiling

I couldn’t stop thinking

Fast forward two months

Feelings are still there

Still growing everyday

I’ve been learning patience

Good things take time

And they’ve taught me that

The right things will fall into place

I can’t wait for the fall

[jungblue]

My God, FH gives me conflicting emotions and I really have no clue who I want her to end up with. On one hand, there's Jimin who is an absolute sweetheart and would a hell of a lot for her and on the other hand, there's JK who feels so strongly for her (not that Jimin doesn't) and wants her back. I think I'm leaning toward JK but then Jimin pops back up and- ugh. I love this series so much, it's giving me a dilemma, but I still really love how it's written and everything. You're a great writer x

thank you so much! i’m glad you’re liking it and that it feels conflicting bc that was my goal for this series. to make a love triangle that was legitimately conflciting and not just ‘’’this is the clear choice’’’ as i had done in the past. but again thank you for the kind words!

Anonymous said: All these jimin stans makes me so sad as a jungkook stan for FH 😭😭😭 like the poor boy just wanted to go after his career he didn't do anything terribly wrong I mean okay hear me out cause imo oc is the one love he will probably ever have in his life like even if she chooses jimin he will always always always choose her b/c their history is just so 😭 I go so soft for it but she brought the real him out that wasn't a fuck boy and she turned him around for the better 😭😭 agh but jimin is ❤️❤️

i would say it’s actually pretty even tbh! i should do a poll just to find out how even it actually is just bc i’m really interested to know. but yes i’ve said this a lot but i agree that he did nothing wrong by choosing to move to seoul. as for jungkook’s history with the oc i do agree. he had never experiences those types of feelings before, so when he met the oc it did take him by surprise, and it did change him in many ways

Anonymous said: I wouldn't be surprised if the OC goes off to live in the wilderness with a pet cow to sort her Jimin / JK thoughts out. To be honest though, you've drawn out the characters so well that irrespective of whom she ends up with, I'll be both happy and sad anyway... I love both the characters to be able to pick one. Just don't go Lord Voldemort on the spare, please :'D

lolol honestly that’s what i would do bc making that decision would be way too hard ahaa. but thank you so much for saying that about the characters it means a lot!!

Anonymous said: I'm Team idk-who-the-fuck-to-ship in FH lmao like I'm leaning more towards Jungkook, but at the same time I'd feel more bad for Jimin than I would for Jungkook if he doesn't get the girl... I just feel so bad for Jimin for getting tangled up in this mess so I just want him to be happy in the end and Jungkook seems like he's hiding something but then at the same time I get the whole "she's meant to be with Jungkook" feeling too... AHHHHHHHHH I'LL JUST SCREAM UNTIL WE FIND OUT WHAT HAPPENS

ahaaa yeah it’s definitely a messy situation. but when it comes to jimin he is an adult and he’s choosing to stay in the situation due to his ever-growing feelings towards the oc. there are lots of reasons to like both jungkook and jimin, so i think your personal perspective / experiences with life are what really decides who you prefer in the story 

Anonymous said: I know FH is loosely based off the series 'NANA' (one of my all-time fave anime/manga). . . even with your own spin on the story, I really lowkey am scared that Jimin might get himself in a similar hurtful situation like Nobu did & idk if I can handle him going thorough that. The character you've created/build up for him with such a big heart despite also being somewhat closed-off, like please protect him at all costs.

i love nobu ;;;;;;;;;;;;; literally my heart still breaks for that kid bc of everything that happened. they were so close to being happy together //sobs// but as for jimin’s similarities with him they’re definitely there so i can see where you’re coming from. but don’t worry about jimin he’s a strong headed person and he’s got more things coming in the series!

Anonymous said: tbh im a HUGE fan of jungkook for FH!! i dont think he did anything wrong leaving her for his dreams. i think thats really realistic and he technically didnt cheat on her because they werent quite together then! i love your writings :)

thank you! but yeah i don’t think leaving was the wrong thing to do. that was a once in a lifetime opportunity so not taking it would’ve been dumb on his part imo

Anonymous said: for me, I think oc could end on her own? Idk I really like jimins character but the same I didnt think she could give him the "love'" he deserves and that would let her wonder if its not better for him to find someone who gives it to him. and jeongguk really hurt her and has this secret that maybe she can not accept. my ultimate bias is taehyung so maybe oc and he... hahaha Im kidding // sorry for my bad English.

your english is great don’t worry! but that is definitely a possibility! she might need to take a step back from these two guys bc she knows that being unsure of her feelings is really going to end up hurting someone in the end, so it might be better for her to take some time by herself. ahaa yeah tae isn’t too big in this story, i need to give him some lines lmaooo

Anonymous said: asgklhas im not gonna lie LOL i completely forgot about future hearts. I know it takes a while to update a long scenario, but idk.. it just slipped my mind after 3 months. When i saw that anon i wsa like ?? tf are thry talking about whats future hearts. and then i saw ur name and thought of Hidden stars at first and again was like ??? its already finished tf why is that anon talking about it now? O_O and only now i remembered the story and that its still on going LOL but yeah im excited n scared

ahaa yeah it takes me forever to update i know ;;;;;;; but that’s only bc i don’t want to force myself to write when i’m not feeling it bc i don’t think it’s fair to anyone to rush something out that won’t give the proper development that it deserves you knoww

Anonymous said: girl everytime i reread FH i die inside bc i relate to so many parts like dating a band dude, him leaving, a few years later me getting with another band dude and joining him on tour only to see the first guy being in the band thats also on the tour (-: i hope FH has a happier ending than my scenario did bc yikes

wow that is wildly similar ahaaa. but i’m glad that it’s relatable!

Anonymous said: TEAM JUNG-JIMI-FUCK 🙃

SAME IT’D BE SO EASY THAT WAY ;;;;;;;;;;;;;;;;

[adelaidecity]

Quilty as charged: Ben Quilty exhibition bridges the wonderful and the abhorrent

Quilty is the biggest show in town, as John Neylon reviews the first major survey of Ben Quiltys work. Churchill described success as stumbling from failure to failure with no loss of enthusiasm. Now why should that thought come to mind when reflecting on the art of Ben Quilty? By any measure, his progress to date has been entirely successful. The artist won in 2011 the Archibald Prize for his portrait of Margaret Olley and in 2009 the Doug Moran National Portrait Prize for a painting of Jimmy Barnes. He was awarded a Brett Whiteley Travelling Art Scholarship in 2002. He has presented a significant number of solo exhibitions and been included in many survey exhibitions and biennials. His work is held in the National Gallery collection and those of almost all Australian state art museums. Most recently, he has been honoured with a major survey show, Quilty, recently launched at the Art Gallery of South Australia (curated by Lisa Slade). The exhibition will subsequently tour to Art Gallery NSW and Queensland Art Gallery. Critic John McDonalds eye brow raise on the AGNSWs feting of Quilty, aged 46 (when senior artists Charles Blackman and Robert Dickerson both died without a retrospective in their home city), makes interesting reading. Then again, no other artist bar Brett Whiteley has been given the honorific of an opera based on their life and work. The Australian Opera production of Whiteley will be staged at the Sydney Opera House. But if Quiltys trajectory maintains its upward thrust, he may one day be so celebrated. A recent photo shoot (Good Weekend cover) showing the artist in Pasolini pose with a barbed wire crown might give a hint of how some librettist may one day mythologise him.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) This is an impressive level of recognition for a creative talent that has barely begun to hit its stride. Add to this the loosening of the art worlds grip on the Quilty narrative as the wider Australian community picks up the story and claims the artist as one of its own. This is rare but it does happen. Tom Roberts and Arthur Streeton, then Hans Heysen, gave expression to a sense of national identity through pastoral landscape. Sidney Nolan and Arthur Boyd gave utterance to the soul of a nation beginning to reflect on its inner life. Brett Whiteley riffed off 1960s counter culture vibes and Kathleen Petyarre created magic carpets of country that invited the nation to get on board. A sense that Ben Quilty may be destined (or expected) to face such a responsibility was evident at this years Adelaide Writers Week when the artist held a large crowd captive with his articulate description of how he sees his practice relating to wider community issues and aspirations. The audience was primed. Through extensive media exposure his credentials as an activist artist became well-known. In 2011 he worked as an Official War Artist with Australian troops in Afghanistan and subsequently created a compelling series of portraits of service men and women grappling with the trauma of what theyd experienced. His well-known life vest series came from the experience of witnessing refugee camps in the Lebanese Beqaa Valley and of walking life vest-strewn beaches on the Greek Islands of Lesbos and Chios. Then there was the close association with Muryan Sukamaran who was sentenced to death for drug trafficking in Indonesia. Audiences for Quilty the exhibition will be well served by a comprehensive representation of such images and a solid representation of formative work such as the cars and budgies which declare the artists mordant wit and subscription to bold gestural painting. But far more lies in wait, particularly the interlocking and tangled compositions associated with the Last Supper series.

Self Portrait, the executioner, Ben Quilty, 2015, Southern Highlands, New South Wales, oil on linen, 195.0 x 140.4 cm; Gift of the artist 2015. Donated through the Australian Governments Cultural Gifts Program, Art Gallery of New South Wales, Sydney (Photo: Mim Stirling) There are some safer havens in the form of Rorschach blot-mediated images, particularly the familiarity of The Island, seen in Dark Heart, the 2014 Adelaide Biennial of Australian Art, Evening Shadows Rorschach after Johnstone (a somber riff off AGSAs most popular painting of all time Evening shadows backwater of the Murray, South Australia) and, another panoramic work, Fairy Bower Rorschach. In the light of recent media focus on massacre sites in Australia, this particular work, referencing such a site, an idyllic picnic ground on Gundungarra country where in 1834 Aboriginal women and children were reputedly massacred, sends a chill through the room. These works are visually engaging even if they hold their dark secrets close to their hearts. Viewers I noticed spent real time looking at them as if engaged in a Wheres Wally? battle of wits to find the hidden details. These images help to explain Quiltys sustained use of the Rorschach blotting technique of transferring, by folding and pressing, a positive image of thick, wet paint onto the other (blank) half of the canvas. As any respectable Rorschach blot will tell you, its all in the mind. But in the company of other works dwelling on hurt and misery they carry out their duties as gates to hell with disconcerting ease. The Rorschach spin is useful as a slingshot into the grotesque which, in Quiltys imagery, acts as circuit breaker between the wonderful and the abhorrent. Every time he distorts a face to breaking point or subjects a figure to dismemberment there is an appeal to ones inner sense of dread and the voyeur within. Whenever a head or a landscape pulls apart to morph into a Siamese-twin-like thing the grotesque comes sniffing around. From another perspective this recourse to the grotesque as a default within Quiltys imagery may act as an escape valve to relieve what must be for the artist a build-up of almost unbearable tension as he coopts his feelings to the tasks at hand. The grotesque always threatens to erupt as hysterical laughter. In a number of works, particularly faces with extruded noses and goggle eyes, the shriek of horror comes from the lips of Shrek, the unlikely hero. Time for Samuel Johnson, He who makes a beast of himself gets rid of the pain of being a man. This extensive exhibition, with its mid-section line-up of large-scale works that tend to tower over the viewer, oozes with visceral, oleaginous energy. We are not, as a rule, used to dealing with very large paintings, particularly figurative images calling down fire and brimstone on the worst the world serves up. Australian artist Richard Lewers The History of Australia is another, recent example. From an historical perspective, consider the status of the big picture in the Victorian era when panoramic vistas of everyday life by William Powell Frith, such as The Derby Day and The Railway Station, drew large crowds. In the modern era, some in Adelaide may recall being transfixed by the Hiroshima Panels, exhibited at the Art Gallery of South Australia in 1958. So, in one sense, Quilty is winding back the hands of the clock to a time when large paintings (and any paintings for that matter) addressed matters of social concern. The way-points in this reverse journey are many, so perhaps stop at Goya or youll be crushed by it all. My recommendation take a good hard look at Thodore Gricaults The Raft of the Medusa before climbing down into the darkened chambers of Quiltys Dantean journey into the mind. Medusa throws up the same questions: why them not us? Will justice be served?

Installation view: Quilty featuring Self-portrait at 43 and The island by Ben Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) From here, segue to the gate-keeper of modernitys limner of the human condition, Francis Bacon, who, when he visited a butchers shop, thought it surprising that I wasnt there instead of the animal. Look out for some Bacon references in the bared teeth of one self-portrait. If curious about this ambient link between Quiltys and Bacons agendas, consider this observation by artist Stacy Makishi. In my response to Francis Bacon, I wanted to push my explorations toward finding a transgressive kind of beauty. I wished to paint a muscular poem; a wet poem with saliva, sweat, tears and body fluids a poem that pushed ones body through a glass of forbidden desire. Pushing ones body resonates with Quilty (the exhibition publication) essayist Justin Pattons comment that the artist likes to chase the moment when his forms begin to push back. And thats what his monumental Last Supper images do when their interlocking sweeps of pigment and advancing/receding planes of colours and shapes (looking like a gelati Leger painting sliding towards the footpath) trap the gaze and hold it. Abandon all expectations of subject or social concern (as in the nearby feral polemic (Patton again)) of Quiltys rage at Trumps ascension, and surrender to the paint and the rush of creating something that is primarily about and of itself. In this regard, Quiltys priorities and methodologies line up with artist Robert Motherwells take on arts end game. For him it was all about managing feeling. To find and invent objects whose felt quality satisfies the passions that for me is the activity of the artist No wonder the artist is constantly placing and displacing, relating and rupturing relations veering towards the unknown and chaos yet ordered and related in order to be comprehended. There is art world commentary on the Quilty dilemma the risks of overpowering the art with the polemic and so on. While the artist continues to follow where the medium leads there is every chance that his creative journey will continue to be sustained. So back to the paint and Churchill. The walls of paint overpower almost every other consideration in this exhibition. Perhaps the best analogy to leave you with is that of the solo climber, clinging to the sheer rock wall with only the pressure of a thumb or a toe between the climber and death. In this situation the risks are beyond comprehension. No. Ben Quilty isnt facing such life and death decisions whenever he goes in to the studio. But the manner in which he traverses his canvases is high risk, with the thought of failure always needing to be countered by boundless enthusiasm.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) Quilty Art Gallery of South Australia Until Sunday, June 2 agsa.sa.gov.au https://www.adelaidereview.com.au/arts/visual-arts/ben-quilty-exhibition-review/

[adelaideattractions]

Quilty as charged: Ben Quilty exhibition bridges the wonderful and the abhorrent

Quilty is the biggest show in town, as John Neylon reviews the first major survey of Ben Quiltys work. Churchill described success as stumbling from failure to failure with no loss of enthusiasm. Now why should that thought come to mind when reflecting on the art of Ben Quilty? By any measure, his progress to date has been entirely successful. The artist won in 2011 the Archibald Prize for his portrait of Margaret Olley and in 2009 the Doug Moran National Portrait Prize for a painting of Jimmy Barnes. He was awarded a Brett Whiteley Travelling Art Scholarship in 2002. He has presented a significant number of solo exhibitions and been included in many survey exhibitions and biennials. His work is held in the National Gallery collection and those of almost all Australian state art museums. Most recently, he has been honoured with a major survey show, Quilty, recently launched at the Art Gallery of South Australia (curated by Lisa Slade). The exhibition will subsequently tour to Art Gallery NSW and Queensland Art Gallery. Critic John McDonalds eye brow raise on the AGNSWs feting of Quilty, aged 46 (when senior artists Charles Blackman and Robert Dickerson both died without a retrospective in their home city), makes interesting reading. Then again, no other artist bar Brett Whiteley has been given the honorific of an opera based on their life and work. The Australian Opera production of Whiteley will be staged at the Sydney Opera House. But if Quiltys trajectory maintains its upward thrust, he may one day be so celebrated. A recent photo shoot (Good Weekend cover) showing the artist in Pasolini pose with a barbed wire crown might give a hint of how some librettist may one day mythologise him.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) This is an impressive level of recognition for a creative talent that has barely begun to hit its stride. Add to this the loosening of the art worlds grip on the Quilty narrative as the wider Australian community picks up the story and claims the artist as one of its own. This is rare but it does happen. Tom Roberts and Arthur Streeton, then Hans Heysen, gave expression to a sense of national identity through pastoral landscape. Sidney Nolan and Arthur Boyd gave utterance to the soul of a nation beginning to reflect on its inner life. Brett Whiteley riffed off 1960s counter culture vibes and Kathleen Petyarre created magic carpets of country that invited the nation to get on board. A sense that Ben Quilty may be destined (or expected) to face such a responsibility was evident at this years Adelaide Writers Week when the artist held a large crowd captive with his articulate description of how he sees his practice relating to wider community issues and aspirations. The audience was primed. Through extensive media exposure his credentials as an activist artist became well-known. In 2011 he worked as an Official War Artist with Australian troops in Afghanistan and subsequently created a compelling series of portraits of service men and women grappling with the trauma of what theyd experienced. His well-known life vest series came from the experience of witnessing refugee camps in the Lebanese Beqaa Valley and of walking life vest-strewn beaches on the Greek Islands of Lesbos and Chios. Then there was the close association with Muryan Sukamaran who was sentenced to death for drug trafficking in Indonesia. Audiences for Quilty the exhibition will be well served by a comprehensive representation of such images and a solid representation of formative work such as the cars and budgies which declare the artists mordant wit and subscription to bold gestural painting. But far more lies in wait, particularly the interlocking and tangled compositions associated with the Last Supper series.

Self Portrait, the executioner, Ben Quilty, 2015, Southern Highlands, New South Wales, oil on linen, 195.0 x 140.4 cm; Gift of the artist 2015. Donated through the Australian Governments Cultural Gifts Program, Art Gallery of New South Wales, Sydney (Photo: Mim Stirling) There are some safer havens in the form of Rorschach blot-mediated images, particularly the familiarity of The Island, seen in Dark Heart, the 2014 Adelaide Biennial of Australian Art, Evening Shadows Rorschach after Johnstone (a somber riff off AGSAs most popular painting of all time Evening shadows backwater of the Murray, South Australia) and, another panoramic work, Fairy Bower Rorschach. In the light of recent media focus on massacre sites in Australia, this particular work, referencing such a site, an idyllic picnic ground on Gundungarra country where in 1834 Aboriginal women and children were reputedly massacred, sends a chill through the room. These works are visually engaging even if they hold their dark secrets close to their hearts. Viewers I noticed spent real time looking at them as if engaged in a Wheres Wally? battle of wits to find the hidden details. These images help to explain Quiltys sustained use of the Rorschach blotting technique of transferring, by folding and pressing, a positive image of thick, wet paint onto the other (blank) half of the canvas. As any respectable Rorschach blot will tell you, its all in the mind. But in the company of other works dwelling on hurt and misery they carry out their duties as gates to hell with disconcerting ease. The Rorschach spin is useful as a slingshot into the grotesque which, in Quiltys imagery, acts as circuit breaker between the wonderful and the abhorrent. Every time he distorts a face to breaking point or subjects a figure to dismemberment there is an appeal to ones inner sense of dread and the voyeur within. Whenever a head or a landscape pulls apart to morph into a Siamese-twin-like thing the grotesque comes sniffing around. From another perspective this recourse to the grotesque as a default within Quiltys imagery may act as an escape valve to relieve what must be for the artist a build-up of almost unbearable tension as he coopts his feelings to the tasks at hand. The grotesque always threatens to erupt as hysterical laughter. In a number of works, particularly faces with extruded noses and goggle eyes, the shriek of horror comes from the lips of Shrek, the unlikely hero. Time for Samuel Johnson, He who makes a beast of himself gets rid of the pain of being a man. This extensive exhibition, with its mid-section line-up of large-scale works that tend to tower over the viewer, oozes with visceral, oleaginous energy. We are not, as a rule, used to dealing with very large paintings, particularly figurative images calling down fire and brimstone on the worst the world serves up. Australian artist Richard Lewers The History of Australia is another, recent example. From an historical perspective, consider the status of the big picture in the Victorian era when panoramic vistas of everyday life by William Powell Frith, such as The Derby Day and The Railway Station, drew large crowds. In the modern era, some in Adelaide may recall being transfixed by the Hiroshima Panels, exhibited at the Art Gallery of South Australia in 1958. So, in one sense, Quilty is winding back the hands of the clock to a time when large paintings (and any paintings for that matter) addressed matters of social concern. The way-points in this reverse journey are many, so perhaps stop at Goya or youll be crushed by it all. My recommendation take a good hard look at Thodore Gricaults The Raft of the Medusa before climbing down into the darkened chambers of Quiltys Dantean journey into the mind. Medusa throws up the same questions: why them not us? Will justice be served?

Installation view: Quilty featuring Self-portrait at 43 and The island by Ben Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) From here, segue to the gate-keeper of modernitys limner of the human condition, Francis Bacon, who, when he visited a butchers shop, thought it surprising that I wasnt there instead of the animal. Look out for some Bacon references in the bared teeth of one self-portrait. If curious about this ambient link between Quiltys and Bacons agendas, consider this observation by artist Stacy Makishi. In my response to Francis Bacon, I wanted to push my explorations toward finding a transgressive kind of beauty. I wished to paint a muscular poem; a wet poem with saliva, sweat, tears and body fluids a poem that pushed ones body through a glass of forbidden desire. Pushing ones body resonates with Quilty (the exhibition publication) essayist Justin Pattons comment that the artist likes to chase the moment when his forms begin to push back. And thats what his monumental Last Supper images do when their interlocking sweeps of pigment and advancing/receding planes of colours and shapes (looking like a gelati Leger painting sliding towards the footpath) trap the gaze and hold it. Abandon all expectations of subject or social concern (as in the nearby feral polemic (Patton again)) of Quiltys rage at Trumps ascension, and surrender to the paint and the rush of creating something that is primarily about and of itself. In this regard, Quiltys priorities and methodologies line up with artist Robert Motherwells take on arts end game. For him it was all about managing feeling. To find and invent objects whose felt quality satisfies the passions that for me is the activity of the artist No wonder the artist is constantly placing and displacing, relating and rupturing relations veering towards the unknown and chaos yet ordered and related in order to be comprehended. There is art world commentary on the Quilty dilemma the risks of overpowering the art with the polemic and so on. While the artist continues to follow where the medium leads there is every chance that his creative journey will continue to be sustained. So back to the paint and Churchill. The walls of paint overpower almost every other consideration in this exhibition. Perhaps the best analogy to leave you with is that of the solo climber, clinging to the sheer rock wall with only the pressure of a thumb or a toe between the climber and death. In this situation the risks are beyond comprehension. No. Ben Quilty isnt facing such life and death decisions whenever he goes in to the studio. But the manner in which he traverses his canvases is high risk, with the thought of failure always needing to be countered by boundless enthusiasm.

Installation view: Quilty, Art Gallery of South Australia, Adelaide, 2019 (Photo: Grant Handcock) Quilty Art Gallery of South Australia Until Sunday, June 2 agsa.sa.gov.au https://www.adelaidereview.com.au/arts/visual-arts/ben-quilty-exhibition-review/

[saleggdbsneakers-blog]

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