#the story writes itself!!!!

[chamaleonsoul]

no shade to Cassian and Nesta, but i'd have much rather read this story than ACOSAF

[orcboxer]

those first couple weeks after escaping a time loop have gotta be disorienting as all fuck. all those little cues that used to tell you what's about to happen are now triggers that cause you to brace for something that isn't coming. you have to relearn the permanence of death -- hell, you have reacquaint yourself with the entire concept of finality altogether. everything keeps changing but it never changes back and you keep having to remind yourself that this is normal. "it won't reset anymore," you echo to yourself, over and over and over, like a broken record, like you're still trapped in a loop, like someone who escaped the time loop but was doomed to bring it into the future with them

[inbabylontheywept]

i did wrestling in middle school. on one hand, i was actually quite good at it, which was nice. being good at any sport was a new achievement for me. on the other hand, i was bi, and i was trying very hard not to notice that i was bi, and getting folded into knots by very kind, very muscular dorks made that task somewhat difficult.

adding fire to the problem was that my parents and my grandparents wanted to watch my matches, because they were very proud that their Gangly Nerd Son was actually Sporting, and they wanted to cheer me on. which would've been sweet and all, but if there are four people you do not want there during a key part of your Burgeoning Sexual Awakening, it is your mom and your dad and your grandma and your grandpa.

right? i mean, imagine some guy's got your head in his armpit, and you're going you know, old sweat smells bad, but fresh sweat has a sort of and then you make eye contact with your grandpa in the stands and you remember you're swearing spandex so if you pop a boner people aren't just going to be able to see the outline, they're going to be able to count the veins, and the only way you will be able to restore your family's honor after that would be by moving to siberia and renouncing joy, forever. that, or lift your entire body up by your kneck then twist 180 degrees without paralyzing yourself.

it’s a lot of pressure, is what i’m saying.

still it did motivate me to win my matches really fast. because i was so tall and skinny, i was stupidly good at the double leg takedown, and then once someone was knocked down, i'd just do the half nelson and kind of flip em over for the pin. then the ref would count to three and i’d win. EZPZ.

i had one match where that went great. won in the first ten seconds, sat back down, and prepared myself for a good hour or two of doing fuck all. didn't even feel bad the parents/grandparents were gonna be bored. the matches went up from me in 5 pound increments (i was in the 115 lbs division) and it was going great until we got to the 145 lbs division. the other school's wrestler stepped onto the mat, and she turned out to be a girl so our guy flipped, because for straight guys, wrestling a girl is not a pleasant experience.

i'm not entirely unsympathetic. my experience wrestling dudes was definitely a little traumatic. but also, i dealt. guy could've dealt too. instead, he refused to wrestle, and the coach went - fine. not even worth fighting over.

so he went to the 140 pounder, and that guy said, nosir, my mom said mormons can't wrestle girls. next guy down, 135 pounder, now he knew he could pull the same card and thus did. 130 pounder, 125, both tapped out. he got to the 120 guy, and that guy was catholic, but he said he was considering being mormon, and thus would have to pass. as a precaution.

coach blew up a little at that. he said "is there anyone - anyone - on this entire goddamn team that is willing to wrestle a girl?" and then he pointed at me and said "YOU. MAT. GO."

and i'll be real, if i'd been paying more attention, i'd have pulled the mormon card too, but i'd just been putting all that audio into a buffer file because i was reading, so i was halfway across the mat before i even processed what had been said and by then it was too late to turn back.

still i had a plan. and my plan - my beautiful, perfect plan - was to do what i'd always done. tackle, flip, pin, win. sit down. read. bore my family to death. move on.

i got the first part right. she was bigger than me, but she wasn't taller. just an incredibly stout woman. god built me like a snake with glasses, just as he built her like a combat cube. the problem was the half nelson. soon as she was down, i tried hooking my arm under hers from behind and for both genders, the defense for this move is just clamping your arms really fucking tight against your sides. if you're a guy, that's whatever, but if you're a girl - especially if you're god's chosen combat cube - that pins your opponents hand right against your boob.

so, i got the hook in, she clamped, my whole arm pressed against something soft, my coach was yelling THE HALF NELSON. BABYLON! JUST FINISH IT! FINISH THE HALF NELSON! and i was just trying to press hard enough to finish, when then my brain went

...oh.

and i flipped out. of course i flipped out. i like girls, and touching a boob is an elemental experience, and i was not ready. i was not prepared. i had not committed the sacred rites. i recoiled like i'd just brushed my arm against the surface of the sun, stood up, and backed away. nobody in the room knew why i'd given up. all they saw was me, right about to win, suddenly flailing around and scrambling. so everyone started screaming at me to just get the half nelson again, and i couldn't really yell back there's a fuckin' boob in the way and it was very distressing, and the only way i could think of to make them stop was just doing it over again the right way.

so i did.

i hunkered down and prepared myself for Wrasslin' Attempt #2: The Sequel.

i knocked her down again, EZPZ. i went for the half nelson again, but she knew what i was about to do so she super clamped, and i knew she was gonna super clamp, so i wound my arm back like a pop-eye cartoon punch before swinging my arm through the gap between her bicep and her side, but the amount of time i spent winding back super signalled what i was about to to do, which gave her time to clamp even harder, which somehow redirected the entire force of the popeye punch to the bottom of her bra.

it spat out a single boob the same way an action hero might spit out one single tooth after getting a solid crack across the jaw. as if to say:

*ptooie.* "that all you got?"

i did not actually see this. my experience was that first there was an arm, then there was a bit of boob, but i was braced, i was ready, forward at all costs, tatakae motherfuckers, and then the boob went away, and i didn't know where it went but my team, and the audience, and everyone who was in front of me, they all gasped like i just kicked them in the stomach. except for my coach. he was behind me, and thus one of the four people in the room who did not see the boob. now my mom, my dad, my grandma, and my grandpa, they all got flashed but nooooooo, coach thunderbutt was behind me, and he didn't see shit so he was still yelling NOOOOOO BABYLON WHAT ARE YOU DOING JUST FINISH THE NELSON! GO FOR THE KILL! BABYLON! BABYLON!

but i did not go for the kill. i stood up and she stuffed her boob back real fast, and we just kind of circled each other awkwardly until time ran out and i won on points. that's not technically allowed, but the ref had some mercy on me.

my coach did not.

i barely had time to sit down before he strode over to the bench to chew me out.

"babylon," he said, in that very calm way people get when they're too pissed to yell. "why didn't you pin?"

and i didn't know how to say well coach, i tried, but there was a boob, and it kept getting in the way, and my mom was watching, and so was my dad, and so was his dad, and his mom, and god (like bible god) and that's a can of worms because i'm pretty sure he was already mad at me, and i'm wearing spandex, and i think i might have to move to siberia, so instead i said

"i uh. i forgot how to do the half nelson."

which is actually impossible. forgetting how to do the half nelson is like forgetting how to swallow your spit.

and he looked at me, like i was the dumbest person in the entire world, and i looked through him like i'd just survived my 250th day in a trench at verdun, and he said: fine.

fine.

but we're all going to practice it for an hour tomorrow because you forgot.

and then he left.

and my buddies had the gall to be salty about it. i got so many comments saying "dude, why didn't you just tell him the truth?" and i said "you can if you care so damn much. you could've wrestled the girl too. maybe someone else should do the hard thing today."

but they didn't. so the next day, we did an hour of half nelson drills, and i spent a decent amount of time getting thrown around the mat, and it was pleasant in exactly the way that i hated and the year after that, to the surprise of everyone but myself, i quit wrestling and joined the trivia team.

and if you want more reasons to love my mom, my grandpa joked after the match that i might have to talk to my bishop about it, and my mom told him he would be allowed to make jokes after he stood in front of a crowd of 110 people in spandex underpants while wrestling a woman that was not his wife.

he paused for almost five seconds after that. then he said: aw. hell. sorry babylon.

and i'd have preferred my apology from god, but getting it from him was pretty good too.

[redshoes-blues]

By the way, Will is explicitly written not only as a gay character who is in love with his best friend, but also as a character who grew up believing that he’d never fall in love. He’s someone who still believes that he doesn’t deserve to be loved, because he feels like his feelings are a mistake. This isn’t the type of character arc that will end with him watching the only person he has ever expressed interest in, the boy he’s in love with, be with with someone else. That wouldn’t be satisfying for viewers, wouldn’t make sense for Will as a character, and it would be needlessly cruel. In a story focused on demonstrating why society’s outsiders deserve love and acceptance, he’s going to find just that. It’s the only end for him that fits with his arc and the show’s narrative themes. To have it end otherwise is terrible writing.

[strawberrystepmom]

cw children, cw families. gojo and f!reader were idiots in love and they are now married and have a baby. my effortlessly good painter gojo hc won out over being normal in my brain today so yeah. reader is referred to as mom/mama/mother and princess, satoru makes a joke about readers breasts. wc 1.1k

Your morning has started far quieter than they usually do.

The day is overcast, no sunshine through your floor to ceiling bedroom windows, but you don’t mind. It feels good to embrace the cloudy days that have come with the changing of seasons, no harsh light to shock you awake. That job will be for your identical menaces in the coming months, the gummy smile of your morning person nine month old and her unabashedly obsessed father Satoru always eager to be your twin alarm clocks with their giggling and playful babbling at each other.

There’s nothing they love more than giving you the gift of four identical blue eyes blinking at you while you come to your senses every morning. You can almost admit aloud that you’ve become a morning person since becoming a parent, the delightful giggles of your daughter giving you the motivation to conquer anything and everything you can.

For today though, you wake gently, softly rolling from your side to flat on your back but something feels off. There are no hushed giggles, no silly songs being recited with children’s show host precision.

Your bed is empty and quiet and you feel…sad. Perhaps in the past you would’ve found this to be a luxury - no freakishly long limbs of your husband starfished across the bed to keep you pinned to it, no baby to tug at the earrings you forgot to take out last night, but instead it just feels like a less welcome start to the day.

Lingering in bed doesn’t feel good so you roll again, dropping your legs over the edge and sliding your feet into your waiting slippers. Scuffing across the floor, you yawn and stop in your tracks hearing voices from inside Satoru’s closet.

Well, a voice and some baby giggles, anyway.

“Can you say mama?”

Leaning against the door frame of the walk in, you stifle a laugh listening to your husband babble at his little girl who babbles back excitedly. Peeking around the corner, you see him standing in front of the portrait of you that he painted on your 24th birthday, little babe held to his chest and leaning her head on his shoulder.

“That’s her, that’s right. Your perfect mom.”

He sighs and your heart squeezes watching the two of them sway side to side, your baby who is growing into an independent toddler every day reaching out as if she recognizes your face. You’re sure she does, actually; the painting is an impeccable likeness and it still frustrates you 6 years later that he managed to become so good at a craft you’ve spent your life working on in less than a month.

Someday you’ll tell her the entire story, your version of it anyway. For now you’re content to let her father tell his side considering it was one of the most grand and romantic gestures he had performed at the time in an effort to show you how serious he was about your relationship.

“Listen, little girl,” he starts, unknowing that he has captured both of your attention. “I know I’m going to have to tell you this again eventually but do not ever bring a man or woman or anyone else into this house that loves you less than I love your mother.”

She coos at the sound of his voice and he chuckles down at her, kissing the downy white hair atop her head.

“I mean it. If they won’t stay up for four nights straight to get a start on painting your nose from memory, leave ‘em behind.”

With this, you giggle and the attention of both of your menaces is captured. Your daughter squeals from over Satoru’s shoulder, holding one little hand out and making a grabbing motion and he copies her excited babbling with his own.

“My little tricksters snuck out of bed this morning!”

Grinning, you cradle your little girl against your chest and kiss her temple, inhaling the clean smell of her shampoo and skin. She’s been bathed and everything.

“You’re the best.”

You feel the need to remind Satoru at this moment and he grins, bending to give you a good morning kiss.

“Duh.”

Giggling, you let your wiggly daughter settle herself and the three of you stand in front of the painting. You recognize the younger woman permanently captured in it, the soft lovesick look in her eyes, and it amuses you to know he took extra time to capture you exactly like that. Hopelessly in love.

He could capture you using the same medium and you’d look identical to how you did back then - utterly stricken.

“Did you really stay up practicing for four nights?”

“Princess, I stayed up practicing for four weeks.”

You snort, looking up at him from the corner of your eye.

“There’s no need to embellish now, you’ve already won me over.”

He shrugs, pulling the two of you close to his chest. He leans over his little family, cheek resting against the top of your head.

“But what if I never want to stop winning you?”

You reach up and brush his hair off of his forehead affectionately. Every touch you give him is full of love and every glance carries tenderness.

There will come a time when your daughter will be old enough to gawk at the love the two of you have for one another. Maybe she’ll stick her tongue out and roll her eyes just as you remember her father doing more than once or perhaps she’ll simply smile and hide her face in the collar of her shirt, dreaming of a love like what’s in front of her someday.

“I mean, I could paint you again. You are coming up on the big three oh and I have to say that a few things have grown since back then if you know what I mean.”

He waggles his eyebrows suggestively and drops his voice suggestively low. You flick him on the forehead and laugh about it, your daughter joining in on your giggles as a nine month old is apt to do.

The thing you hope she’ll understand the most is that sometimes love isn’t just big paintings and grand gestures and sweet looks. It’s being grounded enough to give each other a hard time when things are good and a good time when things are hard.

You are fortunate enough to have the best of everything with her father.

“Let’s go make breakfast, Monet.”

You turn on your heel and your husband follows closely behind, small steps to match your own. He looks over his shoulder one final time to look at the painting of you on his closet wall and he smiles, soft and warm.

“Whatever you say, my muse.”

[whomeidontknowthem]

Imagine the moment of breaking.

When everything is so much -- too much -- and something snaps. All the masks and appearances, shoulds and shouldn'ts cracking apart under the pressure, until there's nothing left but the pure overflowing emotion.

It's so hard to fully understand someone. We all are complex machines, driven by thoughts and feelings and needs and fears and pasts and dreams, so much, all interconnected, all hidden just beneath the surface. We can try to understand, talk and listen, watch and guess, share our stories and lives and explanations, but it is always just a touch not enough. No language can perfectly capture what it's like to be us. Even the longest essay can't be anything but a shadow of the intricate universe of thoughts and ideas inside someone's brain. No matter how hard you reach for true understanding, it is impossible, because nobody, ever, can know exactly what it's like to be you -- nor can you know what it's like to be them.

Until it all breaks.

Everyone who ever burnt their hand while cooking or broke something in an unfortunate fall can understand the agony of pain. Everyone who had a friend leave or an old toy break knows the emptiness of loss. Everyone who felt depressed and hopeless, helpless against the world, overwhelmed and tired and hurt, can see the tears and hear the sobs and remember themselves.

When we see a character break, watch their masks and words burn away in the fire of hurt and confusion, we don't need to think to know what it's like. We've all been there. We all know pain. We all had to go through something that felt like it could crush us.

What is the breaking point, if not the purest opportunity for connection?

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[bigskydreaming]

Imagine looking at a character whose entire premise is that in every stage of his life, he's made every version of himself into someone that inspires people to such a degree that EVERY SINGLE VERSION OF HIM has people wanting to literally follow in his footsteps in some way or another.....

And coming to the conclusion that like.....the most important things about him are the sum of all his trappings. His entirely homemade developed from scratch could not exist if not for what he already was and brought with him BEFORE crafting this newest version of himself trappings, with his greatest trait throughout all of it being his adaptability; his ability and willingness to roll with the punches and not try to simply weather any opposition or changes to his life but instead reshape himself as needed to better fit INTO whatever new shape his life and the world around him takes. All while managing to carry the most innate, fundamental and necessary aspects of himself from one version to the next. Thus every single version of himself is different but simultaneously every single version of himself is also undeniably the same person.

The strength of this character, to me, will always be that he can be so many versions of himself, he can become so many things, all without ever actually losing or discarding any of the aspects of himself he considers most essential, the things he's not willing to lose or give up just to keep going. Finding that road not taken by most, usually because most never even think to look for it as an option. But one that he's always able to find because the one trick he's mastered in his tumultuous life is threading that needle of not just digging in his heels in an unproductive way but rather being selective about when and where he makes a stand and decides "this is not a thing I'm willing to compromise about" but here are places and ways I can and will change and evolve and adapt in order to make it possible for me to hold onto these parts and keep them as they are.

And that's why its always so mind-boggling to me that so many writers can't seem to think of anything else to do with Dick Grayson other than invent some new reason for him to just....not be that person, or to like just take the character whose most basic fundamental trait he's NOT about to compromise on is willingly giving up his spot in the driver's seat of his own life.....and make him just a passenger in his own life and stories.

Dick Grayson at age nine....at age nineteen...at age twenty nine....the one core thread running through all versions of him is the only way he's standing back and letting you call the shots for him or putting him on the sidelines in some way is over his dead body.

HOW he goes about that, what that looks like, who he becomes and what aspects of himself he plays up at some times and what traits he lets fall by the wayside at other times when they offer less in service to his primary goal here....that changes constantly. He changes constantly.

But those changes are almost always (or at least they used to be/should be IN MY OPINION) made with the intention of keeping certain things about him or his life as consistent as possible.

That's the duality of Dick Grayson that I'm here for. The inherent contradiction of him that COULD allow for endless conflict and breaking new narrative ground in all sorts of ways if mined properly:

His eternal willingness to compromise....but only ever in pursuit of doubling down on the ways he's not willing to compromise.

Forever walking that tightrope in ways that only a kid born and raised in a circus could ever hope to.

[tightjeansjavi]

are we down for like…really really dark and manipulative dark!joel? Bc—

[harlowes-home]

Honestly the sheer hatred for the Minecraft movie trailer and simultaneous mini resurgence of people talking about mcsm has me going back to that game.

Replaying it now and. I’m gonna sob I didn’t realize how much I missed it

[send-me-a-puffalope]

just watched the new ghostbusters movie with my friend and truly, awkward teenage lesbians will both end and save the world.

[googleeyes]

I love it love it love it when the characters in Dracula start reading the same stuff we've been reading it's like Yayy Book Club :) Tell me more about how much you love Mina

[baba-the-fool]

I’ve been obsessed a lil with my Tav(Phoebe) and everyone’s favorite vampire

[iamnmbr3]

JK Rowling: You can tell Harry loves Ginny because his chest monster gets jealous whenever he sees Dean.

Also JK Rowling: Anyway here's a whole paragraph of Harry hating on Pansy for having the audacity to stroke Draco's hair and look like she wants to hold his hand.

[graegrape]

gregory edgeworth is such a conceptually funny character. he's a hero he's the greatest father figure to ever exist and he's one of the most well-respected lawyers in history. and when he finally appears in-character in the games he says shit like this

[chasing-faith-and-fate]

Moon 32

Bonus

Moon 32 p2 | Moon 33