#to set something up or illustrate some point

[baronboar]

This time let's circle back to equity later and focus on some basics! What's up with TAILS?

Transcript under the cut:

1. First of all, why do the people in a setting even need tails? Humans don't have tails for a number of reasons, we don't chase prey so we don't need it to help us change direction like a rudder. We also don't climb trees so we don't need one for keeping hold of branches or for balance. But in a world of megafauna, maybe you need a tail to help you turn fast to flee? Or maybe a hunter needs a rudder to swim? But most importantly!! It's fun & helps your people feel unique!

[IMG: A an anthro rat and sea lion, the rat is leaning over in a similar fashion to the sea lion who naturally stands horizontally like a T-rex. This shows how they both can use tails as counter balance.]

Think about why species in a setting might have tails and perhaps you will think of something that adds depth to your world… For warmth, like a blanket! To increase visibility when foraging! For Combat!!!

[IMG Three tails, a big fluffy artic fox tail, a tall lemur tail, and a spiny draconic tail.]

2. Clothing is the main issue I see brought up when discussing tails & Furgonomics. many solutions can be found when looking at furry artwork, so look around! The only solution i'd say is not valid is…The belt under the tail.

[IMG: a tailed person from behind, their jeans are below the tail, you can see their butt cheeks.] [IMG: Two illustrations of human femurs with tails, the spine points them downwards.]

A tail would sit far too low to comfortably wear trousers there, imagine wearing yours below the pelvis at your hips? Even with a belt that is far too risqué! The best solutions all put the waistband above the tail and either have a hole for the tail or in the case of clothing like dresses and skirts allow the tail to sit freely beneath.

[IMG: Three different people with different garments. The first is labelled 'breech cloth', it's a Y shaped cut of fabric attached to the waist by a string. The second is labelled 'sarong', the feline figure from the side has a length of fabric around the belly with a length hanging down over their pubic area like a loin cloth. The third is the most like trousers/pants, the belt keeps shut a flap that goes over the base of the tail that overlaps with the tail hole.]

In my setting of Firnus different cultures have their own designs to fit environmental needs. The Gilter braghe is a sleeveless trouser designed with modesty in mind. compare this to the rav breechcloth, made for wearing under robes. Or avoid the tail hole all together and beat the heat with the pantheran quarter sarong!

3. So where else can tails be a problem…? CHAIRS.

[IMG: Two normal chairs, they have back rests but also gaps between that and the seat.]

most people are going to jump immediately to seats like these:

But i'm going to make my case as to why this would not be comfortable: See this dog skeleton to the right? When a quadrupedal animal sits, they don't rest on their upper legs or put any pressure on their fragile tails, Instead they rest on their hocks & hind feet! Why? Exactly as we discussed with trousers, tails wouldn't go out, they'd go down. As part of the spine, if you wanted to sit back in a chair your spine would be vertical.

[IMG: A dog skeleton from the side.] [IMG: A small concerned mustelid says: "Sitting on your tail would feel like bending your fingers backwards with your full body weight!"]

…So, I believe anthro species wouldn't want to put pressure on their tails by sitting on them… So we cut a hole out from the bottom and back of the chair, right? Yes! and no. Yes because when you're world building you can do whatever works best for you! But no because I'm not satisfied with this answer and I'm driving this PNG!!!! So how do we fix this? Let's see why chairs even exist in the first place!

[IMG: a chair like the ones above with a half circle cut from the back of the seat.]

4. The earliest (known) chairs come from the 2nd dynasty of Egypt during the Thinite period. These chairs were as short at the seat as 10 inches! …But like, Why? as a status symbol! These caught on as nobility wished to copy kings, and then the common people copied nobility. They're also useful to keep your clothes clean and prevent you from resting on cold or wet ground.

[IMG: Two desert foxes, one on a chair is joyfully sitting upon a chair, covered in gold adornments like a pharaoh. He says: 'I'm sitting higher! So I'm better than you!' The other fox looks concerned, wears no gold as she kneels and says: 'Hm.']

But we don't need kings!! If you want something for similar use without those connotations. Here's some options:

[IMG: Two people sitting on a bench and a large plush pillow as well as a rectangular cushion that's rolled up.]

Kneeling! While many cultures use this to show reverence, few still kneel for comfort.

Benches and stools! Before chairs became affordable for the average person simpler furnishings were commonly used. These don't have tricky tail holes to fumble around with and can be as simple as a plank.

cushions! A thick pillow or rolled rug would allow a person to sit cross-legged without their tail pressing down against a hard surface.

Think about who needs chairs, where they'd be used, and the answer will come naturally! Have fun world building!

[inkflowergarden]

Today I'd like to share some affirmations for healing and reclaiming the power of one's voice, something I've been working on since 2021 and it's been a quite a healing journey. Originally I wanted to "illustrate" all of the affirmations below but there are just to many so I'm just going to dump them here:)

💙I enjoy expressing myself in a creative way, it's invigorating, energizing, and rejuvenating. 🧿I am rediscovering the power of my voice.  💧I am finding new pleasure in expressing myself, in communicating, writing and speaking. 💦I genuinely enjoy communicating with the world, sharing my ideas, my unique point of view, my way of being in a fun, uplifting, inspiring way. 💎I am excellent with words. I am always speaking and writing the words of love, truth, wisdom. 💙I get to express myself freely, I get to be seen, heard, understood, acknowledged, appreciated. 🌌My voice is free, I get to have fun with words now. 🔵My voice is becoming my most powerful asset. 🔷I am becoming a new kind of an oracle for the new era. 🧿Whether I'm writing or speaking my words have value, worth, they are golden and divine, healing and activating, inspired and inspiring, uplifting and energizing. 📘I am celebrated for my communication skills. 💙When I speak or write, the stream of divine information is flowing directly through me, in an effortless, energizing way,  I light up from the inside out. 🔵I can share my inspired words with the world in a direct, straightforward, easy way and it's so much fun! 💦My message always finds the way to those who need it the most and who are ready to receive it. 💫I am safe to express myself now, it's safe for me to be heard.  🌠The truth sets me free. 🐬As I'm reclaiming the power of my voice I am healing all of the ancestral wounds of being silenced, censored, persecuted for speaking the truth. 🌊My voice is an instrument of healing.  ��My voice is the tool, the instrument, the weapon of truth and it won't be silenced or suppressed any longer. 🧿My voice is unchained, purified, liberated, free.

[novlr]

Weird question here: do I need to describe my character's clothes? Obviously I need to if it's important to the story or setting (if they're wearing a beautiful ruby gown at a ball, or maybe dirty and torn to indicate a fight) but just on a normal day? Do readers need to know what characters are wearing?

As writers, we often get caught up in the details of our characters. We describe everything from their eye colour to their favourite breakfast cereal, and it can be so easy to go overboard with unnecessary description. Describing a character’s clothes is a danger zone for too much description. It’s incredibly easy to get lost in the minutiae and forget the most important element when writing for readers; will they find this interesting?

The short answer

No, you don’t need to describe every piece of clothing your characters wear throughout your story. Like all elements of writing, clothing descriptions should serve a purpose.

Just like clothing in real life, descriptions of a character’s clothes serve a function. This means that your chose in when to describe things should be intentional; usually for the purposes of character development, world-building, setting a mood, social commentary, plot advancement, or symbolic representation.

When should you describe clothing?

Every plot is different, but there are some key moments in a story when knowing what a character is wearing or how they are dressed could be important:

When it reveals a character’s personality or status (e.g. do they favour muted tones or bright, bold colours? Do their clothing choices signify wealth?).

During important story moments or turning points if it highlights that moment’s significance (e.g. wearing black at a funeral, or an academic gown at graduation).

If the clothing affects the plot or action (e.g. Cinderella losing her glass slipper).

When establishing the time period or setting (e.g. historically appropriate clothing descriptions to put readers into the right headspace to appreciate your setting).

If it shows a significant change in the character (e.g. a shy character who likes to blend in suddenly switching to bright colours to display their newfound confidence).

When it symbolises something deeper in the narrative (e.g. a meaningful piece of jewellery, or a bride wearing her mother’s dress for her wedding).

When should you skip clothing descriptions?

Readers don’t need to know what your character is wearing at every moment of every day. The best way to think about it is, if it’s not important to the story, don’t describe it in detail. Usually it’s enough to know that someone is wearing a jumper on an overcast day, and it won’t actually enhance the scene to know it’s a plain black one. Here are some moments when it’s probably not all that important to go into too much detail:

During routine daily activities.

When the outfit doesn’t add meaning to the scene.

If it interrupts the flow of important action.

When it feels like “outfit cataloging” rather than storytelling.

If you’re describing clothes just to fill space.

Tips for how to effectively describe a characters’ clothes

Make it matter: Make sure your descriptions reveal something about the character, whether that be a personality trade, social or economic status, or their cultural background.

Illustrate change: Highlight a change in your character, whether that be something external or a internal, emotional change.

Create uniqueness: In the case of a protagonist, especially, the way they dress can make them unique. It can contrast them with other characters.

Set something up: Describing a character’s clothes can be used for foreshadowing a future plot point.

Be selective: You don’t need to describe a whole outfit. Instead, you can focus on one or two distinct pieces, items that have significance, clothing that affects movement or action, or elements that reflect the character’s state of mind.

Don’t info-dump: You should try to seamlessly weave descriptions into the narrative. Describe actions and interactions, use sensory language, have other characters react, or let clothing be a part of a scene’s atmosphere.

Common pitfalls to avoid

There is a fine line to tow when describing a character’s clothes in a way that is effective. And essentially, the pitfalls happen on either side of that line. You will either over-describe or under-describe. So what does that mean?

Over-description

Listing every item of clothing, regardless or relevance or usefulness.

Describing outfits for every scene. We rarely need to know what all characters are wearing at all times.

Including brand names unless relevant. Sometimes, a character’s brand loyalty might be important to the plot, but if it’s not, it’s unnecessary, and potentially alienating to readers.

Getting too technical with fashion terminology. Most readers won’t be au fait with the specifics, so make sure you write in a way that most readers can follow.

Focusing on clothes at the expense of action. Nothing will bring an action scene to a screeching halt faster than a detail dump.

Under-description

Don’t ignore clothing when it would be significant. If a character has undergone a significant personal change, then it would make sense to describe how that might also affect how they look on the outside.

Don’t miss opportunities for characterisation. A lot of a character’s personality can shine through their clothes, so if you’re telling the kind of story where that could be relevant, make sure you don’t miss those opportunities.

Don’t forget period-appropriate details in historical fiction. Research and authenticity are essential in certain genres, and clothing can go a long way to setting the scene.

Don’t overlook clothing that affects movement or action. The clothing a character wears can hugely affect the believability of a scene. If a character has just stepped out of a coronation and is dripping with heavy jewellery, it wouldn’t make sense for them to go for a leisurely swim.

Don’t skip descriptions that could build atmosphere. If it’s cold and dark, make sure your characters fit into that setting. Or you can use it to contrast your character and invert expectations (like a character who only ever wears shorts, even in winter).

When in doubt, ask these questions:

Does this detail reveal character?

Will it matter later in the story?

Does it help readers understand the world?

Is it necessary for visualisation?

Could the scene work without it?

Like all descriptions, clothing is a tool that you can use. Describe clothing when it serves your story and skip it when it doesn’t. The key is to make every detail count, whether you’re describing a ball gown or a worn-out pair of sneakers.

The bottom line is that you must trust your instincts and your readers. They don’t need a detailed inventory of every character’s wardrobe, but they do appreciate thoughtful details that enhance their understanding of your characters and story. When in doubt, less is often more, but make the descriptions you do include count.

[beneathsilverstars]

i know i was just complaining about stylizing loop's body but i figured that out and moved on and it turns out the head is so much harder 😭 i'm very happy with canon loop head and post-bodycraft loop head but the in-between phase is kicking my ASS and i can't just half-ass it bc figuring out the in-between head is the ENTIRE POINT of this WHOLE PROJECT....

i think part of the problem might be that unlike with the body, i do have an extremely clear idea of what is happening with the head physically and how it would look irl, it's just. a very difficult thing to draw. so i keep rejecting ideas that look good bc they're not my actual headcanon, but then also rejecting attempts to faithfully depict the headcanon bc they don't look good. head in my hands

[liddimothie]

Hello

I've got a story for you

Back in May, I wanted to show my appreciation to the trans artist community and practice expressions at the same time by doing an expressions sheet with all the big name trans artists.

I ended up burning out and falling short on this endeavor, but it wasn't entirely in vain, since I had completed 16 of the artists I wanted to complete.

Recently, I refitted the images for the sake of something I'm setting up, but having all the artists in an easier to comprehend format got me pondering.

I ponder no longer.

I know a few of you have had significant design changes since May, and I want to amend that at some point, but I hope this will still be a boon in this time where things seem bleak.

The artists illustrated, in no particular order:

@ayviedoesthings @assumptionprime @prettiestplatypus @koalaphoenix @azulcrescent @brooke2valley @darkmagenugget @kaylasartwork @nyxisart @bubbleverseart @deadeyedfae @welldrawnfish @felixfeliccis @tresenellaart @alienbycomics @komorebigold

Also as a bonus, the expressions template I had used, by @magicalpouchofmagic:

[valeriehalla]

I have gotten a lot of messages saying that they really love the presentation of CURSE/KISS/CUTE. Often the commenter in question can’t say what exactly it is about the formatting that they appreciate, but that it just reads well and looks good. Well!!! Allow me to bare my wealth of secret knowledge for you once and for all:

I sorta just did some research into book typography...?

Here’s something you should know about web development, alright: typography on the web is really, really bad. The tools we have at our disposal—HTML and CSS—are incredibly powerful, but they are set up to fight you every step of the way towards Good Typography. When you know what you’re looking for, you can fix all the common issues quickly and easily. But it’s not easy to know what to look for, because

problematic typography is overwhelmingly the norm on the web, and

good typography is invisible.

Here’s a screenshot from CURSE/KISS/CUTE episode 0:

Now, I don’t want this post to come across as prescriptive. It is not my intention to tell you, “This is what good typography looks like, so follow my lead exactly.” I made a lot of choices with the typography of my web novel: many of those choices would not make sense in other contexts. What I want to convey to you is what those choices are, so that you will know they’re available to be made.

I mentioned that the web “fights you” when it comes to good typography. What do I mean by that? Well, check this out:

This is how that passage of text renders “by default.” In other words, this is how a web browser would render that text without any input from me about what styles to apply. It kind of sucks ass! But it also looks pretty familiar, right? This is not that far off from how a lot of websites—even websites full of prose (looking at you, AO3)—render text.

I think the most illustrative thing to do here would be to walk you through my thought process and show you, step by step, what decisions I made to turn this unstyled text into the styled version you see in the novel.

So, first things first:

1. We have got to shrink that text column.

Computer monitors... are wide. They are wider than they are tall. They are so wide, and they have so many pixels. This means you can fit a lot of characters on them. If you wanted, you could just have a wall of characters from the left side of the screen all the way to the right side. Talk about efficient!!

You should never, ever, ever do this.

This is one choice that I actually will make a prescriptive statement about, because it’s supported by quite a lot of research: fairly narrow text columns are more legible. Specifically, research seems to support the idea that a width in the range of 50 to 70 characters per line is the most comfortable for people to read*. Every font is different, so it takes a little doing to turn that “characters” figure into a pixel measurement; I went with 512 CSS pixels for the maximum width of my text column:

Isn’t that just so much nicer to read already?

*A commenter reminds me that I’d be remiss not to point out that the research on column width legibility isn’t completely conclusive. You do want to limit the width of your text columns, but going over the 70 character-per-line recommendation isn’t necessarily the end of the world, and you might have good reasons to do so. I did not: as mentioned, one of my goals was to mimic book-style typography, and books by nature have fairly restrained column widths, on account of they’re books.

2. Picking a font.

I’m not going to give you the blow-by-blow on how I decided what font to use. The short story is that I asked some designers, and one of the recommendations I got was the free font Crimson Pro, which I took a liking to immediately:

It’s just an all-around attractive serif font, but one thing I really like about it for use in a novel is its highly-visible quotation marks. They’re just kinda jumbo! They’re real big! Easy to see! In a novel, those things aren’t just ornamentation. It makes a great deal of practical sense for them to stand out just a bit. It also has a fairly large x-height, unlike a lot of the more traditional options, which is good for legibility on a computer screen.

3. Adjusting the line-height

Web browsers default to a line-height of about 1.2em, which, as you can probably tell, is quite cramped. If you go and Google “optimal line height for legibility”, you’ll get a number of results right off the bat suggesting 1.5em. Sounds good! Let’s do that:

Well... hmm. That’s definitely an improvement, but between you and me, it actually looks a bit too spacey to my eyes. I wonder why?

I’ll cut to the chase: the 1.5em recommendation makes some assumptions about the font you’re using. In Arial, the letter “A” is about 0.6em tall; in Crimson Pro, it’s about 0.5em. That means that there’s no one-size-fits-all solution to spacing your lines, because different fonts have different amounts of empty space baked in. How annoying!

Let me tell you something about the kind of nerd I am. When I had this realization, I grabbed some books off my shelf and pulled out a literal micrometer. I started measuring the line-heights against various font features to see if there were any patterns I could spot in professional typesetting. Here’s what I found:

Almost every book on my shelf spaces lines such that the distance between one baseline and the next is about three times the x-height. How cool is that? I clapped my hands like a seal when I put this together.

Adjusting the line-height to match what I observed in the wild gives us this:

It’s a subtle difference, but to my eyes it feels just right. It’s almost like magic!

4. Paragraph spacing...

Let’s address the elephant in the room. Probably the most controversial choice I made with CURSE/KISS/CUTE’s typography was to opt for book-style paragraph indentation rather than web-style paragraph spacing—like so:

I did this for a few reasons:

It’s what I’m used to. I’ve read a lot of books, and this is just the way that books are formatted. I think for something aspiring to the title of “novel”, there’s value in making it look the way a reader probably expects a novel to look.

A novel has a lot of paragraph breaks in it. A paragraph in, say, an encyclopedia entry might go on for half a page or more; whereas it is unusual for a paragraph in a modern work of narrative prose to run for more than a handful of sentences, especially in any scene with dialogue. Because paragraph breaks are so common, spacing between paragraphs in a novel results in a lot of wasted space. Also, subjectively speaking, the additional space seems to me to lend an undue amount of weight to paragraph breaks. I’m just starting a new thought; there’s no need for a 21-gun salute, you know?

Having said that, here are some good reasons you might decide not to do paragraph indentation anyway:

Doing it right requires a bit of extra legwork. Notice how the very first paragraph in the image above has no indentation. That’s because it’s the start of a new section, and the first paragraph in a section traditionally goes unindented. This is an easy detail to miss, and it can be difficult to wrangle CSS into doing it for you automatically.

Web users don’t expect it. For the first decade of the web’s existence, there was no good way to do paragraph indentation; by the time CSS rolled around and made it easy, paragraph spacing had already become the norm. And while CURSE/KISS/CUTE may be a novel, it is also, specifically, a web novel!

But it’s my house and I get to make the rules, so I went with indentation. Incidentally, there seems to be a dire lack of research into the question of whether indentation or spacing is more legible for readers—but the data that does exist appears inconclusive at best. So, the choice really does come down to vibes.

5. The tragedy of justification.

You’ll note that one way in which I did not make my web novel look like a paper novel is the text alignment. It’s un-justified: the right margin is ripsaw-ragged.

This is because it is not possible to justify text on the web.

Oh, you can try. Look right here: there’s a CSS property for it and everything. Just turn on “text-align: justify” and...

Nightmare! The interword spacing on that first line is almost as wide as the indentation!

Reader, I’m afraid that your web browser is simply too dumb. That’s not the browser’s fault: robust algorithms for justifying text without creating these distractingly huge gaps between words have existed for many decades, and modern computers are powerful enough to run them in real time with little performance impact. It’s just, uh—nobody has ever bothered to implement them into web browsers. It is the damnedest thing.

I tried, I really did. You can mitigate this problem a bit if you enable automatic hyphenation, but browsers are unfortunately also kind of dumb at hyphenating. Firefox, for example, will refuse to hyphenate any word containing a capital letter, so any sentence with a lot of proper nouns in it is a lost cause. I tried manually inserting soft hyphens with a text preprocessor I wrote myself, but still these overjustified lines plagued me: when the text column narrows, for example on a phone, even hyphens can’t save you. The line-breaking algorithm is simply too naïve to optimize for well-justified text, and that’s not something you can fix as a web developer.

As a result, my heavy-hearted recommendation is to never use text justification. It’s just too distracting.

6. And then some extra stuff just for me

I added drop-caps because it looks neat and I made the ellipses spacier because I think it looks good when it, uh, when they are spacier. I think that looks pretty good that’s just my opinion though.

That’s all! Hope you learned something bye!!!

[thehmn]

I’m pretty sure I’ve made a post about this before but I think I need some gifs to illustrate my point.

I’m something of a dog nerd. I don’t know a lot about breeds but I love diving into dog language and it’s a common misconception that a dog wagging its tail means it’s happy. That could not be further from the truth. A wagging tail just means it’s excited and that could mean happy, scared, curious or angry. A wagging tail is the dog asking you to pay attention to it. A dog that’s trying to hide never wags its tail.

First off, happy. A wagging tail combined with soft loose body language is a happy welcoming dog.

Stiff body means the dog is on guard and you should only approach with caution. It’s trying to determine if you’re a danger so if you approach you should avoid making eye contact and talk in a friendly high pithed voice. If the dog’s body remains stiff leave it be. If it lowers its head and starts wagging its tail more slowly and loosely that means it’s softening up to you.

Basically if it goes from acting like the dog on the right to the dog on the left you’re in the clear.

For understandable reasons I have trouble finding a gif of a truly scared dog but closed stiff body language with no snarling but a wagging tail means fear and you should only approach with caution because fear can quickly turn to anger.

If a dog looks away or try to avoid making eye contact it’s terrified and if it suddenly turns to look at you you’re probably in trouble.

And of course anger. We all know what that looks like but most people are so focused on the snarling teeth they don’t see the wagging tail. If you do don’t try to rationalize it. Listen to your fear. It’s not playing roughly. It’s fucking angry and you should absolutely not approach.

Btw, I don’t want to get into all the tiny micro expressions that dogs make but if you see a dog making this face it’s not smiling. It’s terrified. If it’s not accompanied by soft wiggly motions it’s a very very scared dog that is trying to appease you and though it’s not always the case it’s most likely a dog that’s used to getting hit or beaten.

These are broad guidelines but you should always approach a dog you don’t know with caution. They are individuals who doesn’t always follow set rules for how to behave but if you keep this in the back of your mind you’re far more prepared for interacting with dogs than just “tail wag means happy”.

[see-arcane]

Our good friend Jonathan Harker is getting ready to leave for his business trip, Mina Murray is picking out a new journal, Lucy Westenra is charming a gaggle of smitten suitors, Abraham van Helsing is wrapping up his lectures, and Castle Dracula is prepping the guest room for a very long stay.

Which must mean that Dracula Season is here again!

 ‘Dracula Season’ being a catchall term for the voracious reading, memeing, writing, illustrating, analyzing, and general fun-having that’s ensued since Matt Kirkland’s project, Dracula Daily, caught on with us back in 2022. The Substack had already been running before then, but it sparked a conflagration as time went on and readers old and new to Bram Stoker’s Dracula—the actual novel, not Coppola’s fanfiction—devoured it in a way that scratched an itch none of us knew we had. Stoker wrote the book in epistolary fashion, clumping sections together as needed for the pacing without perfect adherence to chronological order. Matt went ahead and put all the events in order and proceeded to set up a lovely chain of emails that delivered entries on those correlating dates.

This style of organization and pacing turned out to not only make the virtual book club that much easier to engage with, but left space in-between to stew on the story and relate with the characters themselves. Every day of waiting in the book feels weightier when you have to pace and sweat and worry in tandem with poor Jonathan trapped in the castle or Lucy wasting away or Mina running out the clock before she loses the fight for her own humanity. And while we sat with the story or the lulls between Dracula Seasons, some of us found ourselves craving more of that ghastly gothic horror goodness to the point that we figured:

“Well. Why don’t I make something?”

And then we did! Tons of creative works have been churned out in the wake of Dracula Daily’s high. I figured that while we’ve still got a bit of time to wait for May 3rd, we should check out all this new stuff in the meantime. (Plus a handful of neat stuff that just clicks with the Dracula itch overall.)

So, in the interest of Dracula Season pregaming, let’s take a look at…

FICTION

Blood of My Blood – A recent addition to the Dracula Bad Ending AU pile, and definitely one of the most harrowing and addictive group-produced narratives I’ve ever come across, Blood of My Blood is the dramatically gothic currently-WIP work of @ibrithir-was-here and @animate-mush’s devious design. Give or take a heap of other fascinated folks (hello!) adding ideas to put more Horror into the Horrors that our cast has to face. The premise:

The Transylvanian climax went fatally sour and the Harkers were forced to shelter with Dracula himself, including their half-vampire son, Quincey. Cut to two decades later, and Quincey finds himself out in modern London, smitten with Lu, adopted daughter of Arthur and Jack, and diving into certain bloodstained old documents that detail the real history of how his parents came to live in the castle. Said revelations coming not a moment too soon, as a storm is coming for him straight from the Carpathians…

Dracula Daily Sketch Collection – An array of illustrations that captures every entry beat by beat, the Dracula Daily Sketch Collection by Georgia Cook, alias @georgiacooked was dished out over the course of the last Dracula Season. Some of the most fun character designs out there.

Fanfiction Spotlight: BlueCatWriter – With a whopping 99 works devoted to the novel Dracula (so far, the number may have gone up since I blinked), @bluecatwriter is one of the most prolific and talented fanfiction scribblers out there. Romances, nightmares, and overlaps between the two seem to crop up the most, give or take a crossover. Seems fitting that those blue paw prints have contributed to BoMB too.

The League of Extraordinary Gentlefolk – An ongoing comic in which all your favorite characters from the Classics section get together and tackle some perils ranging from the mundane to the monstrous. Started by the amazing @mayhemchicken and posted on @lxgentlefolkcomic, this series is a love letter to beloved Victorian era lit, with a spotlight on the two couples leading the League. Namely, the Harkers, ala Dracula, and the Nortons, ala Sherlock Holmes,’ “A Scandal in Bohemia.” Mina and Irene are the driving investigative and steering forces here, and still deeply in love with their likewise-infatuated husbands, just like in their canons! What a concept! Alan.

Without spoiling the full character list, just know there are going to be a ton of familiar faces roaming around before you finish reading the first arc. Said arc having conveniently wrapped up just a few days ago! Give the comic and its bonus silliness a look if you’re in the mood for a new comfort-adventure epic.

Re: Dracula – Probably the most well-known and incredible thing to come out of the initial Dracula Daily wave. This podcast is a full audio drama that follows the same format as the Substack, with episodes coming out in time with the entries themselves. And it has an unfairly cool soundtrack. They have a Tumblr with @re-dracula, a site and a Patreon to check out before the series kicks up again on May 3rd. (Also, keep an eye out for their next work, an audio drama in the same style with Carmilla.)

The Soldier and the Solicitor – Another treat from @ibrithir-was-here, this one involves a bit of time travel trouble. Quincey Harker has stumbled out of World War I and into the same dark forest where his father once fled for his life…then runs into the man himself, on that same night. Jonathan Harker, young and starved and lost, who has no choice but to trust this stranger while the Weird Sisters are at his heels…despite said stranger having no shadow. It’s a tasty emotional trek, already complete on Tumblr, but now it’s turning into a Webtoon. While Ibrithir is juggling a number of other stories, she’ll be redrawing spruced up versions of the comic and adding a few new scenes as things unfold.

Substack Stack – You know what’s better than one emailed-out public domain book club? A mountain of them. Just. So, so many of them. You’ll see that a lot of these are finished, but some are still ticking along. Either way, they’re all great picks if you’re craving some more old school lit to fill the void between undead emails.

Frankenstein Weekly – Frankenstein

Jekyll and Hyde Weekly – The Strange Case of Dr. Jekyll and Mr. Hyde

Voyage of the Nautilus – Twenty-Thousand Leagues Under the Sea

Letters from Watson – Sherlock Holmes

The Invisible Mail – The Invisible Man

Letters from Bunny – E.W. Hornung’s short stories of the eponymous Bunny and Raffles

Letters Regarding Jeeves - P. G. Wodehouse’s Bertie Wooster short stories, including the novel, Right Ho, Jeeves

…

……

………

…The Beetle Weekly – The Beetle (NOTE: Do Not Read This.)

The Vampyres – A novella I finally wrenched through the gears of self-publication as of March this year. Starring a petite but powerful paranormal cast, The Vampyres, centers on an unscrupulous undead fellow who finds that the revenants of the world are being mowed down by an entity known only as ‘Quinn Morse.’ Between trying to save his neck and figure out where the shadowy bastard came from, the Vampyre in question crosses paths with a new paramour and handy human shield in the form of a grieving Good Samaritan. He’s even polite enough to invite the Vampyre into his home while he’s in dire straits! Surely this will end well. All the info is available here and a little author site is over here.

What Manner of Man – This is the one made for everyone who started out hoping there’d be a real love story with our good friend Jonathan Harker and the Count when he was at his most charismatic. Where that sea of wonders dried up into a mire of horror, What Manner of Man by @stjohnstarling keeps things firmly on the romantic tracks. This Substack stars the letter-writing priest Father Victor E. Ardelian as he finds himself meeting with one enigmatic Lord Alistair Vane. It isn’t long before interest turns into intrigue and intrigue into undead intimacies.

The entire novel has been completed—along with multiple epilogues in the author’s Patreon, allowing readers to choose for themselves just how the uncanny romance plays out in the end—and the Substack now has a number of other gothic goodies piling up in the meantime.  

NONFICTION

Dracula Daily: A Unique Reading Experience: This one comes courtesy of @realwomenofgaming. It’s a short and sweet piece that amounts to a fun snapshot of the entire Dracula Daily ride. A cozy couple-minute read.

‘Dracula Daily’ is the One Substack You Need a Subscription To: Features my favorite Matt Kirkland interview. @mattkirkland, if you’re still floating around on here, thank you for dispatching our vampire newsletter again this year.

Dracula Daily is Tumblr’s hottest new book club: Alright, the ‘new’ part is worn out by now, but this one is still a delightful article to swing back around to. Two years on, this Polygon piece is a time capsule of those early months when people outside our bookworm bubble realized we were all happily receiving letters from our favorite classic gothic horror blorbos.  

“How Mina Murray Became Dracula’s Girlfriend” – Princess Weekes, if you ever read this, thank you, thank you, thank you. I am sending oceans of love and millions of rewatches to your video essay. If you haven’t seen it yet, “How Mina Murray Became Dracula’s Girlfriend” is one of the most refreshing and well-made breakdowns of both the title subject and numerous other issues that have proliferated in the public view of Dracula’s cast and plot as adaptations endlessly warp or outright bastardize the actual novel. An incredibly cathartic watch.  

Literary play gone viral: delight, intertextuality, and challenges to normative interpretations through the digital serialization of Dracula: A mouthful of a title for an even more elaborate article about the Dracula Daily phenomenon. This one is a full-on study that analyzes just what happened within the big bloodsucker book club surge and how its ‘wandering reading practices’ enriched the experience for participants.

 “The Undying Undead: An analysis of the Dracula Daily community for a theory of online community formation and interaction” – We have a thesis on here! Look at that! @sirangelothebestest’s MA thesis used our vampiric book club as the bones for a massive brick of an academic piece that definitely deserves a look.

…And I think I’ll go ahead and cap things here.

This isn’t everything I got recommended, but if I had squashed all of it in here, I think folks’ eyes would start to fall out of their head. I hope you can find something cool to comb through here. Or, if there’s something great I overlooked, tack it onto the list! We’ve got just two weeks to go until we’re off with Mr. Harker. Let’s enjoy our respite before those castle doors close behind us.

[art]

Creator Spotlight: @jdebbiel

Deb JJ Lee is a non-binary Korean artist based in Brooklyn, NY. They have appeared in the New Yorker, New York Times, NPR, Google, Radiolab, and more. Their award-winning graphic memoir, IN LIMBO, about mental illness and difficult relationships with trauma, released in March 2023 from First Second.

Below is our interview with Deb!

Have you ever had an art block? If so, how did you overcome it?

That implies I am over my art block, but I’m still in it! I think about Kiki’s Delivery Service a lot and how she had to stop doing a thing, and that you can’t really force it, and you have to let it come back to you. It’s a pretty humbling moment, realizing there is more to life than just drawing. I’ve been trying to consume other content like reading or watching movies—anything that is not drawing-related—and to trust that it will come back to me. I think not being afraid to do the small pieces before committing to the big pieces is helpful. Because big pieces are what I am known for, I dig myself into a deeper hole, thinking that each piece has to be bigger than the last one. So yeah! Relaxing and doing the small things before overcommitting to a big piece is the best way to go about it for me.

Which 3 famous artists (dead or alive) would you invite to your dinner party?

I feel like these are all artists that I have second-degree connections with! Jillian Tamaki, Victo Ngai, and Tillie Walden would be my picks!

What are your file name conventions?

…What file name conventions? I mean, I don’t have specific file name conventions, but I actually have a public Google Drive archive! But I usually put “djjl_whatever-the-title-is_final,” and I would always know it’s the final and legit version.

What is a recent creative project that you are proud of?

I did an illustration for the whiskey brand Johnnie Walker. It’s so wild because I only had four days to finish it, and it usually takes me a week and a half if I rush. And honestly, it’s probably one of my best pieces from this year, which is funny. It was for the Mid-Autumn festival, so I made it as Korean as possible.

How has technology changed the way you approach your work?

I only use my iPad to draw everything now, and if I want to pretend that I have a steady workstation, I’ll use my Cintiq. I still am not as comfortable on the Cintiq as I am on Procreate, but it’s still pretty solid and nice. That’s the good part about technology. The bad part about technology is how AI art has been messing things up for me. I’m currently in a lawsuit about AI art as a class rep. Some of my stuff got turned into AI art late last year, so I have to give a deposition at some point. 

What is a convention experience that has stuck with you?

Honestly, they’re all good! I feel like Lightbox Expo has been really nice because it’s truly been a convention for artists. I feel like that’s where most of my audience is, and they’re all around because their purpose is to be better at art. That’s where a lot of original artists do well because they’re getting art they’re inspired by, not so much fanart. I like the Lightbox Expo because it encompasses the pure love of art very well. 

Top tips on setting up an Artist Alley booth?

Use a Y axis, not just your X axis! Take advantage of it! Branding is also something to think about. It is definitely something I’m getting better at. Having an assistant is also very important. I’ve also heard that 8.5x11 to 12x18 inches is usually a good size for prints, but I also provide postcard-sized prints because sometimes people don’t want to commit to a larger size. 

Who on Tumblr inspires you and why?

You know this is so funny. I’ve been following @alicexz for over a decade on Tumblr and other platforms. I’ve followed her work since high school, and we’ve only recently become peers. I found her, and we met for the first time in real life, and she recognized me. And then I found all my drawings from when I was in my Alice phase, back in high school, and I was like, “Yo, this is when I was trying to be you so badly!” and she was cracking up and was like “Wow, this is so good!” It was such a sweet moment. I wanted to take a picture of her holding my drawing up. It’s really nice because now we’re peers.

Thank you so much for stopping by and sharing, Deb! Be sure to check out their Tumblr blog over at @jdebbiel.

[artsarasp]

You had people send you fics, but what are personally your fic recommendations?

Or fics you like in general or just find cool/neat?

WELL- First off you can always assume that I'm highly recommending any fic I've drawn art for, that's me pointing a neon sign at it and saying GO READ AND LEAVE A NICE COMMENT TO THE WRITER! I'm gonna go dig in my history to get some recs.

- "dumbstruck when you're tender" by pennydaniels This fic is SO good, I wanted to yell about it by making a drawing but I just couldn't decide what to draw. It's a timetravel fix-it fic where Liu Mingyan goes back in time and fixes the plot by joining Qing jing and basically spends the entire story making SQQ go "what the fuck is WRONG with this girl" .

It scratches an itch in my brain. 10/10 go read it.

"We should stick together" by pennydaniels (again <3)

As the author put it, SJ babytraps LQG without the baby. It's honestly so well written, (i want to personally break the face of SJ's Shizun) there's also a sequel fic where sj is de-aged and its so sweetttttt aaaaaaaaaaaaaaaaaaaaa

"held within the sharp and the curving" by corduroyserpent

I've read this the other day and really enjoyed it!!! It's Gongyi Xiao/Zhuzhi-Lang. Zhuzhi-Lang brings Gongyi Xiao back from the dead and its a bit of a mess and then it turns so tenderrr

"How To Train Your Empolyee" by ParueCake (MiraEyeteeth)

I think about this fic so much. It's so good. Shen Yuan is a dragon and he needs someone to help him take care of chores around the house, he gets a tiny terrified Binghe to do the job. But honestly, LQG steals the show for me (CALL ME BIASED, HE'S MY FAV) There one scene in particular that just gives me the biggest smile whenever I think about it and it's when SY and LQG are sparring and SY keeps yeeting LQG far away and he keeps coming back like a cat that likes to be thrown around. ALSO LQG TRYING TO APPLY A TALISMAN ON HIMSELF TO GET RID OF MIND CONTROL AND IT'S NOT WORKING BECAUSE IT'S JUST THE WIFE BEAM- IT'S SO FUNNYYYY Mira said something about writing a LQG pov and I'm staring longingly in their general direction.

"A person I can't recall" by milktan

Honestly, I could recommend all their fics (They are ALL amazing and the ARTTT) but this one scratches that itch in my brain that loves funny misunderstandings like these. You can sum it up as: yqy: oh, my poor shidi is so traumatized :( sqh: FUCK FUCK FUCK *TROWS A MOLOTOV* 10/10 amazing shenanigans

"Seamless" by elanor_pam

This one is just the first chapter but it's so good already!!! Timetravel fix it where we get a front-row seat as YQY absolutely TEARS into the Qiu's, just one chapter and it's already PEAK just for the absolute smack at Qiu Jianluo.

"Celestial Afterglow" by elanor_pam (again <3 )

This one is a weird one, but I had a lot of fun reading it. SQH saves the plot by setting up the weirdest unintentional voyeurism session ever. SQQ turns into a living CLAMP illustration, Xin Mo is defeated by the sluttiest flower in the realm, LQG unlocks the particle effect. Everyone has a great time and the OPM gets destroyed as a little treat <3

[saphronethaleph]

Literary Illusions

“It’s ironic,” Palpatine said, shaking his head. “He could save others from death, but not himself.”

Anakin frowned.

“And this is something the Jedi wouldn’t have told me?” he asked.

“Of course not,” Palpatine replied. “Is it a story you’ve heard?”

“Well, yes,” Anakin said. “Just now, from you. But not before then… and that surprises me, Chancellor.”

Palpatine shrugged. “I think you’ll find, Anakin, that the Jedi have not been telling you everything.”

“Maybe not, but… honestly, that sounds like exactly the kind of thing they’d tell me,” Anakin said.

Palpatine frowned.

“...what?” he asked.

“You know,” Anakin said. “Some Sith Lord works out how to bring people back to life from the dead, but his apprentice kills him and doesn’t bring him back to life because the Sith are inherently self destructive. If the two of them had worked together and been able to trust one another, they’d have been immortal.”

He shrugged. “It’s a good illustration of the inherently self destructive nature of the Dark Side, and it’s the dichotomy of how the Dark Side leads you to seek power in order to achieve goals that you then discard as irrelevant, because they’re not directly related to gaining power… hold on a second.”

Palpatine was a little distracted by trying to avoid mentally kicking himself, so it took him somewhat more than a second to notice what Anakin was doing.

“...Anakin?” he said. “Are you getting your comlink out?”

“Yeah,�� Anakin replied. “Going to text Obi-Wan, ask him what he thinks of the story. Maybe there’s some kind of detail I missed which makes it less of a good illustration of the different worldviews and mindsets of the Jedi and the Sith.”

The Knight shrugged, his thumbs tapping away at his comlink. “He probably knows it, he knows all of the old stories.”

Palpatine blinked several times.

“...don’t,” he said, then very discreetly scrambled for a reason why. “It’s the middle of a performance. We don’t want to interrupt them.”

“Yeah, yeah, it’s on silent,” Anakin replied, with a shrug. “Or vibrate. Did I put it on vibrate… hang on, Chancellor, I’ll make sure it’s on silent…”

He turned the comlink over, then a loud bwing sounded.

“Oh, right, I forgot to set it to do not disturb mode,” Anakin said. “Hang on… uh… yeah, there we go, I forgot I added all these custom modes. I’ve been missing a lot of sleep lately.”

“Perhaps-” Palpatine began, but Anakin spoke over him.

“Huh,” he said. “He says he’s never heard of it either. Wants to know where I heard about it, it looks like he’s really interested… or maybe he’s trying to tell me about a death stick vendor, he’s terrible with multiglyphs and he thinks he’s good at them.”

Anakin glanced at the Chancellor, hoping for some solidarity, then visibly noticed that the Chancellor was several decades older than him and abandoned that.

“Is there a book I can get the whole story from?” he asked, instead. “Obi-Wan is better at nuances, like I say.”

“That is not the point,” Palpatine said, trying not to get visibly angry. “The point is that there is a way to save your loved ones!”

“Maybe there used to be, but not any more,” Anakin shrugged. “Like you said, this was a Sith thing and the Sith are all dead. Well, unless General Grievous is a Sith who knows how to heal people, but I doubt it given how much he got hurt, and I’m not sure Dooku knew it either… hey, if this story needs to be publicized more then maybe we could have them do a play of that instead?”

Palpatine blinked several times, as he tried to keep up with a Jedi with possible undiagnosed ADHD and found himself discovering a lack of talent for podracing.

“What?” he asked.

“You know, a play,” Anakin explained. “Dramatic betrayals, lost loved ones, it would probably do numbers. It’d be better than this, anyway.”

He waved his hand at the ongoing performance of Squid Lake.

“...what is wrong with Squid Lake?” Palpatine said, before reflecting that that had really been a stupid question for him to ask and that he should have asked a much better one.

“Well, uh,” Anakin began, looking a bit abashed. “Actually now I say it out loud this might be really culturally insensitive of me, but to me this play might as well be eighty minutes of people boasting about having enough water to swim in.”

“It’s a ballet,” Palpatine told him, now completely having lost control of the conversation.

“It’s just a less scary version of Sarlacc Pit,” Anakin went on. “Someone tried to drown me in a lake once, because they thought I couldn’t swim, but floating on sand is much harder, you barely have to do anything to escape a lake. You just float.”

Very belatedly, Anakin caught sight of Palpatine’s look of total befuddlement, and shrugged.

“Watto was a lot of things,” he said. “But he had culture.”

Palpatine’s hands twitched, as he very seriously considered the idea of abandoning literal centuries of Sith planning and decades of personal political advancement in favour of stabbing Anakin somewhere it would hurt.

It was extraordinarily tempting.

“...hold on,” Anakin said, slowly. “I guess… the thing I’d like most at the moment is for… and that means… this is literally one of those times when I could fall to the Dark Side because of it, like Darth Plagueis.”

He bestowed a grateful smile on Palpatine. “Thanks, Chancellor! I need to make a call, I guess the ballet won’t mind.”

Palpatine was so thrown by the swerve that he couldn’t think of a way to stop Anakin in the few seconds he had.

“Love?” Anakin said, into his commlink. “I… think we need to come clean, because otherwise I’ll fall to the Dark Side.”

Palpatine’s eye twitched.

[thewickwheat]

I'm going to a post full details under the cut, but a short run down:

I've sort of vaguely mentioned this here and there but this year I'm forcing myself to go on a long hiatus. Its been something in the plans for years now, but I can't put it off any longer because 2024 was the worst wrist pain I've dealt with and I don't want to risk permanently damaging myself if I haven't already.

If you're waiting on a comm, don't worry! My hiatus won't officially start until I've finished them all up (estimating April-May to finish up everything), so just bare with me!

Character Sheet comms are staying open

If you're able and willing to support me during this break, please check out my shops or my Patreon!

Ko-Fi - Physical/Digital Merch + Donations

INPRNT - Physical Prints

Patreon - Process Videos and WiPs

Full details and extra info under the cut

So this has been a long time coming but this year I’ll be taking a long hiatus. This is something I’ve wanted to do for years but I can’t put it off any longer due to how bad my wrist pain was in 2024. I’m feeling incredibly burnt out as well and my turn around times growing longer and longer is a very clear sign of it. It also means I’ve had a growing anxiety that if I continue at this pace I will end up doing permanent damage to my body, if I haven’t already. Creating art is the one thing I know I want to do for the rest of my life, be that drawing for myself or helping other people see their visions come to life, and I don’t want to put that at risk.  

So I can’t put my hiatus off any longer and I’m making this year the start. If you are still waiting on a commission from me, don’t worry! I am going to keep working on them and my official hiatus time won’t start until everything has been finished up. I’m estimating April to May to get everything cleared off the table since I’m going to work at a steady pace. Character sheet commissions are going to remain open, they are not in high demand and I can put them in a queue and so should anyone have interest in one during my hiatus, it could be something I pick up when I need the extra cash. However all other types of commissions are going to be unavailable for the foreseeable future. 

I am aiming for a 6 month long hiatus at the least. If I can go longer I will aim for a full year break. Freelance and commission work has been my main source of income for over 10 years now, so during this time I may also look into getting a part time job so I don't have to rely so heavily on art, which will also affect how much I’ll be able to take on in the future. I’m not quitting art during this hiatus, I do want to keep drawing and creating! But I will be working at a slower pace, creating for myself, experimenting and trying other projects. I also have more merch ideas on the list to work on! I’ve got some plush designs I want to have made,namely a new Zenos plush that will have doll fiber hair that can be brushed and styled.

I will also design more tag style keychains with more XIV characters (like the Scions and other major NPCs), since people have really liked those a lot! I’ll also plan out some other ideas and maybe design some original design plushies or other merch. We’ll see!

If anyone enjoys my work and wants to help support me during my hiatus, please check out my available merch. I have prints on INPRNT, and a variety of items on Ko-Fi (limited prints, artbooks both physical and digital, keychains, stickers, etc.), I also have a patreon where I post process videos of illustrations. You can also drop donations of my Ko-Fi. I will be adding a goal that I’ll set at a high amount I don't expect to reach, just because I personally want a visual of donations or purchases during my break. Even small donations would mean a lot. If only 10% of my followers on twitter or tumblr bought a single Ko-Fi donation, it would be a substantial amount of money. I say this not to guilt folks into donating, but to point out small donations can still have a lot of power. And so I appreciate any support at all!

Thank you so much if you read this entire message. It means a lot to me and I hope a good long break means when I’m  able to get back to commission and freelance I’ll approach them with much more vigor and skill!

[sbeep]

Ok ok ok, who is Dawn, the tiefling? Can we get some history on them? I hope I'm not misunderstanding. Love your work!

No misunderstanding, you got it! Dawn is my paladin of Lathander OC, originally made for a pathfinder game that didn't pan out but as all rivers flow to the sea, my fantasy characters inevitably end up with a D&D/Forgotten Realms incarnation.

He's an Asmodeus-bloodline tiefling who was abandoned as a baby on the steps of a Lathander temple, the House of the Morning, and the clerics there took it as a great omen and portent that they had been delivered the blood of their enemy to strike back against the forces of evil~~. As such, they named the baby in the light of Lathander and raised him to be The Unbridled Glory of the Dawn.

Educated, trained, and conditioned to uphold Lathander's righteousness from the moment he could hold up a training sword, a huge amount of responsibilty and purpose was placed on Dawn's shoulders. He was raised to thank Lathander every morning that he had been delivered into the light instead of the infernal pits of 'his father's house'.

He and Evaric were squires together at the House of the Morning in Cormyr and they grew to be the best of friends. The companionship was one of the few personal outlets Dawn had in his youth even if he was subject to much stricter tenets than his human friend. Every moment of Dawn's life has been planned out and ordained in stone and scripture as the fire that overcome evil's flames.

With his identity so interwoven with the church, when Evaric left Cormyr it was a deep and personal blow to Dawn. It set him up with a view that his life and destiny was going to be a very lonely one, and he should take as much joy in Lathander's good works as he can.

Dawn is good at fighting, protecting, every bit the fairytale paladin and capable of being that destined sword to strike the forces of evil, but he would so much prefer to minister weddings, care for parents and babies as they're born, or simply walk through a festival of the arts sponsored by the church. But there's always some enemy of good to strike down, and he'll do it so others don't have to.

Tidbits:

Dawn's horns were shaped by the clerics to grow into the shape of a rising sun. The process stunted them and they will never grown longer.

Dawn paints beautifully. He loves to illustrate and illuminate new poems and stories.

His ideal profession would be as a midwife, because medicine and Lathander's dogma of new beginnings and rebirth are where he's found most comfort.

He is one of the happiest and most optimistic characters in my little D&D collection. He has a place, a purpose and meaning to his life that he cherishes (even if he doesn't cherish how many people and prophecies try to tell him how to live it.)

Dawn can be driven to the point of obsession when he knows something needs to be put right or anything needs to get done. You need a fearsome charisma roll to convince him to back down.

He holds the title of Morninglord in the Order of the Aster.

There is a statue of Dawn within the House of the Morning that he always remembers being there, but no one has ever told him if it was made before his birth or after it.

[ckret2]

In honor of the fact that this week we're back to present day, I present you a lovingly rendered illustration in which absolutely nothing of interest is happening.

Welcome back to that fic about human Bill Cipher being the Mystery Shack's prisoner, but like, it's a kinda chill prisoner situation now, chapter 79 (we updated the numbering). Nothing happens this chapter! They return from fishing, a goat bothers Bill, fish are deboned, Bill and Dipper experience a moment of common ground and hate it, Mabel misunderstands mermaid reproduction, Bill lies to Stan about Chinese philosophy, and Ford and Bill discuss the mysterious lack of pockets in women's pants.

I'm deliberately picking the most mundane parts of this chapter but seriously not a bunch happens this week. We're easing back into things after the roller coaster that was the Axolotl arc... and more importantly, we're setting up for next chapter.

####

When they'd parked at the shack, the Ramirezes got out of the truck with no trouble; but as soon as Bill stepped foot on the ground, Gompers was butting into his leg and bleating.

"Hey, what—?"

Gompers shoved his nose into Bill's palm and licked his fingers.

He jerked his fingers out of range. "Whoa, hairy. A little personal space. I had one snack for you, that's it."

Gompers stared at him reproachfully.

Well, if he wanted more, the nutrition pill Bill fed him before the fishing trip must not have had any ill effects. The pills passed the poison test; Ford hadn't been trying to pull the old "wrap a drug in cheese to sneak it down the throat of a dog or recalcitrant psych ward patient" trick.

Either that, or the pills were laced with something a goat wouldn't readily notice. Or Ford had only poisoned a couple and was willing to wait for Bill to do himself in at some random point in the future.

Bill decided to add the nutrition pills to his emergency supplies anyway. There might be a day when he'd need that food badly enough to risk it.

"Do I look like your private chef?" He pushed Gompers's nose aside. "Get outta here."

Gompers bleated petulantly and sulked his way toward the forest.

"Bill!" Mabel shouted at him from over the roof of Stan's car. "Why didn't you tell me you have a birthmark!"

"A—? What, you mean this?" He gestured in a line from his left shoulder to his right hip, following the path of the fatal wound that had cracked his soul in half. "Nobody told me I was supposed to!" Right, she hadn't had a chance to see the mark until the fishing boat got back, and then they were all distracted by the circling threat of taxpayer-funded eagles. She'd better not get fixated on his rebirthmark. Just talking about it made the cracked edges of his death wound itch beneath his shirt.

"It's cool! It looks like the Milky Way!"

Bill considered that. "Huh! Whaddaya know! I guess it kinda does." Just the thought that the crack in his soul was full of stars made it itch less. He smiled.

"I guess it's something you have in common with Dipper."

He stopped smiling. He caught Dipper's eye, they mutually grimaced, and Dipper tugged his hat down lower over his forehead and hurried indoors.

Bill said, "If you start calling me 'Milky,' I'll—" Well, he couldn't threaten to kill her, she'd never believe that. "I'll uncap all your markers and leave them in the sun."

"What! I wasn't going to, jeez."

As Bill caught up with Mabel—waiting for him out on the porch after the other adults had filed in—he distracted her from his heinous threat by poking her in the arm and saying, "Hey, I saw you make the catch of the day! Nice work, Shooting Star."

Her face lit up. "Yeah, look!" As they walked inside, she pulled out all her photos and shuffled through them until she found the one showing off her catch. "Isn't he amazing? He'd make beautiful baby mermaids."

Bill had just received a fleeting glimpse into a fantastical world inside Mabel's mind where mermaid reproduction was much more fascinating than it was in reality. He decided it would be a crime to correct her. "Boy, you're telling me."

He was trying to figure out how to casually work the suggestion that the golden trout was sacred to the Masons into the conversation when Mabel gave him a mischievous grin and said, "And I saw yooou talking to Wendy's friends. About yourself."

Bill's heart leaped into his throat. "You what? No you didn't. What?"

"Yeah you diiid! Telling them all about how you met the 'triangle guy'?" Mabel gave him the biggest most obvious wink in the history of unsubtle subtle looks.

"How...?"

"Oh yeah, didn't I mention?" Mabel said casually, examining her nails. "I'm psychic now."

Bill gaped at her as he mentally ran through all the possible timelines he knew of where Mabel gained psychic powers and tried to figure out which one they'd veered into. Had she gotten a wish out of the golden trout after all—?

She burst out laughing. "You bought it!" She stuffed the photos away, dropped onto the sofa, and pulled out her phone. "No, I'm in a group chat with Tambry. She's my meme dealer."

"Oh." Well, now he felt stupid. He knew about that meme chat. He griped, "You're playing dirty."

In response to this dire accusation, Mabel blew a raspberry. She held her phone up to Bill. "Look!" He sat by her to look.

Tambry had sent a message that read "u & ur bro looked sooooo cool out there (lol not)" accompanied by the video she'd taken of Mabel and Dipper trying to arm wrestle Bigflipper. Faintly in the background of the audio, Bill could hear Nate and Robbie talking: "Hey Robbie, think I could beat him?" "Pfff, no," then Tambry's much clearer voice, "Bet Wendy could."

And then his own voice, obviously talking twice as loud as the teens even though he was farther from the mic than Tambry: "Buuut anyway, yeah, I might've talked to the triangle guy a couple, several times."

Mabel's snicker drowned out Nate's response.

Bill shoved her head. "Hey, they're the ones that started talking about me! They were dying to talk about me!"

"Sure, Bill." Mabel elbowed him. "Hey, want me to see if I can get them to invite you to hang out?"

"Hmm! Is Tambry the kind of teen that isn't too proud to take advice from a 13-year-old?" Not that he didn't like the offer, but Bill could hardly accept Mabel's help if it would lower his coolness in the eyes of his budding worshipers.

"Oh yeah, she's fine! She commissioned matching gothy friendship bracelets for her and Robbie."

Then Tambry would probably go along with it. "Great. You're officially my agent now." 

"Yesss!"

The harder question was whether Ford would go with it. "Buuut let's hold off on arranging anything. I don't think my reputation would ever recover if they invite me out and I have to tell them I can't come out to play because I'm still grounded." He supposed if the teens ever met up at night, he could sneak out; but eventually somebody in the shack would desperately need to talk to him at 3 a.m., and once they knew he had a way to escape unaided he'd have no choice but to bail on the town and move in with his cultists before the Pines could lock him up again. His cult would be far more accommodating hosts—but that would set his progress back significantly. Besides, the self-professed Cipherwives were desperately clingy in a way that was only sexy for the first week or two before it started to get grating. He'd prefer to deal with them in short bursts.

"Right," Mabel groaned. "If you don't get out soon, it'll mess up all my plans!"

"Oh, yeah?" He was pleasantly surprised to hear she was up to some sort of mischief that needed his unique capabilities. "What kind of plans?"

"No kind until you're free." She frowned, chin in her hands. "How do we get them to okay you going outside more...?"

Bill could feel the muscles in one cheek work as his mouth twisted into a rueful half smile. "If I think of anything, you'll be the first to know."

####

"Heya, St—"

"Stay outta the kitchen," Stan snapped.

Bill froze with one foot through the doorway. "Whoa, you're really ramping up my food restrictions."

"No! I'm using a knife, I don't want you near it." He waved the knife demonstratively. He was currently deboning the fish they'd caught at the lake.

"Aww, so thoughtful of you! But you don't need to worry about me, I know how to handle myself around a knife."

"Uh-huh, that's what I'm afraid of."

Bill sighed loudly, leaned in the doorway, and crossed his ankles.

He watched Stan work for a couple of minutes. "Wow. You're so slow at this."

"Shut up," Stan said, squinting as he tried to pick the ribs out of his current fish.

"I'm falling asleep watching you."

"I'd like to see you do better!"

"I could do better! I could debone a guy in seconds."

"Ha."

"No knife. Just my bare hands."

"Ha!"

"Zhuang Zi wrote about the technique." Loftily, Bill added, "That's a Chinese philosopher, by the way, since I know  you don't know. See the trick is you've got to slide your fingernails into the gaps between the meat and the bone—"

Stan smacked down the half-deboned fish, gestured at it, and said, "All right. Then let's see you do it." He stared expectantly at Bill.

Bill stared back.

Stan kept on staring. He spread his hands. Well?

Bill said, "All right, get over here."

"Why?"

"So I can debone you, genius."

Stan paused, debating whether he was willing to call Bill's bluff and risk the possibility that he did know some kind of deboning magic; then he marched up to Bill, crossed his arms, and said, "All right. Do your worst."

Bill eyed him warily. "Fine. Hold on." He stuck the tip of his thumb between his teeth.

"What—what are you doing?"

Between gritted teeth, Bill said, "What do you think, Goofus? Getting a fingernail I can slide between your meat and bones." He pulled out his thumb to give it an irritated look. "Wow, this one's stuck on tight." Back to biting.

"Forget it." Knowing Bill, he really would bite off his own thumbnail just to prove a point.

"Too scared to risk it, coward?"

"No, I just need my bones today." Stan returned to the fish and resumed deboning. "Whaddaya want, anyway. Trying to get in the fridge?"

"No, I'm here about the fish." Bill pointed at the pile of discarded bits growing by Stan's elbow. "If you're not using the heads and spines, I want them."

Stan looked at him suspiciously. "What for?"

"Funsies."

"What?"

"Fun," Bill said, "sies."

"That's not a word."

"Fine. Secret esoteric demon purposes."

"Why would I let you take them for demon purposes!"

Maybe that hadn't been the best excuse he could have pulled out. He decided to double down on it. "Oh, so suddenly this household is prejudiced against demons?"

Stan could sense a looming stupid argument. He decided he wanted nothing to do with it. "Are you gonna use them to stink up the place?"

"Not deliberately."

"Are they for some... curse or hex or something?"

"Nope!"

"Are you gonna injure or kill anyone."

"I feel like I'm letting you down, Stanley! Tell you what, give me three minutes and I'm sure I can think of a way to murder you with a fish head."

"Just take the dumb things."

"So generous of you." Bill swooped in to scoop up the heads and spines (while Stan held the filet knife well out of Bill's reach) and, rather than ask Stan to open one of the cabinets for him, grabbed a couple of dirty bowls from the sink and a bottle of dish soap so he could scrub them himself. "Enjoy your fish mutilation! I know I will!"

He washed the bowls in the bathroom and half filled one with water—as much as it infuriated him, it really wasconvenient to be able to access the main bathroom without having to ask—and returned to his room. He tugged the console table from the wall to beside his sofa, set the bowls on it, and started picking the meat Stan had missed off the spines. (He wished he could still debone a man in seconds.)

He'd hardly cleaned a few ribs when he saw Ford ducking into the room a few minutes in the future. He sighed. Really? What did Ford want. Bill kept working as he awaited the arrival, but now he was irritated about it.

Footsteps trudged up the stairs; and Ford pulled open the curtain. "Bill—" Ford yanked shut the curtain. "Why! Aren't you wearing a top!"

"To make sure you never forget to knock before barging into my room again!" Bill pulled his t-shirt back on and called sweetly, "Come in."

Ford peeked through the curtain to make sure Bill had replaced his shirt and hadn't done something like remove his bikini bottom. Bill pretended he wasn't paying attention to Ford's reaction. He kept picking off meat as he said, "I'm still better dressed than you, at least." (Ford had pulled on the coat he'd retrieved from Bigflipper without washing it, and was wearing the one brown boot he'd fished out of the lake with one black boot.) "You smell like five different gallons of stink in a two ounce cologne bottle."

"Don't act like you care." Ford apparently concluded it was safe to re-enter. His face was bright red and twice as stern-looking as it had been the first time. Hilarious how humans' capillaries did that. His eyes caught on the bowl of fish bits, and he asked warily, "What do you have those for?"

Bill picked up one of the fish heads, made direct eye contact with Ford, popped out one of its eyeballs, and ate it.

"Oh." If Bill didn't know better, he would have thought Ford looked disappointed. (What, because he couldn't yell at Bill about using magic in the shack?)

"If that's all you wanted to know..." Bill gestured toward the stairs.

"No, actually. Just—got distracted."

"By what?" Bill batted his eyelashes. "Saw something you liked?"

Witheringly, Ford said, "You know I didn't." (Bill barked a laughed. Yeah, he did know.) "No, I uh..." He grimaced. "I needed to... ask for—information."

The smirk faded from Bill's face. "Oh. Did you." He returned his attention to picking flesh from fish bones. "Well, isn't that a shame! Because I'm not holding office hours. The professor's retired."

"It could affect you, too."

Bill rolled his eye spectacularly. "Fine." He flicked a needle-thin rib bone toward Ford. "State your case."

"Those government agents who were at the beach," Ford said. "The same ones that were here last summer. What do they want? Where are they from?"

Oh, them. No surprise that the humans were worried, though. Bill himself didn't know what could possibly have brought the eagles to town unless it was Trembley (which didn't seem likely to take them to the lake) or the portal (which Bill did not want them to meddle with).

Truth be told, seeing them made Bill nervous, too. "All right," he said. "I can tell you something about them."

"What?"

"You're wrong: they don't affect me too!" Bill waved cheerily at Ford. "Byyye! Leave." Truth be told be damned, who wanted to tell the truth?

"Oh, come on, you have to give me something," Ford said. "That's what you do. You—you taunt! Drop hints!"

"And look where that got me!" He gestured theatrically at his surroundings. "Stuck in a sack of meat on Earth's ugliest couch! When's the last time that giving you my knowledge benefitted me?"

Coldly, Ford said, "I believe it was when you conned me into building your portal so you could invade my universe."

"Yeah, see?" Bill said. "It's been over thirty years since I got anything in return for teaching you! Everything I've told you since then has been used against me."

Ford took in a deep breath, held it for a moment as he thought, and let a long, frustrated sigh out his nostrils. Humans breathed so expressively. "The last time you didn't share what you knew, you almost got us all killed by an invisible axolotl."

Bill fixed Ford with a sharp look. "Oh! So if I don't tell you what you want to know, you're planning to drag me on another forced march!"

Ford winced. Oh good, his conscience had finally kicked in. "No. I'm not."

"Great! Because I've decided if you ever do that again, I'd rather die and take my chances with the afterlife. And then we both get to find out whether I get my real form back."

"Noted."

"Got any better offers?"

Ford thought. He rummaged around in his pockets. "I haaave... Bigflipper's wallet?"

"Ooh." Bill eyed it. "Real leather?"

Ford flipped it open. "There's a stamp that says 'Vera Pelle'."

"Oooh, Italian leather," Bill said. "You speak Italian with a bad Latin accent, by the way."

"I didn't ask. Is this good enough?"

"Wallet with its contents?"

"Just the wallet, for starters." He flipped through the wallet's contents as he said, "We discuss the rest for more information." He saw something he apparently liked, made a little impressed noise, and took one of Bigflipper's cards to slip into his pocket.

Bill was loath to give Ford anything. But now that they were hopefully past the point where Ford felt like he had the moral high ground if he refused Bill's terms by dropping him in an ice cold bath tub, it might be to Bill's benefit if he could finally train Ford to expect favors for favors. "I can give you their department's name."

"If I have their name, is that enough information to find out anything useful about them?"

Probably not! "That's your problem, not mine."

Ford shut the wallet. "Either increase your offer or no deal."

Oh, the little snot thought he got to negotiate? "Eh." Bill shrugged. "What do I need a wallet for anyway? It's not like women's clothing has pockets to keep it in."

Ford sighed in frustration. "Do you even know who they are?"

"Do I know who they are?! Do you know who you're talking to? I've taken control of their secretary while she was getting her appendix out! I... Oh! Nope, you're not tricking me into that!" Bill waved Ford away. "Get out of here. I'm not giving you anything."

"Fine. Sorry I asked." Ford pushed through the curtain and left.

And was back a moment later. Bill stared at him expectantly.

Tentatively, Ford asked, "Does women's clothing really not have pockets?"

"They're either tiny or decorative."

"Really? Why?"

"So Big Fashion can sell 'em purses."

"Huh." Ford considered that as he let the curtain fall shut again.

There went Bill again, showing off how much he knew. "Hey—you owe me two bucks for that pearl of wisdom!" Well, he'd just refuse to tell Ford anything next time until he'd paid for the pocket thing.

He turned back to his fish bones. Now that Ford was gone and he wouldn't be interrupted for a while, he could actually get to work.

He cracked open the four fish skulls and carefully scraped their brains into the empty bowl; and then took the first of the spines he'd cleaned off, cracked open the vertebrae along the neural canal, and scraped the spinal cord into the bowl as well. He got to work cleaning the next spine off enough to retrieve its spinal cord.

In his true, proper, triangular form, when he was a being of pure energy unencumbered by mortal flesh and bone, he could invade and control anything with neurons. (Potentially, anyway. If someone else was already using those neurons, Bill had to get their soul out of the way before he could fully take over—but that didn't apply to four dead fish.) He'd had a little book made some centuries ago, in fact, that operated on the same principle: a book whose pages were made out of pulped and pureed human brains, so that Bill could remotely control the pages, see through them, and change their very contents. It was a masterpiece of necromantic magic; a human body disassembled and rebuilt—brain, spine, skin, eyes, blood, teeth—into an awful awesome tome; a miraculous product of interdimensional enchantments and alchemical science; and far and away the coolest coffee table book Bill had ever owned.

It had also been less than worthless. What a waste of perfectly good pulped brains. If he'd used them to print postcards to solicit mail-in political donations they wouldn't have been half as useless. He wasn't even sure what dimension the dumb book had ended up in.

Still. He kinda missed his cool, useless coffee table book. And even though a book of neurons couldn't do anything for him now, if he ever got back his possession powers (when, he reminded himself—when, when, when, not "if," when), it might be useful to have a book designed for that purpose already prepared. Maybe gifted to his cultists, so he could keep in contact with them?

And it would be really satisfying to turn one of Ford's own precious journals into another of Bill's puppets.

Once he'd retrieved all the spinal cords, he poured a little water at a time from the other bowl, mashing the brains and cords and mixing them into a thinner and thinner slurry. He had to make enough of this stuff to let him spread it across every page in Journal 4, but he wasn't sure how much he could dilute the neurons before there wouldn't be enough per page to let Bill control them. Usually he could just check by slipping right into the neurons and seeing if he had enough there to work with, but that wasn't exactly an option right now.

There'd be more brains later. For now, he'd just do what he could.

As he retrieved Journal 4 from its hiding spot, he mused to himself that things really were starting to turn around. A month ago, if he'd tried to drive Ford out of the room by doing something as simple as taking a layer of fabric off his torso, he had no doubt that Ford not only would have refused to leave, but might even have found some way to punish Bill for daring to try to weaponize his own body and the humans' taboos around it. But no—he'd immediately backed out of the room, and hadn't even tried to spout any tedious nonsense about not being able to trust Bill with as basic a privilege as privacy in his own room. Bill hadn't expected Ford not to argue.

Good news: it meant that the Pines were starting to subconsciously treat him like a person instead of like an animal, if they were now including him in their nudity taboo.

Bad news: it meant they were seeing him as human.

Well—take any silver linings you can find and ignore the clouds. The more they saw him as a human, the less they'd try to prevent him from escaping his human body.

Bill popped another fish eye in his mouth, glanced toward the future to make sure nobody would come by for a while, and started painting brains onto Journal 4's pages.

####

Thanks for reading, looking forward to hearing y'all's comments! Next chapter is the start of the arc y'all have been waiting for since like April last year: Bill Cipher seduces a government agent.

[myebi]

art vs artist 2024 ✨ can't believe we're here!

i've been thinking about this year a little bit these past few days, with the holidays being under special circumstances for me. the past month passed quickly but very gently, which I'm grateful for all things considered. i think it's now safe to say that after some reflecting 2024 was one of - if not the - best year of my life. I've never experienced such a whirlwind of gratifying experiences in the span of twelve months: i met so many new and nice people, had my first con experiences in amazing settings and my first job opportunities in a field i wanted an experience in for a long time, traveled the world somehow, got 10x more attached to my characters than i already was - and I'm quitting the year with just as many projects as i did when i entered it. granted, new problems came up and still persist, but with every year that passes i get one step to catching up with the anxiety and fears that hold me back, and it's that one step that each time allows me to surpass fear and welcome something new. every leap of faith partially led to the beautiful things i experienced throughout the year like a ripple effect (partially). it's gratifying and humbling in equal measure. so cool!!

art wise, i'm a lot more satisfied with the direction my art is taking than i used to be in the past two years. i came up with brush settings that shifted my line dynamic and i discovered a new rendering technique i really enjoy that allows me to balance time-efficient with textured together. i think my art has been getting a lot more expressive and while sometimes it makes me feel like I'm straying away from a more sanitized, thought through illustrative style, maybe it's worth it for the feelings to be conveyed the way i want them to. i haven't gotten to a point where i'm experimenting with my shapes, compositions and palettes in a way that shakes up my habits in a good way, but I'll get there.

I've also come to realize while making the meme that i actually have very few finalized personal works to show this year! i made most of my personal work posts on a time rush (they usually were made for specific days). I've been working on a set of drawings that required some tweaking and a few days to sketch properly, but the result is worth it, I'm so proud of them!! i wanted to get them out before the NY but it convinced me that rendering had to take its time as well, i don't always want to rush things nowadays. being on a time limit and taking all the time necessary are both good drawing exercises nonetheless.

lots of rambling, but i had lots of thoughts. I'm so grateful that some people are still in my life as we inch toward the new year. to my moulin squad, to my tol staw, to all the new friends i made this year, to my kitty, to my family. i love you like the world. and of course, to all the people who follow my work from up close or from afar, thank you so much. to know i bring a bit of inspiration, thought and color into your day has a lot more worth to me than you can imagine. thank you for manifesting your interest and your support whenever you do!! 🙏

i hope you all have safe and healthy holidays 💛 drive safely and tell your loved ones you love them. my thoughts are with Ukraine and the people of Palestine.

[dramadramallama]

So. The Time of Fever. The story is pretty simple, but it was elevated by some choice cinematography and music... sooooo let me take two seconds to gush about the two kissing scenes.

Both scenes are shot to convey something very specific (how special the characters are to each other) and although not much is said, a lot is implied. I don't know how intentional it was, but they also end up almost a perfect "reverse" of each other.

The bare bones of the two scenes are as follows:

Kissing Scene 1: infirmary (public setting, neutral white, Dong-hee takes care of Ho-tae's wound)

tension, uncertainty/confusion, complicated feelings (shaky cam, tense dialogue)

something sets it in motion ("hyung")

music starts

slow and steady - dreamlike atmosphere (tension released)

outside interruption, music stops - back to reality, tension back up

Kissing Scene 2: bedroom/house (private setting, heavy color-coded, ends in pain for both of them)

comforting, easy-going, chill vibe (steady cam, silent book reading)

something sets it in motion (hand feeding)

no music

shakiness, quick movements - raw, not romanticized (tension goes way up)

minimal music - self-interruption - got a lil too real, tension goes down

If you watch them back to back it's even more obvious, I love iiiiiit. The contrast of it all!! YES. Sorry for my ugly GIFs, I just wanna illustrate my points lol

In the first scene, Dong-hee and Ho-tae let down their guard and enter a bubble of peacefulness, before it bursts. The scene starts off with quick, nervous dialogue, no music. The shots go from tight to even tighter, and the camera shakes a lot, reflecting the ambient tension.

The music, gentle and hopeful, starts as soon as both of them "fold". Ho-tae agrees to use the hyung honorific for the first time since ep1, and Dong-hee gently goes in for the kiss. The scene is drenched in white, the camera movements slow, to the point it's hard to notice whether they themselves are moving slowly or if there's a subtle slow-mo effect applied. It's unhurried, like they have all the time in the world.

The music swells into something very airy and dreamy as soon as their lips touch; the camera steadies, the shakiness fades—the surroundings too. Even when the camera pulls back a little, the framing is minimal—you can't even distinguish where they are anymore (in a school infirmary, behind a curtain, against a window). The only thing in focus is their faces, the rest is slightly blurry or washed out. It's not just visually that things fade out, there's also barely any background noise: no ruffle of their clothes, no school chatter, no bird chirping. it's just them, floating on a cloud, the heaviness of the moment gone, the initial anxiety soothed.

The moment, the music, the kiss—everything is interrupted abruptly by an outside element: the school bell. The bubble pops, like a dream they both wake up from—signaling the end of recess, back to harsh reality. Their eyes open, they freeze, and just like that, the camera shakes are immediately back.

The scene unfolds smoothly and clearly: it takes the characters from a moment of tension, to sweet release, steadiness, and calmness—it starts from something complicated and changes to something pure and easy, like a knot being unraveled—and then snaps them back to reality.

The contrast with the second kissing scene, happening in the same episode (!) is nothing but art tbh. Like I said, it looks like the reverse of that first scene, but it unfolds the same way. This time, it starts off quiet and gets thick with tension.

First, they're at home, not in a public space. It's not day-time. They're lying down. The private, safe atmosphere of the scene is reinforced by the warm colors. It's late autumn, it's getting cold. They set up a space-heater (it casts a reddish brown hue over them), place a comfy (red) carpet on the floor to keep the heat in and to laze around on. The camera is steady, the framing comfortable, no shakiness.

They're still facing each other, one is on his back, looking up to his book, the other one is on his stomach, looking down as his own. Everything conveys a cosy, relaxed but intimate vibe, without any agitation. Ho-tae is snacking absentmindedly on some seasonal fruit (clementine/mandarin). There's no talking. There's also absolutely no music. You hear everything, from the distant creaking of the house, to the pages rubbing together, to the crickets outside.

Then, comes what sets the scene into motion: Ho-tae feeds Dong-hee some fruit. Dong-hee takes it into his mouth easily. The mood switches. A lot of close-ups, and the camera movements become shakier, more chaotic: tension goes from 0 to 100. Where there was a lightness, softness to that first kissing scene, it's pretty much the complete opposite here. It's more intense, but there's a sort of ache, an urgency to it that was completely absent in the first scene. The breathing gets heavier, louder, no music to cut through the reality of it. It's been a while since I've seen such an erotic scene, without it being explicit.

When it does come, the music kicks in very slowly, just a few low notes of piano, not enough to cover the noises (the kisses, the breathing), the initial warmth of the scene becomes almost stifling. And just a few seconds later, everything abruptly stops once again, but this time, Dong-hee himself is the one putting an end to it. The camera very slowly tones down the shakiness, back to steady.

In this scene, the characters' comfort and peace crumble, the kiss doesn't appease, it lights a fire. Gets them inflamed and exposed. Takes them from innocence and easiness to desire and hurt, from sanity to fever. The hazy, nice moment catches fire and burns up too fast. Like Ho-tae's fingers twisting knots into Dong-hee's sweater, the feelings gets tangled up, and both end up getting hurt.

The first kissing scene was the beginnings of some clarity, they both let go of what holds them down, while that second scene is charged with angst, it weighs heavily on them. The parallel was just so good I needed to get this out.