#writing for new fandoms be like that

[letmetellyouaboutmyfeels]

I am incredibly serious right now when I beg you all, please, and if you have Twitter or Tiktok or whatever to please spread the word: click on an author's profile on Ao3.

You want to know if an author has written more? Want to know if they're still writing? Want to see more from them? Want to know if they've written a trope or kink or sex scenario you enjoy?

Click on their name. And look at their profile.

I cannot tell you how many times in the last six months someone has read a new or newer fic of mine and said they (a new reader who has read nothing else I've done) "can't wait to see what you do next!" I've written 50+ fics and over a million words already.

"I don't know if you're still writing..." click on my profile. I am. I literally wrote a 128k+ fic for that ship last month.

"Would you ever do X?" "Please do Y!" I already did. Click on my name and look at my works.

Archive of our Own is a library. It's an archive. Not social media. It is your responsibility to fight back against the laziness that corporate algorithms have trained into you.

Click my author name. Just click it. Just click it.

Before you demand more, or ask if a writer will do XYZ, or wonder if the author still writing, or anything - click on their profile. Click on the author's profile.

I'm not trying to be mean or condescending or anything like that. I'm just exhausted. It's disheartening and frustrating to repeat myself ad nauseam, because someone couldn't take thirty seconds to do the tiniest bit of work to see if I've written lately, if I've written more for their ship, or scan my works to see if I've written what they're asking for. Please. Please. I'm begging.

Click the author's name, and explore before you ask.

[versias]

The Joker is Dead (and always has been)

Danny is attending Gotham U and gets caught up in a Joker escapade and realizes the clown is, in fact, a ghost.

Suddenly everything makes an insane amount of sense: the fact that no one has killed a psycho with seemingly human-normal abilities yet, that Arkham can’t keep him for more than a week, the obsessive behavior, the appearance.

Honestly, Danny should have clocked this before he even met the spook.

And Danny doesn’t want to step on any toes, really. The Bat and the Joker have A Thing going on. But, the Batman just isn’t equipped to really put a ghost away. No wonder there’s a breakout from Arkham every couple of months. How many other Gotham rogues are obsessive ghosts haunting the city?

Joker doesn’t display any of the usual ghost powers he associates with his own “rogues”—who’ve really become more like unwanted relatives over the years what with their dropping in uninvited, making a mess, and then ditching before they had to help clean.

It strikes Danny, as he’s being tied up by the clown-costumed goons, that maybe the Joker doesn’t know.

Huh.

How does he broach the topic in a sensitive way?

“Hey, uh. Not to be rude but… You know you’re dead, right?”

Danny winces. Not like that, probably.

The Clown Prince of Crime stops in front of him, the crazed light in his eyes dimmed slightly by confusion. He glances back and forth between Danny and the students around him who are shying away from their insane classmate. (Which is. Fair.)

A menacing giggle warbles from the specter’s throat. He leans into Danny’s bubble, that eerie grin stretching somehow wider.

“Ohhhh really?” The clown draws it out and Danny can hear the crackle of static in the high notes. Honestly. How did no one figure this out before? “And are you gonna kill me, hmm? Have I got a widdle hero in my bait tank?”

“No, no, I mean, it’s not… you’re not… like? You’re not alive,” Danny rambles, trying to clarify and failing utterly. “You’re already dead.”

The Joker tilts his head, eyes dilating and glowing toxic green. He considers what Danny said, then throws his head back and cackles like a hyena.

The ghost doubles over, even, laughing so hard it sounds like he’s gonna bust something. He puts a white-gloved hand on Danny’s shoulder for support and squeezes, just shy of hurting.

After an uncomfortably long moment, the ghost wipes imaginary tears out of his eyes and pats Danny on the back so hard he stumbles and falls to his knee.

“You’re a riot, kid! If I didn’t have a date already planned…”

He trails off and ambles away, still chuckling and muttering to himself. “And they say I’m crazy! Wait til Bats hears about this!”

Danny watches him go, despondent.

It’s always harder when they don’t know.

This is gonna be a mess.

[stealingyourbones]

Never will I stop with the steadfast notion that folks in the DPXDC fandom should interact with at least some form of canon DC media.

There are comics, tv shows, radio dramas both old and new, podcasts, movies, magazines, so much shit that intentionally avoiding the media is simply preventing yourself from spawning new ideas and gaining a new appreciation for a fandom that you’re already in.

The Superman Radio Show has episodes 11 minutes long. A lot of the TV shows don’t have episodes that surpass 30 minutes and most are nearly fully clipped on the official DC YouTube channel. The amount of fan made motion comics is astounding. The amount of fanmade animations is equally as incredible.

[crabsnpersimmons]

New 'Do, Same You now on Ao3!!

it's here! my silly hairdresser AU that sparked from my silly page of doodles is now a fic!! i hope you'll give it a read!

In the mood for something new? Come on in for a new hairdo! Day or night, dusk or dawn, Find what you're looking for at the Shooting Star Salon!

EDIT: they're handing out coupons for the salon! 20% off all services! Not valid with other offers. Valid until end of January 2025. (some of them are drawn in crayon by Clip himself 🖍️)

[crazy-ache]

I’ve been interacting with new fanfic writers and also been seeing some folks share the fact that they care about hits, bookmarks, and comments on their work as if they’re embarrassed by that fact.

I’m just here to say you shouldn’t ever ever ever feel that way.

Writing, in this case fanfiction writing, can be a very lonely journey at times. If you’re brave enough to post online, there’s nothing wrong with wanting to receive validation. Because when you don’t, I think that’s the equivalent of playing or singing a song and nobody claps once you’re done. Imagine the Olympics or local sports arena or little league game with empty stands. Not a single soul cheering at the end of a concert. Nobody shows up to the art gallery. Nobody eats the baked goods you made with love at the party. All of those scenarios undoubtedly hurt.

Yes, you did it for yourself. Because you love this passion of yours. Because you’re working on your skills. Because you’re proving something to yourself.

But there’s a reason so many of humanity’s passions happen in front of a crowd.

Art is meant to be seen, music is meant to be heard, and yes, fanfiction is meant to be read.

We all want to know our art made an echo.

And yes, we all want to know somebody clapped for us. It validates us, it encourages us, it motivates us to keep going when we’re burnt out. It’s also just plain fun. All of these apply to world class musicians or athletes. For fan fiction writers, the audience cheering is as simple as a hit or a comment. It’s someone engaging with our work in a positive manner. So if you’re feeling that way and you feel bad about it—remember you’re human. And your passion and hobby is just as worthy of receiving audience reception as anybody else.

Fanfiction is a communal space, not just a solitary act. Give love back. Engage wherever and whenever you can. Open yourself to viewing this as a two way dialogue with other writers and readers. Give yourself grace and compassion when you’re disappointed. And when it’s your turn—don’t forget to clap.

[madbard]

While listening to Epic, I noticed an interesting pattern with how antagonists are portrayed, and how Odysseus’ interactions with them are coded.

In Epic, the monsters Odysseus faces are rarely fighting for their own sake. Polyphemus attacks Odysseus’ crew to avenge his sheep, and Poseidon destroys his ships as revenge for his son’s suffering. Similarly, Circe only threatens Odysseus to protect her nymphs. Odysseus does not kill any of these enemies, and while he is occasionally criticized for letting them go free, the overall implication is that he did the right thing by sparing them.

Then we hit the Thunder Saga, and Odysseus begins his arc as a ‘monster’ by killing the sirens. His actions here are brutal, and whether or not they are justified is, I think, up to the listener. However, it’s significant that the sirens are the first foes Odysseus faces on his journey who aren’t either defending or avenging what they love. They attack unprovoked, and while Odysseus’ method of execution is gory, he is never punished for it by other characters within the narrative. Apollo is the only one to protest, and even he is swayed easily when Athena says (among other things) that the sirens were “trying to do him worse.” The sirens attacked first, and while Odysseus’ response was ‘monstrous,’ his crew obeyed his commands and he was not challenged or ostracized for giving said commands. He is only treated as a monster when he yields to Scylla, who also attacked without provocation.

Thus, in Epic, the monsters fighting to protect or avenge their loved ones are protected by the very story - killing them may be more convenient, but it isn’t the answer. However, the monsters who attack without provocation, for their own amusement or satisfaction, do not receive such respect. Killing them is acceptable, and cooperating with them is monstrous.

By this logic, Odysseus is justified in his actions, however atrocious. He attacks to protect his family, and therefore deserves mercy.

The suitors, on the other hand…

[a-pigeons-soliloquy]

been reading non-hannibal fanfic for the first time in like 2 years and have come to the tragic realisation that the hannibal fandom has ruined me when it comes to fic quality

like my standards are so ridiculously high now. the bar is on the moon

you've all ruined me. RUINED ME I SAY

[bugsandboos]

reading everyone’s thoughts on the london special and marinette’s actions have given me a serious case of deja vu in relation to the s5 finale, here’s why

a very very VERY common reaction from the fandom i saw to the finale was “why are the writers letting gabriel get away with being a hero why isn’t he being held accountable horrible finale horrible writing i hate this show etc etc etc”

before i share my thoughts on this for like the thousandth time i just wanna mention i DID cry during the finale, partly because i was in shock and also because i HATED it. but now i genuinely believe it was one of if not the smartest thing the ml writers have ever conjured up and i just. fucking love it. (point is: i understand disliking it. that was me at some point, until i began to consider the implications of the “ending”)

similarly, a reaction i’ve seen to the london special (mainly from ml salters) is “why would the writers let marinette lie to the world when it’s so clearly morally wrong she’s such a horrible person she needs to be held accountable blah blah blah”

something both the s5 finale and the london special share is that THE ACTIONS THAT TAKE PLACE IN BOTH. ARE NOT MEANT. TO SIT WELL WITH THE AUDIENCE

NO writer on ml is trying to convince a fan that “gabriel was actually a hero because he made one selfless decision (that wasn’t even that selfless?????)”. NO writer on ml is trying to convince a fan that “marinette is completely right for hiding the truth about gabriel from not only adrien but also the whole world!!!!!! no one should ever find out!!!”

the entire point of the finale and special is to make the viewer uncomfortable, as we watch marinette sit with her questionable choices, watch adrien refer to his father as a hero and watch their class throw a party. none of this is supposed to make us feel at peace with the way this arc has concluded.

what people seem to be missing is that even if the s1-s5 arc has ended, the s6 arc is just beginning, CENTERED AROUND THE CHOICES THAT HAVE MADE US AS THE AUDIENCE FEEL SO UNCOMFORTABLE!! you’re completely ignoring the way the plot is set up if you think the writers are going to neglect gabriel’s storyline, because it is far from over.

i think it’s also important to mention that neither marinette nor adrien are at peace with what’s happened (even if that was implied during the s5 finale—the london special has provided us with this new information on their emotional statuses). marinette is clearly being eaten alive by guilt, seeking confirmation throughout the entire special that protecting adrien from the truth was the morally correct decision. adrien was obviously affected by his father’s death (contrasting the idea that he just “threw a party” without any emotional backlash), and will undoubtedly learn to grapple with his conflicting feelings on gabriel’s character throughout s6 (he sacrificed himself??? but he abused me??? but he saved ladybug and nathalie????? but he apparently assisted monarch?????)

POINT IS

no one is meant to be satisfied with the way things are in the miraculous universe at the moment. you aren’t supposed to want the truth about what really went down during recreation to stay hidden. if you feel uncomfortable with the current situation our main characters are in, GOOD! please stop the discrediting the writers, because your discomfort means they have done their job well.

[eyrieofsynapses]

why Aurora's art is genius

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

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

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

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

All positive feedback btw! No downers here. <3

---

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Additionally, the misting here:

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

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

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

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

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

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

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

A handful of miscellaneous notes on the second panel:

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

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

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

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

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

Third panel gets paragraphs, not bullets:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[wingsofhcpe]

actually there's a huge difference between queerbaiting/"Hey guys look how gay these two are haha they're definitely gonna end up together, give us views uwu oh- never mind oops they're going to superhell" and "Hey it's 2004-2012 and there's no way we can get away with having our protags/main couple be two gay men but we really want to show these two are soulmates so we'll do it through subtext and underlying messages and by literally telling you over and over again their relationship is the most stable and important in the entire show, and the ending will imply they lived and died together", and it's insane that some of yall don't see how these two are not the same fucking thing.

[momotonescreaming]

Buck loved having sex in the loft. He loved having sex with Tommy in the loft.

The way he could drag Tommy upstairs by his hand, fingers entwined, no walls or doors in the way to slow them down. The way he could fall backwards onto his mattress, sending Tommy tumbling on top of him with a playful tug of his hand, falling into place easily. Large thighs bracketing his hips, keeping him pinned, held in place — not that Buck wants to leave when Tommy has him like that.

Hand curling around Tommy’s waist, around his neck, pulling him even closer as Buck smiles into a kiss. His boyfriend (boyfriend!) falling into it naturally, almost entirely in sync. Letting himself be pulled, pinning Buck where he wants him. Bracing himself on the mattress to kiss and kiss and kiss Buck.

Buck’s had sex in the loft before, it’s a fact, logically he knows that it’s technically no different than when he was with Ali or Taylor or Natalia. That Buck and Taylor would hurry upstairs with the same desire and rush to have sex that he and Tommy do.

But it feels different. More. Better. Unlike anything else he’s experienced before.

Like he’s a giddy teenager experiencing dating for the first time combined with the freedom and experience of an adult. Maybe it’s just better with Tommy.

Tommy, who was better than Buck could have possibly dreamed.

Who took his whole world and flipped it upside down. Opened his eyes. He was free and he was Tommy’s. He had a boyfriend who was cool with this being his first relationship with a man (once he had gotten over the initial hurdle and panic, which, fair, Buck felt terrible about it too) because they both knew he was in this with Tommy. He wasn’t one hundred percent sure of what he was ready for — he told Tommy as much — but he meant it when he said he was ready for something with Tommy. He liked Tommy, he wanted to be around him, he wanted to explore what dating this incredible man meant.

This incredible man who was cool with whatever pace Buck wanted or needed to set — whether he wanted to slow down or speed up. Buck wanted to explore it all with Tommy.

This is just a little sneak peak of my first 911 fic! I'm still getting a hold of the characters and their voices, but I'm excited! (too excited to wait until it was finished lol)

[caustinen]

clegan drabble — chance encounter, first meeting, modern au

By the third time the guy makes his way over to the bar, Gale has to really work on not throwing his Coke bottle to the liquor shelf and start breaking stuff.

”Seriously man, are you sure we don’t-” ”No, we have not met before,” he responds as politely as he can through his teeth, “and no, I do not need company. And no, I will not go home with you. Excuse me.”

The guy’s drunken gaze falls to his lips as he talks, making Gale suspect he has not heard a single word he has said all night despite repeating himself over and over. The glassy eyes eventually turn back to his, and the man licks his lips as his expression morphs into a what he surely thinks is a seductive smirk.

”Come on, baby. Humor me a bit. Let my buy you a drink.” Gale exhales in frustration. The ick he gets from this man is ridiculous. ”I told you already, I don’t need a drink, I’d really just like to-”

He stops abruptly when the man takes a tight hold of his bicep. ”Hey, could you-” ”This hard-to-get act is getting old now, gorgeous.” ”I’m not-” The grip gets tighter, another hand reaches for his thigh, and Gale is about to get violent despite not wanting to get in trouble at their frequent spot when-

”Hi Buck, there you are! I’m real sorry I left you here all by yourself for so long, the queue to the toilet was insane.” A pleasant, carefree voice comes up from behind him. He turns to find a gorgeous smile on a gorgeous face he doesn’t recognize. The man’s smile is tense on a futher look, though, and his eyes are questioning as he lays a careful hand on Gale’s shoulder, clearly ready to pull back immediately if he gets any indication that the action is unwanted.

Gale exhales quietly again before covering the hand now on his shoulder with his own, immediately catching on. ”It’s okay.” It’s easy to slide away from the icky man’s grasp now, his surprise making him loosen his hold on Gale. Gale tries to avoid looking at him and accidentally leans closer towards the other man, his aura calming despite towering over Gale’s propotions in every direction. The man doesn’t seem to mind, still smiling from under his curls. ”Ready to go home, doll?”

Gale nods immediately. The drunk dude has been looking between them for a bit before his eyes land on the taller man. ”I’m real sorry mate, I didn’t realize he was-” The man’s face changes immediately when he looks away from Gale to the other guy, the youthful happiness turning into coldness that makes him look mature and strick. ”Yeah, whatever. Go home, sober up and learn some fucking manners, you fucking jackass.” With that, he’s gently leading Gale to the door.

He doesn’t let go until they are out of the other guy’s view, but he does drop his hand immediately as the door closes behind them. It’s probably the chill of the autumn evening and not the departure of the solid body against him that’s making Gale feel cold suddenly but it’s still unpleasent. ”Sorry,” the man says almost frantically, ”I didn’t mean to intrude but you were looking pretty miserable before he even showed up and when he got his hands on you-” The man sighs and shakes his head. ”Didn’t look like you were happy with it, somehow, so I just wanted to check on you. No clue where the fake boyfriend thing came from though, I’m so sorry if I-”

”Don’t be,” Gale says firmly, and the man immediately relaxes again, ”I don’t know why I froze like that, it was nice someone else de-escalated it like that. My friend went to argue with his boyfriend on the phone like 30 minutes ago and never showed up again so I was pretty pissed anyway.” The man nods, and the warmth Gale feels under his intense gaze shouldn’t feel this exciting, surely.

”Well then…” The guy lifts his arm and scratches the back of his neck, ”I don’t wanna take more of you’re time, I hope you’re oka-” Gale doesn’t think, in an unusual manner to him, when he interrupts him. ”I, eh, actually… I’d love to thank you somehow? Maybe buy you some late night dinner?” The man’s face lights up again, and Gale feels silly in a way he doesn’t often do.

”I’d love that. I’ll go tell my friends I’m leaving and meet you up here after?” ”Sounds good.” They stare at each other for a beat despite the words, and Gale swears he’s not blushing when he sticks his hand out jerkily. ”Gale Cleven.” The man smirks, his eyes turning to lines as it overcomes his face. ”John Egan,” he introduces himself as he reaches to shake his hand, ”but you can call me Bucky.”

[stealingyourbones]

Out of all of the people The Ghost King Phantom expected to relate to, it definitely wasn’t the scrawny red headed photographer of the Daily Planet. Jimmy Olsen has gotten so many temporary superpowers over his time being Superman’s friend. Hell, he once gained a 4th dimensional being’s reality warping abilities when he was given said dimensional being’s powers during a fight. Sure there’s a dozen or so heroes with the same amount of powers he has, but none as suddenly granted to them as a all powerful god that can relate to a teenager.

[crabsnpersimmons]

✂️ New 'Do, Same You Chapter 2 is up on Ao3!!

Your first day continues! Your new coworkers show you around and help you get ready.

[scarycranegame]

guys. guys listen.

if you wanna write and/or post a fanfic but are worried that no one will like it.

do not be worried. at all.

because even if no one else is interested, YOU are. you enjoy this idea. you're passionate about this concept. you should write for YOU, not for potential critics.

and even besides that, i guarantee you that there's at least 1 other person out there who would also enjoy your fic. it's essentially statistically impossible for you to be the only person on the planet who thinks the way you do, and enjoys the themes and ideas and characters and settings that you do.

write it. post it. take pride in the fact that you created something that you value. your fic exists, and that in of itself is amazing.

antis dni, this isn't about you or the graphic threats of harm you send to real people whom you dislike. get a real hobby.

proship/comship/profiction/etc. safe!

[dangerous-advantage]

jin ling, having done some stupid shit: my uncle's gonna kill me!

lan sizhui, serenely: it's ok, your other uncle's a necromancer