#to this smaller stuff too

[gem-morey]

Danir "the light on the surface of the water" Cove

excerpts from Petra Shannon's novella Blossoming Blue...

The sky, the sky, the sky. As big and expansive as the ocean itself. Sometimes, Danir tilts his head back and looks up at it to remember what it felt like to be in the water, to be free...

~~ ~~~ ~~

When Danir first leaves the water, the droplets roll down his chest, catching in the rough scales on his chest. They glitter futile and violent violet until he is shoved into a cage. The sun is gone and so is the gleam of his scales. His legs tremble as he rises to unfamiliar feet. His hands reach through the bars.

He doesn't understand this small space. It is a cave, like his mother always warned him. Dark and suffocating.

~~ ~~~ ~~

Peter sees the monster fall away from Danir. There is blood in his teeth but otherwise he looks just like any boy. Lost and scared.

When Peter reaches for him, he draws away.

~~ ~~~ ~~

Danir tastes freedom for the first time since being taken from the sea. But it is not the taste of salt on his lips. It is the touch of another's lips. Warm and good.

Nothing could replace the warmth of summer currents, but for just a moment, Danir lets himself be swept away.

~~ ~~~ ~~

"You cannot come with me to the water, you will drown."

"And you cannot stay here on land," Peter said, solemn. His cheek rests on Danir's sun-warmed shoulder. He feels the way that Danir sighs.

"No, I will drown."

~~ ~~~ ~~

It ends with a parting.

Peter holds the pearl, still cool from the water, clutched in his hand. Along the horizon line, he watches a shape cut through the water. Dark skin a shadow, purple tail flashing in and out of his vision. There is one final moment and he will wonder his whole life if he only imagined the hesitation as Danir dives down...

[cw beneath the cut for talk of prison]

What the fuck is this, Tina? You might be asking! Well: I was thinking about who I wanted to do for my queer awakening task. And I was bouncing around different ideas, but I kept circling back to Gem. Many of my characters have either kind of always known they were queer or came to it through someone they met who opened up that world to them.

But Gem? Gem spent most of his childhood in a tumultuous situation where he was just trying to survive. And then, his first few years with the Moreys was learning how to be part of a family and have people care about him. By the time he went to prison, he was just seventeen (verging on eighteen, which is why he was tried and sentenced as an adult and sent to Abracadabra's higher security prison block, due to his crime being a "violent crime.")

He hadn't really had time to explore his sexuality much. And, growing up primarily (before the Moreys), it had been a mostly conservative household. It never really crossed his mind. He only managed a few kisses and everything anyway before he went to prison, so there really wasn't much time to experiment.

However, he spent most of his intensely formative years in prison, surrounded by other men. And, of course, he found some of them attractive, but it is is easy to kind of brush that off when you're only really interacting with other men. Besides, you're in prison, so romance or sex isn't really your top priority.

What Gem did have, though, was books.

And Gem read through the entire library at Abracadabra. There weren't a lot of books featuring queer characters. Most of the books were older and not really geared towards progressive reading. But, one of the last books in the library that Gem came across was Blossoming Blue. This slender little novella.

In it, a merman gets captured and brought to a lab to have experiments run on him. During his time in captivity he befriends one of the young scientists. They end up falling in love and the scientist helps free him, only for Dinar to choose the sea over his lover. It is a very poignant little story and, for obvious reasons, has parallels to Gem's own life.

But it was also one of his first real experiences with queer love. Of course, in Swynlake there are lots of queer people, but he didn't have a lot of friends. And he has queer brothers, but none of them had long term partners--so he wasn't like intimately acquainted with it in any way.

It was his first time realizing that, in any capacity, he yearned for that kind of tender romance. He'd read romances before, but that was the first time he really felt like he saw himself reflected in the narrative in a way that let him enjoy the story and fall in love with the characters properly.

So, yeah. <3 I know this is only sort of how the task was supposed to go, considering I made this book up. BUT -- I didn't want to try to find a published book that fit the narrative I was going for.

Anyway, thank you for coming to my TED talk.

[egophiliac]

Final manifestations for Book 7?

I'm trying REALLY hard not to build up any solid expectations, because I wanna go in ~fresh~! they're already so far away from anything I thought would happen (not in a bad way, I'm just accepting that I'm on Miss Yana's Wild Ride at this point and we're seeing this thing through 'til the end, by gum). so it's nothing too major, but:

they've been handing new crying expressions out like candy lately, I want to see some delicious Malleus tears.

honestly I want everyone to cry buckets. their tears sustain me. the more Silver angst specifically I get the happier I am.

SILVER!!!! 👏 VANROUGE!!!! 👏

just let him have this. the poor boy's been through so much. let him have his big "I'm proud of you, son" moment with Lilia.

I'm 100% expecting Grim's arc (and probably whatever's going on with Crowley) to be its own episode, but a nice hook to leave us hanging on would be good!

a nice hook though, please, I don't think I can take another "Grim is attacking us! now wait eight months to find out what happens :)" cliffhanger...

some Meleanor? as a treat? just a little bit, a tiny quick flashback or something, please Twst I just, I just want to see her again. let her have a little ghost cameo like Dawnathan Knight got. Lilia and his kids are all having their big group hug or whatever and she can gently fade in to be all like

(turning asks off until I'm done playing, SEE YOU ON THE OTHER SIDE Y'ALL)

[reineydraws]

designed a bad kids themed upper back tattoo for a timeskip gorgug :') it's gold and kinda geometric to match the rest of his tattoos from the gold gardens ✌️✨️

[zenwinter]

Another lil' sketch dump 🌻

[kyshkasa]

[sluttypatrickstar]

finished my cha-cha pig noise stitch!

[donelywell]

February 29- March 2 2024

The first time Sonic went Super in Road Trip wasn't exactly as stunning to Tails as other au's and stories.

Tails is like maybe 5 here (I'm not actually that organized on the timeline for this au yet, I'm getting there though, things are getting in order.) and he wasn't forced to grow up and be a hero in this au. So he's a bit more childish than canon Tails because he doesn't feel as pressured to mature and grow up fast. Plus, he genuinely thinks Sonic is going to die and this is the last time he see's him, so tears are bound to come down.

Part 1

[shepscapades]

I completely forgot live was today, what's the cliffnotes? What's the deets on the pale garden? How does New Guy work?

Hi! Cliff Notes are:

New biome: The Pale Garden!

> Overworld dense forest biome > Features a brand new wood type called “pale oak” and it’s basically white wood :D and the “growth-style” of pale oaks mimic dark oaks, so there’s a lot of wood per tree > The canopy of the biome is thicker than a normal forest, the grass type is really desaturated, and it’s very graveyard-esque— they’re definitely going for an empty, vacant, spooky “something is wrong here” vibe. > New foliage! Hanging moss and Pale Moss Carpet (that, when placed next to vertical blocks, put little vines growing up the side of walls and stuff) > It’s safe during the day, but at Night the new mob can spawn, and there are new ambient sounds (creaking, crunching, very horror-esque sounds).

New Mob: The Creaking!

> They only spawn at night > They work like Weeping Angels— they’re completely still when you’re looking at them, and they scramble towards you as soon as you look away. > They deal relatively low damage, but damage can add up when there are multiple ganging up on the player > They do not take damage at all, but are instead linked to nearby “Creaking Hearts,” which are special-texture wood blocks nestled in the trunks of nearby trees. When you destroy/mine the Creaking Hearts, The Creeking mob will shatter, so they’re more like puppets. So this is a whole new way to manipulate/defeat this hostile mob :D > You can silk touch the Creaking Hearts, meaning you can place them down again and spawn a Creaking.

In my personal opinion it was really discouraging to see how negative the comments section was after genuinely enjoying the live/video (They had a cute animated section to tease the reveal of the new mob that I thought was really cute too, I couldn’t stop smiling), and I do think there are some small things that could be added to make the new biome a little more immersive or unique (new leaf textures, new tree-growth-style, a new flower type, fog, particle effects, things like that that could enhance the atmosphere!), but I honestly think this is all really exciting and it gives a lot of life to the Minecraft world-building/ecosystem :3

(In other news, they added hardcore to bedrock, gave some insights on the minecraft movie set building, and did a cool little community-feature pre-show. After the reveals above, they did an after-show where they went more in depth on all of the new blocks!)

Also, if I missed anything, feel free to add stuff in reblogs/comments/etc!

[opbackgrounds]

since you brought it up, what is your ideal op video game?

Well, honestly, I don't think a perfect one piece game could exist. The charms of the series is the expansive world and its depth of story, and achieving both in a single game would be difficult, if not impossible. I also think there are way too many games rehashing the manga, and that's boring. So many possibilities exist beyond the Straw Hat's journey.

I do think it'd be cool if there existed a sort of build your own pirate crew game set in the op world. I'd actually set it in the past during Roger's last journey, with the goal of becoming the Pirate King. It gives a hard 3 year time limit to beat Roger to Laugh Tale. The Four Blues are the starting zones, and which ones you pick change certain bonuses you get at the start. Like, the East Blue has the reputation for being the weakest sea so combat would be easier but you'd have a higher chance of recruiting a crew member with a Dream at the cost of lower Reputation. Since it's pre Buster Call Ohara, the West would give higher chances of recruiting researchers, and the North would have higher science and military backgrounds, etc.

It'd be a mix of peocedurally generated locations and hand crafted islands, and as you go along recruiting people and fighting you gain Reputation, which in turn lets you fight and recruit stronger people. The bigger your crew the more you have to plunder to keep them happy, and if any of your crew have a Dream you have to help them achieve it or else they'll mutiny or leave the crew, but as Dreamers they're stronger with bonuses based on their skill or occupation.

Maybe how you resolve conflict also affects the type of people attracted to your cause, so if you gain a reputation for brutality more bloodthirsty pirates are more likely to follow you, and they get pissed if you go too long without letting them kill something. As you go along you gain maps, log poses, and other things to help survive the Grand Line, but if your Reputation gets too high a Big Player will come after you to knock you down a peg. Like, stay in the East Blue too long and Garp'll come knocking, and if you lose or fail to flee then he'll wipe out your crew and you have to start over.

Once you hit the Grand Line you gain a new Reputation meter specifically for the Grand Line. No one cares if you're the baddest dude in the East Blue once you hit Twin Capes, but if you find a merchant or NPC from your home sea then they'll know your Reputation and react accordingly. Same goes for the New World.

The end goal is to read the poneglyphs and reach Laugh Tale, whether by recruiting Oden, someone from the Three Eye Tribe, a member of the Oharan archeologists before they're blown up, or stealing the intel from another pirate crew. Should you achieve that goal, the game ends with an epic fight against Roger for the title of King.

There are enough canon characters from this era to make it recognizable (imagine fighting pre-Kaido Moriah!) while giving wiggle room for new characters, islands, and scenarios. I think it'd have to make the act of traveling on the high seas fun with hopefully some cool monster fights to spice things up.

Is this feasible? I don't know, probably not. But I think it'd be fun.

[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.

[smithsibsceo]

zane and kai bonded in the early seasons by discovering new music together. both didnt really have a great access to it growing up (there was an only an old radio or maybe a scratchy vinyl player in ignacia's library and zane's village had no electricity) so they mainly grew up hearing their respective villages' traditional live music. Hearing those 'end-of-2012-mashup' compilations changed both of their lives

[esyllt-log]

log 3

[whyissupernaturaltrending]

it's trending again, any idea why?

just a sign of a healthy tumblr ecosystem

[jash-updates]

Best Character Ever Just Dropped

[With a lotta lore scattered across way too many damn conversations ]

The Recorder Saga:

Okay long post over.......clunk <3

[turtleblogatlast]

One of the biggest things that makes me see Leo as trans is absolutely the size of his carapace in comparison to his brothers’.

And I’m not talking about height! I’m specifically looking at his shell here, because when you compare him to the others, particularly Donnie who is nearly the same height as Leo, it’s very clear that Leo’s carapace is much longer in proportion to the rest of his body.

Like - standing side by side, even though Donnie is shorter his carapace ends noticeably higher up than Leo’s does. And I like this not only because it really helps push the idea that Leo could very likely be trans (or intersex!), but it’s also just a fun design difference between them.

(It also lends way to future scenarios of Donnie eventually getting taller than Leo, but sitting down still has Leo being the taller one haha.)

[shimada-death]

Rereading stuff and the "houseboat on the lake" (Burgers' house probably) has made me realize it's 100% a retcon thing the same way the ghost ship and lighthouse are and I find it really fucking funny because it sounds so stupid but I just assumed it was normal for some reason.

Also it has made me realize Richard nearly drowned because the lake wasn't there originally