#and fit great as both background and foreground

[pennamepersona]

thinking about how klavier + kristoph vs. apollo + trucy is a really interesting contrast of siblings and how well they fit into the themes of family (blood vs. chosen and how there's sometimes overlap; putting your trust in an older relative's advice and having it backfire/being treated as a pawn; finding commonality in a shared family trait/tradition; etc.) establish in the original trilogy would've been a pretty cool thread to follow through the latter games, esp since it'd keep that broader theme of family as a neat and emotionally resonant common ground with the og trilogy but fuck me i guess

[saltwife]

Paul

(Image description, and close ups of elements, behind the cut)

I have been obsessed with the idea of Paul as the Rebis, the Great Alchemical Work, since the moment I read the birth scene (a few weeks ago now). It just fits too perfectly, and I am sure it is not a coincidence. From Wikipedia:

The Rebis (from the Latin res bina, meaning dual or double matter) is the end product of the alchemical magnum opus or great work.

After one has gone through the stages of putrefaction and purification, separating opposing qualities, those qualities are united once more in what is sometimes described as the divine hermaphrodite, a reconciliation of spirit and matter, a being of both male and female qualities as indicated by the male and female head within a single body.

I wanted to do it in a style evocative of the time that alchemy was 'popular,' and include imagery evocative of story elements surrounding Paul's birth and origins. I looked at a lot of medieval illustrations, especially woodcuts, for inspiration. This took me 84 years to do, so I hope you will enjoy! :)

Like what I do? Please consider supporting me! Prints and other merch is available on redbubble, or you can sponsor me on patreon!

Image description: An illustration in medieval woodcut style of Cam/Pal/Paul as the Rebis, the great alchemical work. It is a fusion of their male and female bodies. Their heads are crowned, and skeletal bat wings spread from their shoulders. Camilla, on the right, holds one of her knives, while the half that is Palamedes holds a key. Immediately behind the figure is Noodle. In the Background on the right is the ruins of the Building, with the Greek letter Rho below it; and on the left is the Tree of Knowledge of Good and Evil. The figure is standing on a rock where also rests the skull of the sixth house. In the foreground the River is depicted with skeletal hands reaching upward, and bones bobbing among the waves. The constellation Cassiopea is above.

[whalesforhands]

even trivial moments are fine (satosugu x reader)

warnings: fluff?, somewhat different from my usual formats, i’ll let you decide where this fits in, gojo-centric haha

i’m somewhat late on my upload streak i’m SORRY

Grabby hands that find comfort in reaching for Suguru’s, feeling the rough callouses on the other boy’s hand and threading his long fingers through his, the comfort of having Geto with him, beside him, he can finally feel the joy of summer.

When he’s childishly tugging off the hairtie that held the entirety of Suguru’s bun up, letting the wind whisk those black locks up against the azure blue sky. Before his very own glasses are suddenly grabbed and pulled off from his eyes, joined by a melodious sounding of laughs paired with upturned eyes that shone with the glow of a blue spring.

“Payback is really something, huh Satoru?” Geto is laughing despite his hair that continued to billow in the summer breeze, grinning as he held onto the pair of dark sunglasses that hid the affection that adorned the crystal blue.

By the windy grass and clear skies that ran endlessly in this summer of his youth, he knows that that someone will always be waiting, reflected by midnight black and deep, hypnotizing purple.

Gojo Satoru is irrevocably in love with Geto Suguru.

Even when he sees you brushing through Geto’s hair, the mentioned boy with his eyes closed and leaning back onto the back rails of the loungeroom chairs, ears keened as Suguru hears your quiet humming, leaning into your touch as you continue your administrations in quiet, serene delight.

“Satoru?” Suguru calls out, sensing the familiar sorcerer first. “Were you not able to sleep? I’ll join you in a bit.” You’d look over your shoulder and flash him an apologetic smile as you keep brushing.

“I’m sorry for keeping him.” You fully turn your body to meet his.

“Would you like to get your hair brushed too?”

Your footfalls that slow and turn on your heel to look back at him and wave, waiting patiently as Suguru goes after an excited Haibara and rushing Nanami, Shoko’s laughter be serving as the background’s noise whilst you stood in the foreground, smiling as he approaches you with pockets tucked away deep into his pockets, grin on his face as he meets your gaze.

“Waiting for me, huh?”

“Always.”

The way you’d always keep spare change for the whole group in your little pouch, saving them the disappointment of not having the funds to enjoy their weekly vending machine sessions.

“Haibara-kun, you’re doing great! Keep it up.” Shoko’s grinning as the diligent first-year stands before the setting rays of the sun as both you and the aforementioned girl squatted down and hid within the tall first-year’s shadow, her drink in your hand as she took a sip from your chocolate milk.

“Yes ma’am! I will do anything to help keep our benefactor safe from the dangerous UV rays!”

“Yu, your cola’s turning lukewarm.” Nanami’s deadpan call to him would cause the boy to panic, not wanting to leave his duty, and yet, the call of his drink yearned for him.

Satoru likes how you care for all of them. But, he thinks he likes it better when it’s reserved just for him and Suguru.

Finally, notices that he finds solace in the silence with you. The quiet musings of your voice as you slowly sip from the cup of chilled barley tea, the comfortable hush about the both of you zoning him out as his eyes trailed over the way happiness and alleviation manifested on your face, the way you’d turn your attention towards him when you finally notice his gaze.

“Satoru?” You’re bringing him back from his spaced out state, soft giggles that beget his undivided attention to you as you tilt your head slightly, awaiting his reply to your question that went unheard in his indulgence of you.

…Is it pathetic, shallow, selfish of him to wish for you to hold his hand and walk together with him too? Perhaps it is.

For he still wants, hopes, wishes for you to see him as more than just the Satoru that belonged to Suguru, for you to finally see that his love is more than just this.

His body that jumps up at the cue of your heartbeat, his heart that finally loosens up when you’re both finally in his presence, a simple desire to know, to learn every intricate thing about the both of you until the end of his time and beyond.

Because, there’s no denying it.

Gojo Satoru is irrevocably in love with you too.

[pixie-skull]

My 278th edit and a huge thank you to @2009jorose for the suggestion and motivation too. =D I do attribute this edit to my friend @sailorzelda94 and I miss this friend so much. As well in tribute to @0chaotic-queer0 and @geebs96 . However I did take a few of casting ideas (as shown in first picture) and my own casting. I for whatever reason have a 10 photo limit, so please excuse my inability to post my typical “in the making” references. I am curious though who did I cast you agree with, disagree, and more (like asking what inspired outfits, which yes I attempted to recreate some famous portraits, or at least foreground characters). :D As well thank you @airasora for the background character I used her outfit in this edit too from Cinderella 2.

Henry VII: I casted Vladimir as similar body type, an underused character, if I could make videos, he has good scenes from the movie Anastasia.

Catherine of Aragon: I casted Cinderella as again reasons of @sailorzelda94 and bonus plenty of scenes over Cinderella trilogy.

Anne Boleyn: I know @2009jorose played with the idea of Meg, but I understand such limited screen time is that, limited in Hercules. That being said Meg I enjoyed the idea as Anne Boleyn. I suppose Marina from Dreamworks Sinbad could work, yet Meg looks closer to real life Anne Boleyn.

Jane Seymour: I agree with @2009jorose in casting Odette.

Anne of Cleves: I am aware my dear friend said Anastasia Tramaine, but in doing my research Anne is a brunette. So with Drizella has a nearly identical face to Anastasia, brunette and an also underused character with plenty of screentime, in my hypothetical video she would work.

Kathryn Howard: I would pick Vanessa, yet technically for body shots that could be not too in the face Ariel as @sailorzelda94 suggested. Bonus Melody I could use for younger alluded scenes in Kathryn Howard’s song. I realized I completely forgot to change Vanessa her to auburn.

Catherine Parr: Belle is a great fit so I agree with both @sailorzelda94 and @2009jorose .

[miloscat]

[Review] Sonic Boom: Fire & Ice (3DS)

Am I hot for this or did it leave me cold? I'll just tell you, I love it.

Rounding out my coverage of Sonic Boom (or is it??) is the second handheld instalment by Sanzaru Games. This one was released in between the first and second series of the show, and as I had hoped it improves on Sanzaru's initial effort in various ways. Let us enumerate them, shall we?

While Shattered Crystal managed to get some jokes out of Lyric (unlike Rise of Lyric), the almost complete absence of Eggman was striking. Fire & Ice makes up for that with an Eggman-centred story, along with a new character: his rejected bot D-Fekt. This little guy is both cute and threatening, but also a bumbler like his creator, so the tone doesn't stray too far from the show's. The cutscenes are now all fully voiced and there’s more FMV animation sequences, so you could easily cut together something like an episode of the show and it would feel pretty pukka.

The new plot device is Ragnium, a potent mineral that Eggman needs to… *checks notes* power his racing bots? It replaces the tokens from SC, serving as a collectible earned from achieving goals and destroying enemies in levels, which can unlock a small number of perks as well as concept art from the show which is a nice bonus. Having Eggman as the main baddie instead of Lyric also has the flow-on effect that the basic enemies in levels are animal-themed robots of varied and fun designs rather than the prior generic bots of the other two games.

If the title didn’t give it away this game features an elemental gimmick as its main new gameplay hook. At almost any time you can tap either shoulder button to switch your active element between fire and ice. This has potential but is mostly used as a simple trigger to turn certain blocks on and off. Not quite tapped to its full potential but on top of the other systems it’s a nice extra wrinkle to keep you on your toes. Otherwise the gameplay is pretty similar to the previous entry with dashing, swinging, homing attack-ing, and double jumping making for some nice flow. They have improved the pace of animations, so particularly Sonic’s air dash is snappier and chaining them together feels much better.

The more meaningful change is the overhaul to the level structure. Stages are now much shorter, more straightforward, and much more plentiful, a better fit for Sonic and for handheld sessions. The bottom screen map is now autofilled and more detailed, and the dual-environment theme is gone. There’s still foreground/background swapping but it’s more dynamic and streamlined. The extra side stages are still here for a change of pace: auto running tunnels, Tails’s submarine minigame now on the world map, a new hovercraft shmup thing, and the races now presented as a lap-based speed course against Eggman's bots (these also form the basis of a new multiplayer mode). Another addition is more boss fights, which play out across both screens as D-Fekt uses the environment to create some ad-hoc construct; they're ok.

Speaking of environments, there's some fun ideas for level themes here. A tarpit fossil zone, pirate cove, and gothic mansion make for great backdrops for the action. As before they look really good, and I must mention Richard Jacques who for both games did quite a nice job with the music. I do have to ding Sanzaru for not fixing the zoomed-in world map navigation, but the addition of fast travel and a level select menu alleviates the issue pretty well.

Oh, I should have said: Amy is here! All five of the main cast including Sticks are now playable for the first time (not counting Sonic Dash 2), which is great. Their abilities are mostly the same although Tails has a new gun and Knuckles can do Nights-style paraloops while digging, and of course Amy brings her trusty hammer to bear for knocking down pillars. Having five options does prevent the quick-change D-pad system that both RoL and SC used, so there's now a cycling switcher with a short delay or touchpad buttons; not as immediate but serviceable enough.

I'm very pleased with the refinements F&I brought to the table. Of the Sonic Boom games it's the most faithful to the show and as far as I'm concerned the most fun. Sanzaru made a cool experimental game but learned lessons from it and came back with something that feels really good. If they had kept making these I would have kept eating them up but sadly it was not to be. Sonic Boom has connected with me more than most other Sonic media, so I'm disappointed it didn't last much longer after this. I do have around 30 more episodes of the show to watch though, so if you'll excuse me...

[divinekangaroo]

in your latest fic, tommy and lizzie have an exchange after he falls deliberately into the bath about the clothes he’ll wear home, and he mentions a specific outfit of hers. Now i know people had fewer clothes back then, but he had to have been paying attention to notice even the color of the shoes she wore. What’s your reasoning, for this, considering he was married and obvi into Grace at the time? Or even just your opinion on Tommy and Graves relationship and how lizzie fits into that?

I was wondering how people would read that line! Long post warning!

I wrote it in to convey an amalgam of the following:

Tommy is highly observant of small details when they're important to him and for reasons below, Lizzie's appearance is important to him

Tommy likes looking at pretty women who dress well irrespective of his marriage

Tommy pays intimate attention to fashion because appearance is how to craft the first layer of illusion as to who you are - Tommy likes to think he is all across impression management. (He also pays attention to Ada's lipstick and what it means. And he bought Polly lipstick in New York, suggesting his combination of detail orientation, observation of women and fashion awareness, he can even pick the right tone of lipstick. (I also headcanon he planned and organised the entire wedding, because Grace only ever talks about the Institute - that wedding in my mind was 100% Tommy going full dictator mode over ever micro detail)

Lizzie's slowly increasing confidence and glow-up over time in his office has been giving him the warm fuzzies to know 1) she's becoming the woman he always saw in her somewhat gauche youthfulness, and 2) he enabled her glow up/confidence and therefore he owns it/her/another beautiful, valuable thing, and 3) her looks reflect on him and his rank/status when other men interact with her in her role as his secretary, where she might be the first impression someone has of Tommy Shelby Managing Director. In combination these three mean he pays attention to Lizzie's appearance as representative of *him*, irrespective of any sexual attraction/his marriage vows.

Tommy is comfortable expressing criticism (don't like the burgundy) but is very uncomfortable with giving complements (i do like it when you wear the green). These throwaway lines are Tommy using subtext to give complements - Lizzie looks great in green and he remembers that. Lizzie is usually oblivious to subtext.

Tommy is unconcerned that Lizzie might be one to two inches taller than him in normal heels but PARTICULARLY does not like the burgundy because they make her four inches taller than him, so he notices them as he would a nemesis walking into his office, eyes narrowed and glaring at them as they go past. Also, in Ch 3 of the melting point of gold, I wrote a reminiscence of her wearing them while they were having sex over his desk in the old days, and they put her too high for him to penetrate at the right angle. So he remembers them for all the wrong reasons. XD

So what does this mean that all of the above observations happened during a time he was married to Grace? I feel that being married and in love and him choosing to behave monogamously doesn't turn off all the thinking and feeling that might occur around other women. Given he would have been around Lizzie at least 5 days a week, all of this is like a background process in his mind. He doesn't act on it while he's with Grace. But now that she's passed away and thanks to Tatiana, he knows he can't do what he wants to do (be abstinent in grief similar to fasting in grief), so that background process throws all that recorded data up into the foreground.

While Grace was alive, I don't think Grace would have picked up on anything overly heated between Tommy and Lizzie, in part because both Tommy and Lizzie turned off any sexual part of their relationship well before Epsom, but also because of how rigorously Tommy would have divided his lives and functions and kept Grace separate; the suggestion that he'd probably encouraged Grace's 'obsession' with the Institute project and all its little details so she didn't have the time to focus on his. Grace did start to break down those walls at their wedding but that didn't have time to unravel before her death.

Lizzie and Grace probably would have spoken together in Tommy's office or over the phone whilst arranging/coordinating matters around Tommy's schedule, but Grace would have treated Lizzie sort of like Mary ('staff'). Lizzie would have been professional about it as best she could -- noting that given most of Tommy's business structure is family, there's that very strong layer of unprofessionalism and also clique-formation/status jockeying that would have had Lizzie set her mental hierarchy as Tommy at the top, Polly next, then Ada, then Arthur, then John, and only then Grace, Linda and Esme. Plus the complexity that if one of them is given a specific order or a specific remit by Tommy, then in that field only do they speak 'as' Tommy and leap up the hierarchy. But any slighting of or friction with Grace wouldn't have been because of past sex with Tommy, it would be because of family hierarchy and the fluidity of how that might flex in response to Tommy's delegation of authority within limited spheres to those family members. Like, I can see a very specific scenario where Tommy disappears into the night to do something highly illegal and Grace is trying to insist Lizzie gives her information on where Tommy is, and Lizzie protects Tommy and frustrates Grace.

Lizzie also wouldn't have acted to try to start something with Tommy either. I have very strong headcanons on Lizzie's fetishising of marriage as a fallen woman very much unlikely to ever marry, and Tommy and Grace were like a sweeping textbook fairy tale; as much as Lizzie wishes it were her, she and Tommy never quite fit into the fairy tale. Lizzie quietly and secretly idolises Grace x Tommy *together* as creating this untouchable romantic story. Lizzie also knows what's said about the kind of woman who breaks up those kinds of marriages in both stories and real life, and she's not going there again on top of her prostitution history. (Lizzie's jealousy of May is something entirely different at a different stage of life/relationship.)

If Grace had lived, I do think Tommy would have eventually been adulterous but without any particular intimacy, and because of that he probably never would have gone back to Lizzie for sex as his conscious effort at risk management, because of their working intimacy and past history. However, he would have merrily continued entertaining himself with maybe-libidinous-but-definitely-possessive thoughts of Lizzie which would have come out in non-sexual ways, similar to the rest of his immediate family.

[popping-greenbean]

I have no idea when you posted it but I just saw your Freddy and Bonnie ‘you & me’ art and I have to tell you that I absolutely adore it

I love emptiness in the foreground of the Fredbear and SpringBonnie piece and how the spotlight amplifies them but still gives off a lonely feeling, showing that they only had eachother

Meanwhile the fnaf1 Freddy and Bonnie art takes a different direction, it’s a lot more colorful and bright and has a wonderful playfulness to it. The lighting also looks very ‘homey’

ShadowBonnie and ShadowFreddy either holding hands or just being connected showcasing that they’re a team <3 (semi-unrelated but I love the arcade visual on this one)

Toy Bonnie and Toy Freddy also have an air of playfulness to theirs but in a separate direction from the originals, their lighting looks brighter and more ‘professional’ if that makes sense? I love their poses

I love SL and honestly I could talk your ear off about these two and how fascinating they are but I absolutely love the environment on this one. The sparks illuminating them and how menacing it makes them look is so cool

The rockstars look like they’re having a blast with eachother and having such a great, I love the background in this one

I think Glamrock Freddy perfectly parallels Fredbear and SpringBonnie. They both have a sense of loneliness to them but Glamrock Freddy’s is completely different than theirs. He’s standing by himself but not in the center, showing that someone is missing but you took it one step further and added the lights behind him, amplifying it because it adds more space to the spot next to him

THANK YOU SO MUCH!!! this makes me so happy :,O sorry but i'm taking your ask as my excuse to ramble a bit about my own thoughts now bc i had spent all my waking hours of like a full week juggling around on ideas for those and it makes me incredibly excited to get this response

oml yes i wanted to present each pair with a unique feeling, practically exactly how you described, and in ways that sort of reflect my own feelings when i look back on each game, but keep consistent the main subject of each, which was keeping bonnie and freddy on the left and right sides of the shot, all nice and balanced across the midline :D

the alternating brighter and darker shots were also done on purpose, mainly because i wanted to make the experience of scrolling through the post more interesting, and sort of also because i wanted to set up a tiny pattern of having every other pair (golds, shadows, funtime) being like.showing the side that isn't seen by an audience, that's alive, facing straight at the viewer, while the others (fnaf 1, toys, rockstars) are fully focused on each other or the stage they're performing on, and then i break the pattern for oomph factor

(i didn't include the withereds, phantoms, or nightmares because while there were still a rabbit and a bear in the main animatronic sets that kept up the impression of bonnie and freddy being there, i simply.did not want to fit them in with the words bc they did not support my purpose. the impact of the withereds on the idea of bonnie+freddy as a duo didn't feel incredibly strong to me, presenting springtrap and phantom freddy together doesn't make much sense story-wise, and i still don't know if the nightmares actually count as things that exist, plus the addition of nightmare fredbear, nightmare, and plushtrap in fnaf 4 makes brown bear freddy (+his kids) and bonnie just sort of fall to the side. there are a thousand versions of freddy and bonnie in fnaf world so they don't have much of a presence. the rockstars did nothing relevant at all in pizzeria sim or the series as a whole other than appear in ucn but i just really like them. so i'm definitely trying to manipulate everyone seeing my post)

basically i just felt like.like u don't realize how important it's been in the series that there was consistently a rabbit and bear in each game's set of killer robots, like u don't even think about it, its just a fact that u accept and then continue trying to not die, and then sb came around with a much bigger focus on the animatronics as individual characters themselves,, and u just realize that despite/because of the fuller environment and the free roaming and freddy being the friendliest creature ever, something just feels missing,,,

so so so i placed our darling glamrock freddy still on the right side, where hopefully ppl had been coming to expect to see freddy from the previous images in my post, and though he stands facing forward, he looks over to the left side of the frame :) i spent a bit of time trying to match the shading style + colours to that exact shot in the opening cutscene for reasons :)) hope everyone enjoys!!!

and i dont want this to get even longer hsjfksdh but again thank you so much for your message!!! i appreciate it so so much :DD

[espithewarlock]

hello hello !

5, 11, 20 for the ask thingy !!!

Hi Sol!!! Anything for you darling! 💚💚💚

5 - a fic idea I've had but will never write?

Honestly? I haven't had any. I lean into anything that enters my brain and just fucking go for it usually. Now, some of those don't get *posted* and will never see the light of day, but that's not the same thing as *never writing* it 🙃

11 - do you have specific playlists for writing fics?

Not really? I usually listen to Twitch streams while I'm writing because it blends into the background and I can shift it to the foreground when I need a break. Listening to music sometimes breaks me out of the flow when the songs change and I need something continuous.

However, when I find a song inspiring I add it to a Playlist called "Moonwalking and other Inspirations" because it started as a Walk the Moon Playlist 😂 that's a great driving/gym playlist for when I want to think about what I'm writing but not in a place where I can do it easily.

20 - What's a favorite title for a fic you've written?

You just want me to say Bittersweet, That Glitter, don't you? While I love that title, for many reasons, I think Saying The Words That I Want You To Say has to be my favorite. I love using song lyrics and both of those fit incredibly well!

[keykidpilipili]

I hope that in the future the KH series continues to branch out in its artstyle exploration and doesn’t only go for 3D games. There is beauty within the original theatrym inspired mobile game, gameboy chain of memories and the X/UX trilogy(back cover not included here for obvious reason. 

Original Chain of memories has faded into oblivion in a lot of ways after the release of recom. It probably survived a bit longer for less online European fans as the remake didn’t localized this side of the planet till 1.5. The portrait sprites are so expressive and it’s sad they were only brought back for the Kingdom Mobile minigames! The faces only being shown through them eliminates the engine/budget limitations KH1, recom and 2 had: character reverting to default faces mid cutscene and the difference clashing intensely.

People barely talk about Kingdom Hearts Mobile and the Avatar kingdom which remains the only kh game to not be connected to the overall story! The artstyle borrowed from theatrym and com but it was also the precursor of browser x[chi] with service ending shortly before the beginning of its successor’s beta and previews of the player being drawn in a very similar style. The arstyle even made a return with the melody of memory character loading walks!

The chi trilogy+Dark Road(as in browser x chi, Unchained and Union x) grew over time: characters got more unique animation such as the foretellers not having their own individual attack animation till the keyblade war battles, avatar parts were not separable at first and many fans rejoiced, we got to see background disney characters ignored by the main saga! Even a recurring character like Hades had memorable sprites both unique and fitting his character. Dark Road didn’t make any profit for over a year and its team was probably working with what was left from UX and whatever they could squeeze from Square Enix. IT CAME FREE! IT CAME FREE AND YET SO MUCH CARE WAS OUT BY THE STAFF AND THE ANIMATORS MAYU SHIMIZU AND MEGUMI YAMAMOTO! The amount of detail they seamed into the characters most of which had not much screentime made them feel real instead of just props for a scipt! It’s in a little dance, it’s in one character taking off their glasses to sleep and putting them back on upon waking up, it’s another raising their chin from a keyblade held at their throat! 

We can even talk Classic Kingdom which was introduced in KHUX before kh3!!!  As someone who used to play these simple static background with animated foreground, it was magical! As much as i love how it came free with UX and KH3, they would have made great merch accessible both to adults and a younger audience!

Kairi Ex i just want the serie never be afraid to explore different ways to bring their characters to life.

[dascarecrow]

Cover Stories - The Mario Movie

For the first Cover Story I thought I’d cover the upcoming Mario movie, seeing as you can make an argument that without Mario gaming as we know may never have existed.  

As for this poster being the first look at the world of this movie I’d say it does a fantastic job. Faithfulness will not be an issue unlike the last movie for those willing to acknowledge it anyways. The foreground shows that characters like Mario and the Toads look like they’ve stepped right off the game screen. But there are slight differences to show that the movie is doing it’s own thing. Mario himself has a far more detailed look then ever before, with visible seems on his clothing which even includes his iconic hat. 

The marketplace in the foreground is also a nice touch as it tells us how the Mushroom Kingdom is going to look in the movie. There’s even a hint for the story as the Toad closest to Mario seems to be introducing him to this world. Fitting as this poster is our first look at this magical world. Said marketplace also hosts a treasure hoard of Easter eggs for dedicated Mario fans, which is hopefully a hint towards what we’ll see in the actual movie. 

The background is arguably even more compelling. The giant hills harken back to the oldest of Mario games and the floating islands around help add to the mystical nature of what the world will certainly be. A close look also shows how the ever iconic pipes of the series will be implemented, climbing up the sprawling hills in a manner that is more complex then we have ever seen in the games.  

The high point of the poster would doubtlessly be Peach’s castle which seems to have been adapted in a way that is both faithful to the games and yet unique to the movie setting. As all great adaptations ought to be. 

All in all for a first look at the highly anticipated Mario movie I would say that this poster does a pitch perfect job. 

[joylinda-hawks]

This time elegant ZZH again in his somewhat casual but classic style. 2019. Photoshoot done for Echo People magazine. During this photoshoot ZZH presented three styles. These were clothes referring to different styles. Apart from that, the photoshoot itself had a rather original setting. From these three styles I chose the one that spoke to me the most and which in my opinion best suited ZZH as a young man. Another thing that caught my eye was ZZH's coat - a double-breasted trench coat in a strong royal blue. I really like the color blue in clothes, both cool and warm shades of blue. ZZH looks great in clothes and accessories in this color. This is probably largely due to the fact that the costume designers in the WOH series decided to dress ZZS in a blue color scheme to a large extent. We remember ZZS's beautiful dark blue winter robe, or the robe that ZZS wore at the wedding of GX and CWN, and we can't forget ZZS's worn, muted blue hobo robes. All this showed us that blue is one of the colors that perfectly suits the person of ZZH. But let's get back to the photo. Here, three colors dominate: white, brown, and blue. It is this blue and brown color that work nicely together in this photo. The color blue stands out in the foreground precisely because of this intensity. This brown color reminds me of the color of nuts. Never mind. ZZH stands here dressed in a white turtleneck and white pants, the turtleneck beautifully hugs his chest, and the pants perfectly shape his long legs. ZZH also wears white sports shoes. And the most important thing is the blue trench coat, long with a slightly fitted cut and a large collar. ZZH has a short haircut here, but his hair perfectly emphasizes ZZH's regular facial features. It seems to me that ZZH has minimal make-up and that's good, because in the natural version he looks great, maybe only the lips are slightly covered in lipstick and stand out a little on the face. An interesting trick of the photographer was to place ZZH on a background resembling a cut-out sheet of paper, it looks as if ZZH tore the sheet of paper to get out. A very interesting solution, which causes the viewer to focus on ZZH's silhouette. It seems to me that the photographer took the photo a little from below, which optically lengthened ZZH's silhouette. ZZH stands here in a slightly nonchalant pose, with one hand in his pocket and the other resting on a torn piece of cardboard. ZZH looks straight at the viewer, and his face looks as if it has frozen, we can't quite read what he is thinking, ZZH stands like a statue waiting for the viewer to admire his beauty.

[farazdakstudio]

How to Choose the Right Lens for Every Photography Genre

Understanding Lens Basics

Before diving into specific lenses for different photography genres, it’s important to understand the basics. Lenses are classified by focal length, which determines the angle of view and magnification of the image. They can be broadly categorised into:

Wide-Angle Lenses (10–35mm): These lenses are ideal for capturing expansive scenes, making them perfect for landscape photography. They allow you to fit more of the scene into the frame, making them a go-to choice for architectural shots and group photos.

Standard Lenses (35–70mm): Often referred to as “normal” lenses, these offer a field of view similar to what the human eye sees. They are versatile and can be used for a variety of photography genres, including portraits, street photography, and everyday shooting.

Telephoto Lenses (70–200mm and beyond): Telephoto lenses bring distant subjects closer, making them perfect for wildlife, sports, and portrait photography. These lenses create a shallow depth of field, allowing you to blur the background and make the subject stand out.

Prime vs. Zoom Lenses: Prime lenses have a fixed focal length, offering sharpness and a wide aperture, which is great for low-light conditions. Zoom lenses, on the other hand, provide flexibility by allowing you to change focal lengths without switching lenses.

Lenses for Portrait Photography

When it comes to portraits, the goal is to capture the essence of the subject while creating a pleasing background blur (bokeh). For this reason, lenses with a focal length between 50mm and 135mm are considered the best lenses for photography in this genre. A 50mm prime lens, often referred to as the “nifty fifty,” is a favorite among portrait photographers for its sharpness and ability to perform well in low light.

A 85mm lens is another popular choice, offering a flattering perspective that avoids distortion. For more versatility, a 70–200mm telephoto zoom lens allows you to shoot from a distance while still achieving beautiful background blur. Farazdak Studio, recognized as one of the best photographer in New Delhi, often utilizes such lenses to capture timeless portraits that highlight the subject’s unique features.

Lenses for Landscape Photography

Landscape photography requires lenses that can capture wide scenes with sharpness from the foreground to the background. Wide-angle lenses, particularly those between 10mm and 24mm, are ideal for this purpose. They allow photographers to capture sweeping vistas and intricate details in a single shot.

For photographers who want to emphasise specific elements within the landscape, a telephoto lens (such as a 70–200mm) can be a powerful tool. It enables the compression of the scene, making distant objects appear closer together, which can create striking compositions.

At Farazdak Studio, our approach to landscape photography often involves using a combination of wide-angle lenses for dramatic views and telephoto lenses for highlighting specific aspects of the scenery. This combination allows us to create images that are both expansive and detailed.

Lenses for Event Photography

Event photography demands versatility, as you need to capture everything from candid moments to posed group shots in various lighting conditions. A zoom lens with a wide focal range, such as 24–70mm or 70–200mm, is often the best lens for photography in this genre. These lenses allow you to switch from wide-angle to close-up shots without changing lenses, making them ideal for fast-paced environments like weddings or corporate events.

A 50mm prime lens is also a valuable addition to an event photographer’s kit, offering excellent low-light performance and a natural field of view. For indoor events, lenses with a wide maximum aperture (f/2.8 or wider) are essential for capturing sharp images in dimly lit venues.

At Farazdak Studio, we rely on high-quality zoom lenses to ensure we don’t miss a moment during an event. These lenses provide the flexibility to adapt to different situations quickly, ensuring that every important detail is captured.

Lenses for Wildlife Photography

Wildlife photography requires lenses that allow you to capture animals from a distance without disturbing them. Telephoto lenses with focal lengths of 300mm or more are essential for this genre. These lenses bring distant subjects close, allowing you to capture details such as feathers, fur, and expressions with clarity.

A 400mm or 500mm lens is often the go-to choice for professional wildlife photographers, enabling them to photograph animals in their natural habitat without getting too close. However, these lenses can be heavy and expensive, so a 70–300mm lens can be a more accessible option for enthusiasts.

At Farazdak Studio, when we venture into wildlife photography, we select lenses that provide the necessary reach and sharpness, ensuring that every detail of the natural world is preserved in our images.

Conclusion

Choosing the right lens is crucial for achieving the desired results in any photography genre. By understanding the characteristics of different lenses and how they apply to various types of photography, you can make informed decisions that enhance your work. Whether you’re shooting portraits, landscapes, events, or wildlife, the right lens will help you capture images that stand out.

For those looking to capture moments with the expertise of the best photographer in New Delhi, Farazdak Studio offers professional photography services that cater to a variety of needs. With a keen eye for detail and a deep understanding of lens selection, we ensure that every shot is tailored to perfection.

Read More Blogs:

The Impact of Social Media on Photography

Commercial Photographer in New Delhi

How to Choose the Right Wedding Photographer

Best Portrait Photographer in New Delhi

Originally published at https://farazdakstudio.blogspot.com on September 5, 2024.

[jpt1311animeblogoscarsheareriii]

Module 8 Wolf Children/ I went a little bit long with this one

I have never seen this movie before, I have only ever heard of it and seen some still photos of the movie. I did have an interest in it and thought that I should watch it someday, I just did not think that it would be due to a class I was taking. I thoroughly enjoyed my time with this film and thought it was great. A message I got was that everyone has their own struggles and are trying their best to just live their lives. Sometimes people will not understand you and will discriminate against you because of whatever reason they are willing to come up with. Hana deals with this in a way everyone else can not even imagine, but always does everything in her power to help Yuki and Ame no matter what. There was a lot to this film and there is no way I can cover everything so I will talk about what I remember the most about my time watching Wolf Children.

Anyway, the story starts out with our main character Hana attending her college class and notices a guy in her class that seemed different than the rest of her classmates. It turns out that he was not a student and that is how they first meet. As time passes they fall in love and eventually he has to tell her the truth that he is part wolf as well as human. This does not matter to Hana and they continue their relationship for a few years in which they have two children Yuki and Ame, but unfortunately he dies a little after their second child was born and this leaves Hana alone in raising two children that are half-human and half-wolf. The rest of this movie is about Hana trying her best to raise two children while dealing with the fact that she has to keep their secret from anyone because the consequences would be unknown to her. Discrimination is one of the key points in this movie both in the foreground and the background. The main discrimination would be the fact that they are part wolf and that is something they must keep hidden and deal with the effects of it. First, who knows what would happen if they were found out just randomly. Would the children be taken away or what would happen is a mystery that Hana does not want to know the answer to, so this is a constant worry when they are still young on top of the fact she is learning and dealing with the fact that she is a single parent. An example of this when one of the kids gets sick and she is trying to determine whether she should take them to a pediatrics or a vet. This shows one of the problems she has to deal with because she must keep the secret that they share. They also have to deal with neighbors who are complaining about noise at night, a landlady who reminds her that pets are not allowed, and an agency that is pressuring her about the welfare of the kids because they are not in the system. All of these are due to the fact that they are part wolf, well maybe not the noise complaint because babies and young children to tend to cry whenever they feel like it.

Further on in the movie they move to the countryside mainly because they did not want to have some many people's eyes on them. The older sister Yuki eventually goes to elementary school and makes friends with other children. Another part of the difficulties they are living with are shown when the kids in class all bring in something to show each other. Her friends bring in their mother's jewelry or other trinkets while she brings in bones of animals she has hunted. After this she decides that she will be more girly in order to fit it. This is not something that is only due to her situation, many people hide or change parts of themselves to fit in because they want to be included. This discrimination is something everyone can relate to and everyone has experienced during their lives, this is why this moment feels so real because we have all been in Yuki's shoes in hiding something we enjoy just to fit in with the group. Throughout the movie Hana was happy and never giving up so Yuki and Ame could choose what they want in the future, whether that is to live as a human or live as a wolf. At the end of the movie, Yuki has decided to live as a human in society while Ame has chosen the opposite path and live as a wolf in the mountains around their home. Hana has to accept his decision, and only accepts after she falls unconscious in the forest going after Ame because of the storm that is overhead, during this time she talks with their father and tells her that he is a grownup. Yuki on the other hand decided to trust her classmate Souhei with her secret and after she shows him he tells her that she will keep her secret. This shows that some people are willing to accept you even if you are different, whether that is because of this situation where you are half wolf or because of any number of differences.

Anyway, those were my thoughts about the film and like I said I have thought about watching this and I am glad I could finally watch it because I think that this was a great movie.

[anjali141202]

One Lens, Dual Roles: Mastering Wide Angle and Macro Photography

Have you ever wished for a lens that could magically switch between capturing sweeping landscapes and zooming in on the tiniest details? Well, it exists, and it's called the wide angle and macro lens combo. In this guide, we're going to explore the incredible versatility of this lens, uncover its secrets, and learn how to make it work wonders for your photography.

Meet the Wide Angle and Macro Lens

Before we dive into the details, let's get to know our star player: the wide angle and macro lens. This special lens can do two things remarkably well:

Wide-Angle Mode: In wide-angle mode, this lens lets you capture wide, breathtaking scenes. Think majestic landscapes, bustling cityscapes, or group photos where everyone fits in. It's your go-to lens for those epic, expansive shots.

Macro Mode: But wait, there's more! Flip that lens into macro mode, and suddenly you can zoom in on the tiniest things. We're talking about those incredibly detailed close-ups of flowers, insects, or everyday objects that often go unnoticed.

Understanding Your Lens

To make the most of this versatile lens, you need to know how it works in both wide-angle and macro modes.

Focal Length: The focal length determines your lens's field of view. In wide-angle mode, you'll use a shorter focal length (usually around 10-24mm) for those big, wide shots. In macro mode, you switch to a longer focal length (usually 60-100mm) to get up close and personal with your subject.

Aperture: Keep an eye on your lens's aperture settings. A wide aperture (like f/2.8) is fantastic for wide-angle shots. It gives you that beautiful background blur (bokeh) that makes your subject pop. In macro mode, you might use a narrower aperture (like f/16) to get everything in focus.

Focus Range: Your lens has different focus ranges for wide-angle and macro modes. This is where you control how close or far you can focus. In wide-angle mode, you're looking at more distant subjects, while in macro mode, you're practically touching your subject.

Tips for Incredible Wide-Angle Shots

Let's kick things off with some practical tips for nailing those stunning wide-angle photos:

1. Get Creative with Composition: Wide-angle shots love creative compositions. Think about leading lines, interesting foreground elements, and the classic rule of thirds. These can transform your wide shots into visual masterpieces.

2. Don't Skip the Tripod: Wide-angle shots can benefit from a tripod, especially in low light. It keeps your camera steady and ensures sharp images.

3. Experiment with Angles: Wide angles love unique angles. Try shooting from the ground to make foreground elements look massive, or go from above to capture the vastness of a scene.

4. Filters Are Your Friends: Consider using filters like polarizers or neutral density filters to enhance your wide-angle shots. They can help control reflections and exposure in bright conditions.

5. Embrace Motion: Wide angles are great for capturing movement. Play with long exposures to create stunning effects with things like flowing water or moving clouds.

The Art of Macro Photography

Now, let's dive into the mesmerizing world of macro photography and see how your lens can bring out the magic:

1. Lighting Matters: Lighting is crucial for macro shots. Use diffused natural light, reflectors, or external flashes to illuminate your subject evenly and avoid harsh shadows.

2. Keep It Steady: Macro photography is ultra-sensitive to camera shake. A tripod and a remote shutter release or timer are your best friends here.

3. Mind That Depth of Field: Achieving the right depth of field is key in macro photography. Experiment with different apertures to control how much of your subject is in focus.

4. Get Closer with Extension Tubes: If you want to dive even deeper into macro photography, consider using extension tubes. They let you get even closer to your subject and unveil microscopic details.

5. Patience Pays Off: Macro photography often requires patience. Tiny subjects can move, and finding the perfect angle can take time. Be prepared to invest the effort for those extraordinary results.

Switching Between Modes

Switching between wide-angle and macro modes with your dual-role lens is easy:

Wide-Angle to Macro: To move from wide-angle to macro mode, simply zoom in using the lens's focal length adjustment. This allows you to focus up close on tiny subjects.

Macro to Wide-Angle: To go back to wide-angle mode, zoom out to a shorter focal length, typically by turning the zoom ring or using a dedicated switch if your lens has one.

Wrapping It Up

The wide-angle and macro lens combo is a game-changer for photographers who crave versatility. With the power to capture vast landscapes and unveil miniature worlds, this lens is your creative playground. Whether you're photographing the grandeur of nature or the intricate beauty of a dewdrop, your dual-role lens will be your trusty sidekick. So, grab your camera, mount your lens, and embark on a photographic adventure where every scene is a story waiting to be told. Skyvik, a brand I trust, helps me capture moments that touch my heart. Happy shooting!

[imthepaladin]

Level Design: Donkey Kong vs Mario

Despite both games being made by Nintendo, the difference in design in Donkey Kong: Tropical Freeze and New Super Mario Bros Wii is very noticeable.

In DK:TC there is so much more going on in the levels. Waves crashing against beaches, pirate ships riding past, and more are all happening in the background as the level progresses. Additionally, DK:TC is much more of a 2.5D/3D game than NSMB, which leans more into a flat 2D plane, as in DK:TC you are constantly moving from the foreground into the background to get to different parts of the level.

On the other hand, NSMB is much simpler with a flat, 2D parallax background and basic left-to-right levels. NSMB is also much more gird-based with tile maps for each level/world, whereas DK:TC has 3D terrain and obstacles.

I think my game will be more like NSMB, because the 2D plane and grid system are much more fitting to solve puzzles in. However something DK:TC does great is theming, and mechanics. Instead of just having one mechanic in a stage (as NSMB does), it introduces multiple that all fit into the level/world, and by the end of the stage it combines them in fresh ways to create a climatic ending.

This formula could work in some aspects of my game, especially as I plan on having everything on one screen- so the player can immediately see and understand parts of the level as they play.

This GMTK video summarizes my thoughts well:

[catmansquad]

Aspects of Glass: Tarot Motifs

Well, here’s the various characters from Aspects of Glass as Major Arcana

The Fool – Alex Leighton “The Fool steps into nothingness, he knows no better, knows not the journey that lays before him.” A melancholic young man with dark hair and bright blue eyes, hands on the straps of his rucksack, ready to depart for another working day.

“For the last time; I am. Not. Dating. Spider. Man.” – Alex, before being forced to eat his words.

The Magician – Alixus, Asteriai Archon “One of the Archons of the Asteriai, akin to royalty, skilled in the arcane arts, proud yet playful.” The card depicts the great-trees of another world, The Magician stands in the foreground; dressed in shimmering robes of green and gold, blue eyes glinting through a horned mask, hands held out, a tome of esoteric patterns floats before him, above him a horned serpent chases its own tail in the symbol of the lemniscate.

“Let us continue our dance in private, Mihail…”

 The High Priestess – Alyssa Leighton “Always with one foot in the world of the Dead, she listens to the stories of the lost, and helps restless souls find peace.” Twin sister of Alex Leighton, she stands in wraith-like, ragged attire of her Supervillan persona, hood in her hands, long curls of dark hair frame her face and blue eyes narrowed with sorrow. In the background, there are swirls as if unseen spirits are present.

“Great. More cryptic bullshit from the spirit world.”

The Empress – The Twins “The Empress is a card of motherly guidance, femininity, and nurturing. She reminds us to be kind to ourselves.” The Empress is depicted by the twin sisters, colleagues, and friends of Alex, Lucia and Callista, standing back-to-back. Callista’s expression is sterner, her arms folded and eyes narrowed, Lucia’s expression is softer and move loving, her hands held out in welcome. Alex cannot and probably will never be able to tell them apart in any universe.

“You see the ass on that guy?” “Couldn’t miss it for the world.” – The Twins, admiring Miguel’s… assets.

The Emperor – The Vampire “The Emperor is a stoic figure of strength and authority, a ruler who is tough but fair in his judgement.” While most iterations of Miguel could fit, the Vampire stands in his rich and regal attire with the moonlit city behind him. Dark hair neatly slicked back, red eyes are looking at the viewer as he softly licks a smear of blood from one finger, fangs peeking out.

“In this case, The Emperor is a symbol; the master of the Vampires in London, though not an official title. Power belongs to those who take it…”

The Hierophant -  Scott Staland “The Hierophant is the speaker of higher powers, the guardian of the gates of life and death- although in this case, perhaps “truth and lies” would be more apt.” One of Alex’s co-workers, he stands dressed in his work attire, dark clothing with a brimmed cap, his name badge hangs by the cord of his lanyard. He is smiling keenly, Dark eyes stare down through his glasses, his phone is in his hands, fingers typing frantically. In the background, the faded messages of social media regarding Spider-man can be seen.

“Oh boy, this is gonna go viral…!”

The Lovers – Miles & Gwen “The Lovers is a card of partnership, union and duality. Their trust in each other gives them confidence and strength.” The Lovers depicts older versions of Miles and Gwen, dressed in black with white webbing, Miles stands upright, Gwen is inverted on the bottom of the card, the gravity of her hair implying she is hanging upside-down- they are separated by a thick pane of glass, yet both are looking at each other fondly.

“Trust me?” “Absolutely.”

The Chariot – The Merman “The Chariot is a symbol of self-control and willpower, a determination to achieve goals.” The Chariot depicts an underwater environment, an iteration of Miguel- a Merman with a long tail of red and blue- swims towards the viewer with one webbed, clawed hand reaching out, he is smirking playfully. On his back an iteration of Alex in a white diving suit hugs onto him for dear life.

“I will teach you to swim, walker…”

Strength – Mihail, The Bright Blade / Mihail of the Callisteri “Strength is a symbol of inner might, bravery, compassion, and focus. Qualities he understands and embodies well.” In the same world as The Magician, Strength depicts a tall and powerful warrior, clad in silver armour with an emerald cloak bearing the icon of a great stag. He holds a horned helmet under one arm, the other holds a large sword made of shimmering energy. Unmasked, he is revealed to be another iteration of Miguel, slightly pointed ears reveal his Fae-like nature, the wind ruffles his hair, and his expression is almost serene, at ease for a time.

“Looks like I’m breaking all the rules tonight…”

The Hermit – Alexander O’Hara “The Hermit is a symbol of solitude, a seeker of knowledge who disconnects from the world to find answers.” This card depicts an iteration of Alex, pressed against a shut door, as if he is using his own weight to keep it closed, the shade of a nearby table lamp has gone askew, casting him into bright illumination. He looks confused, or perhaps terrified, trying to keep out something or give himself time to think, alone. Something he has discovered has visibly disturbed him.

“… No! Stay away from me, I-impostor! Let me think!”

The Wheel of Fortune – The Glassmaker “The Wheel of Fortune symbolizes a change in circumstances, it offers a blessing, or perhaps a warning. “This too shall pass.”” The card depicts Alex in the attire of the Glassmaker, cradling his Uncle’s body in his arms, distraught. Spikes of glass erupt from the ground around them, and on a nearby wall, the Wheel of Fortune can be seen graffitied above them.

“If I’d known what I could do… You’d still be with us, uncle…”

Justice – Eric Leighton “Justice is the card of seeking answers. Its representative seeks to learn the truth, to find answers, and to unmask the culprits.” Justice depicts the uncle of Alex and Alyssa Leighton, the Metropolitan Police Captain, in his uniform, his hair is short and greying at the temples, lines of stress line his features. His eyes are narrow, stern and searching.

“I will find out who is beneath that mask, Spider-man. Then you and I are going to have a long talk.”

The Hanged Man – Henry Poe “The Hanged Man is a card of introspection and sacrifice. As he dangles upside-down, his world possessions fall from his pockets. Although, in this case, it would appear the sacrifice is not voluntary…” One of Alex’s co-workers hangs upside down, trapped and dangling from a spiderweb, tied by a thread of crimson light to one ankle. Upside-down, he looks at his own hands, desperately trying to pull loose the black feathers growing from his arms. Beneath him, the ground is already covered in feathers.

“… H-help… me…”

Death – The Raven “Traditionally, the card of Death represents deep change as opposed to mortality. But this figure may bring both.” The starry skies above are occluded by a mutated, winged figure. What little remains of Henry Poe, warped into a monster, diving straight at the viewer with clawed hands outstretched and mouth open in a silent scream.

“Y-yoooou…!!”

Temperance – Lyla “Temperance is the card of the middle road, of alchemy, of the blending of elements into a better form.” The card represents Lyla, smiling pleasingly, her glasses low on her nose, eyes watchful, yet seemingly completely at ease with the world. On the left side of her background are digital displays of orange screens depicting webbing, on the right side is a soft blue background with a glowing white tree with many branches, symbolizing two different approaches to the same issue.

“Miguel usually struggles with some things; like cooking, relaxing, fitting through some doorways- y’know what, I’ll just mail you the full list.”

The Devil – The Sociopath “The Devil is a card of obsession, oppression, and entrapment. Perhaps these are material yearnings, or perhaps something- or someone- has their claws into your life…” This card depicts a dark iteration of Miguel, face in shadow, yet his eyes and fanged grin are visible, he holds a terrified rabbit in his arms. Around him are puppets made to kneel, and pulled by strings of red light.

“SHE’S MINE, PUTA! MINE! YOU ALL ARE! MINE!!!”

The Tower – The Glass Spiral “The Tower is an omen of ruin and destruction; its appearance forewarns an impending disaster.” This card depicts a shining spire of glass, wrapped in a twin helix of glass spikes, towering over a ruined and burning Nueva York.

“Oh, look, it’s that Leighton guy again, give him the omen of ruin and disaster!” Alex, disparaging his sister’s tarot deck.

The Star – Stargazing “This card follows the trauma of the Tower, it brings hope, renewal, and the strength to continue with life.” Atop a flat roof, two figures can be seen reclining on a blanket, staring at the starry skies above, watching in delight as twin comets streak across the night sky, their tails entwined.

The Moon – Nyarlathotep “The Moon personifies dreams, illusions, and the unconscious mind. However, this harbinger is more likely to bring nightmares.” This card depicts two sleeping figures in the foreground, behind them, a masked figure with gold eyes tiptoes past, grinning with mischief or malevolence, more unworn masks adorn his clothing. Behind him a fantastical city is being choked by shadowy tendrils, a huge full moon illuminates the scene.

“Got my drinks, got my snacks, and my front row seat for the whole fuckin’ fiasco!”

The Sun – The Incubus “The Sun is a card of joy and abundance, love and radiance. Do not be afraid of the form such joy takes, for it is born of true love.” This card depicts a supernatural iteration of Miguel, the Fae-blooded Incubus with horns and a tail, who is seated, playing the guitar in his lap, appearing to be mid-song, joyful and happy. Sunlight is streaming in through a window and filling the room with a pleasing ambience.

“I mean… My mother was a Succubus and my father was a Gancanagh, so technically I’m half-Irish if that helps?”

Judgement – Judgement “We must all face the consequences of the things we have done, if we are to ever find our worth.” The card depicts a shattered Tower beneath a starry sky, in the distance other broken Towers can also be seen, as if other worlds are lined up together.

“I think, tonight, all worlds will sleep a little easier.”

The World – The Tree of Life “A symbol of completion, of wholeness, of the end of a journey.” The card depicts a soft blue background, at the center is a tree of white light, its branches carrying infinite complexity within them, new worlds splintering into new branches.

“You’re not the “only one”, Miguel! Right now, there’s probably a version of us having this exact same conversation, and the only difference is that Jess is in the cafeteria and decided to have tea instead of coffee!” – Alex Leighton.