#and i talked them down from it

[falled-over]

i feel physically ill whenever i have to defend my opinion

[inkskinned]

there are a lot of posts out there that are positive and healthy coping mechanisms for handling the holidays. this is not one of them :)

i think there's like. going to be times in your life you will be stuck in a social situation that you cannot escape from gracefully. i do not know why the internet doesn't believe these times exist. it's not always just that your physical safety is at risk - sometimes it's legit like "i just don't currently have the energy or time to put in the effort of responding to this." sometimes it's a coworker you hate so much. sometimes it's just like, fine, you know? like you know you can handle your aunt when she's cheerily horrible, but if you actually set a boundary around her, it's going to be weeks of fallout with your father.

i don't know why people think the answer is always just "cut them out!" or "don't let them get away with that!" because ... the real world is tricky and complicated. i think kind of a lot of us have an internal "radiation poisoning" meter for certain people. like - i'm talking about the ones who are absolutely giving you gradual ick damage. like, you can handle them, but you'll be exhausted.

and yes. you absolutely should listen to your therapist and the good posts about handling others and set good boundaries and take care of yourself. prioritize peace.

HOWEVER :) ...... since im often in a situation with a Gradual Sense of Ick person i cannot just "cut out" of my life (without losing someone else precious to me) - i have sort of developed the most. maladaptive form of mischief possible. because like, if i'm going to have to listen to this shit again, i like to have a little bit of private fun with it.

now! again, i am physically safe, just mentally drained by this man. you should only do this with people you are not in danger with. which leads me to my suggestions for when your Unfortunate Acquaintance shows up and says oh everyone pay attention to me.

my favorite word is "maybe!" said as brightly and happily as possible. whenever the Horrible Person starts in on a topic you do not want to go further with, particularly if they make a claim that you know to be inaccurate, do not respond to it. you and i have both tried to actually argue with this person, and it hasn't gone well, because this person just wants the drama of an argument. however, "maybe!" gives them literally nothing to go on. it is incredibly disarming. they are used to people having some response. they know they can't prove what they're saying, and maybe! treats them like the child they are. it dismisses them in the politest way possible.

i like to say maybe! and then, in their stunned silence, immediately change the subject. this is because i have adhd and i will have something unrelated to talk about, but if you can't think of topics fast enough, i recommend just pointing to something and saying, "isn't that lovely?" because fuck you let's bring in some positivity.

by the way. that second trick - of pointing to something and stating an opinion about it? - that just works on its own, like, 70% of the time. i picked it up from teaching preschoolers. it's an intentional "redirect". it stops children crying and it also stops grown adults from finishing their explanation on why women belong in kitchens. dual wielding!

keep it silly for yourself. i absolutely do not care if people think i'm fucking stupid (it's more fun if they do) and as a result i will purposefully misunderstand things just to see how long it takes them to realize i've completely removed them from the subject at hand. when they say "women aren't funny" i get to be like. "which women." "all women." "all women in america?" "no in the world." "like the mole people? the people in the world?" "what? no. like, alive." "oh are we not counting the mole people?" "what the fuck are you talking about." "you don't believe in the mole people?"

similarly, i play a personal game called "one up me." my Evil Acquaintance literally knows this game exists (my family & friends caught onto it and now also play it) and it always fucking gets him. i don't know why. you have to be willing to be a little free-spirited on this one, though. the trick is that when they make one of those horrible little bigoted or annoying comments they are always making, you need to go one unit weirder. not more intense, mind you - just more weird. "you don't look good in that dress." "yeah, actually, my other dress was covered in squid ink due to a mishap at the soup store." "you shouldn't wear such revealing clothes." "wait, what? oh shit. sorry, your son tears off strips when no one is looking and eats them. i swear it was longer before we left the building."

the point of "one up me" is to completely upend this person's narrative. we both know this person likes setting up situations where you cannot "win" and then they really like telling other people how badly you handled it. in a usual situation, if you respond "please don't say something that rude", you're a bitch. but if you let it happen, you're letting yourself be debased. they are not usually expecting door number three: unflappably odd. because what are they going to say when they're telling everyone how badly you behaved? "she said my son eats her dresses" ".... okay?"

if you can, form an allyship with someone whomst you can tagteam with. where they can pick up on your weird "soup store" story and run with it.

the following phrase is amazing and can be deployed for any situation: "oh, be nice :) it's the holidays!" i do not know why this works as often as it does. i'll say it for the most random shit. i think this is bc most of the time these people know they're being impolite, they just like to fight.

godbless. when in doubt, remember that you could always start stealing their pens.

the whole point of this is - if you can't escape. maybe see how long you can just be. like. a horrible little menace.

[mazeyphaedra]

was rewatching fabian’s baron moment on account of it being the most delicious piece of pvp in my recent memory and ally beardsley’s growth as a player just shone through so brightly and with such clarity. after dusting off their shock they immediately asked about the nemesis ward, had enough knowledge about fellow pcs stocked to remember adaine’s ac with such like frustrated confidence and certainty, suggested to siobhan to dimension door out of adaine’s room, like. they came into this making a character with 4 dex. and now the dice deity offered to roll a check to sense if adaine was in danger. making decisions, asking questions, getting invested in the story, trying so hard with the tools they have to save characters from danger; ally beardsley is an incredible d&d player.

[fictionadventurer]

I have to talk about Chester Arthur. His story makes me go crazy. A mediocre president from the 1880s who's completely forgotten today has one of the best redemption stories I've ever heard and I need to make people understand just how cool his story is.

So, like, he starts out as this idealist, okay? He's the son of an abolitionist minister and becomes famous as a New York lawyer who defends the North's version of Rosa Parks whose story desegregates New York City's trolley system.

Then he starts getting pulled into politics and becomes one of the grimiest pieces of the political machine. He wants money, power, prestige, and he gets it. He becomes the right-hand man of Roscoe Conkling, the most feared political boss in the nation, a guy who will throw his weight around and do the most ruthless things imaginable to keep his friends in power and destroy his enemies.

Because Arthur's this guy's top lackey, he gets to be Controller of the Port of New York--the best-paying political appointment in the country, because that port brings in, like, 70% of the federal government's funds in tariffs. He gets a huge salary plus a percentage of all the fines they levy on lawbreakers, and because he's not afraid to make up infractions to fine people over, he is absolutely raking in the dough. Making the rough equivalent of $1.3 million a year--absolutely insane amounts of money for a government position. He's spending ridiculous sums on clothes, buying huge amounts of alcohol and cigars to share with people as part of his job recruiting supporters to the party, going out nearly every night to wine and dine people as part of his work in the political machine. He's living the high life. Even when President Hayes pulls him from his position on suspicions of fraud, he's still living a great life of wealth, power, and prestige.

Then in 1880, his beloved wife dies. While he's out of town working for a political campaign. And he can't get back in time to say goodbye before she dies. Because he's a guy who has big emotions, it absolutely tears him up inside, especially because Nell resented how much his political work kept him away from home. He has huge regrets, but he just moves in with Roscoe Conkling and keeps working for the political machine.

And then he gets a chance to be vice president. The Republican Party has nominated James Garfield, a dark horse candidate who wants to reform the spoils system that has given Conking his power and gave Arthur his position as Port Controller. Conkling is pissed, and he controls New York, and since the party's not going to win the election without New York, they think that appointing Conkling's top lackey as vice-president will pacify him.

They're wrong--Conkling orders Arthur to refuse--but Arthur thinks this sounds like a great opportunity. The only political position he's ever held is Port Controller--a job he wasn't elected to and that he was pulled from in disgrace. Vice President is way more than he could ever have hoped for. It's a position with a lot of political pull and zero actual responsibilities. He'll get to spend four years living in up in Washington high society. It's the perfect job! Of course he accepts, and Conkling comes around when he figures out that he can use this to his advantage.

When Garfield becomes president, Arthur does everything he can to undermine him. He uses every dirty political trick he can think of to block everything that Garfield wants to do. He refuses to let the Senate elect a president pro tempore so he can stay there and influence every bill that comes through. He all but openly boasts of buying votes in the election. He's so much Conkling's lackey that he may as well be the henchman of a cartoon supervillain. On Conkling's orders, he drags one of Garfield's Cabinet members out of bed in the middle of the night--while the guy is ill--to drag him to Conkling's house so he can be forced to resign. He's just absolutely a thorn in the president's side, a henchman doing everything he can to maintain the corrupt spoils system.

Then in July 1881, when Arthur's in New York helping Conkling's campaign, the president gets shot. By a guy who shouts, "Now Arthur will be president!" just after he fires the gun. Arthur has just spent the past four months fighting the president tooth and nail. Everyone thinks he's behind the assassination. There are lynch mobs looking to take out him and Conkling. The papers are tearing him apart.

Arthur is absolutely distraught. He rushes to Washington to speak with the president and assure him of his innocence, but the doctors won't let him in the room. He gets choked up when talking to the First Lady. Reporters find him weeping in his house in Washington. Once again, death has torn his world apart and he's not getting a chance to make amends.

Arthur goes to New York while the president is getting medical treatment, and he refuses to come to Washington and take charge because he doesn't dare to give the impression that he's looking to take over. No one wants Arthur to be president and he doesn't want to be president, and the possibility that this corrupt political lackey is about to ascend to the highest office in the land is absolutely terrifying to everyone.

Then in August, when it's becoming clear that the president is unlikely to recover, he gets a letter. From a 31-year-old invalid from New York named Julia Sand. A woman from a very politically-minded family who has been following Arthur's career for years. And she writes him this astounding letter that takes him to task for his corrupt, conniving ways, and the obsession with worldly power and prestige that has brought him wealth and fame at the cost of his own soul--and she tells him that he can do better. In the midst of a nationwide press that's tearing him apart, this one woman writes to tell him that she believes he has the capacity to be a good president and a good man if he changes his ways.

And then he does. After Garfield dies, people come to Arthur's house and find servants who tell them that Arthur is in his room weeping like a child (I told you he had big emotions), but he takes the oath of office and ascends to the presidency. And he becomes a completely different man. His first speech as president mentions that one of his top priorities is reforming the spoils system so that people will be appointed based on merit rather than getting appointed as political favors with each change in the administration. Even though this system made him president. When Conkling comes to Arthur's office telling him to appoint his people to important government positions, Arthur calls his demands outrageous, throws him out, and keeps Garfield's appointees in the positions. "He's not Chet Arthur anymore," one of his former political friends laments. "He's the president."

He loses all his former political friends. He's never trusted by the other side. Yet he sticks to his guns and continues to support spoils system reform. He prosecutes a postal service corruption case that everyone thought he would drop. He's the one who signs into law the first civil service reform bill, even though presidents have been trying to do this for more than ten years, and he's the person who's gained all his power through the spoils system. He immediately takes action to enforce this bill when he could have just dropped it. He becomes a champion of this issue even though it's the last thing anyone would have expected of him.

He oversees naval reform. He oversees a renovation of the White House. He still prefers the social duties of the presidency, but he's respectable in a way that no one expected. Possibly because Julia Sand keeps sending him letters of encouragement and advice over the next two years. But also because he's dying.

Not long after ascending to the presidency, he learns he's suffering from a terminal kidney disease. And he tells no one. He keeps going about his daily life, fulfilling his duties as president, and keeps his health problems hidden. Once again, death is upending his life, and this time it's his own death. He's lived a life he's ashamed of, and he doesn't have much time left to change. He enters the presidency as an example of the absolute worst of the political system, and leaves it as a respectable man.

He makes a token effort to seek re-election, but because of his health problems, he doesn't mind at all when someone else gets the nomination. He dies a couple of years after leaving office. The day before his death, he orders most of his papers burned, because he's ashamed of his old life--but among the things that are saved are the letters from Julia Sand, the woman who encouraged him to change his ways.

This is an astounding story full of so many twists and turns and dramatic moments. A man who falls from idealism into the worst kind of corruption and then claws his way back up to decency because of a series of devastating personal losses and unexpected opportunities to do more than he could have ever hoped to do. I just go crazy thinking about it and I need you all to understand just how amazing this story is.

[lucabyte]

i feel like people are sleeping on the occam's razor situation of how buckwild it is to outright accuse a guy of being a clone of your friend even if you DO have a lot of circumstantial evidence. there's other options is what im saying. they could just be like. a guy. that's a sensible deduction. you should explore that deduction. ignore my shirt that reads I <3 RED HERRINGS.

i still think odile has the correct theory on lock but she's smart enough to know it needs like... a real smoking gun to be able to bring it up without sounding insane.

anyway. (mirabelle voice) i know its rude to speculate but has anyone else noticed the grieving? they seem to be grieving. does anyone have any thoughts on the grieving? i have some thoughts on the grieving.

[bitegore]

Zionists want you to conflate Judaism and Zionism. Zionists want you to believe that Judaism cannot exist without Zionism and that all Jews are Zionists. Zionism would have Jews believe that a Jewish state is the only way that they can be safe from antisemitism and will point to any instance of antisemitism as proof that Zionism is the solution- so Zionism wants gentiles to be antisemitic in their support of Palestine. They want you to conflate all Jews with Zionism and the state of Israel, and they want you to treat all Jews regardless of political affiliation as the face of Israel. Antizionist Jews exist, and incidences of antisemitism ostensibly acting against Zionism will not help dismantle the forces propping Zionism up.

Don't do their work for them.

[spielzeugkaiser]

The ages in this show!! I have made some jokes about this before, but it gets me - with aging Ciri up and bringing her closer to Jaskiers age when they meet I can not help but draw parallels. Like Geralt bonded way differently with both of them (which makes sense because Ciri has been his Child surprise since birth and Jaskier just randomly turned up one day and followed him like a puppy) but it's so funny to me. also I'm 100% sure Jaskier was horny as fuck from the beginning so there was a whole different vibe from the get go

[erabu-san]

Healing

[introspectivememories]

too many of you guys think nico is the loser and not lewis for letting the divorce go on for so long. like they're both losers about each other. emotionally constipated idiots who can't talk about their toxic homoerotic friendship that imploded on itself like 8 years ago and are now making it everyone else's problem. yeah nico's on television or in beer gardens talking about lewis all the time but like every other month some reporter is like "lewis, what's your favorite moment in your career?" and lewis no hesitation is like "oh man, karting, y'know? everything was simpler then" and then spends another six months skirting around nico's name. like this whole thing they're doing in the media isn't some kinda extended foreplay for them. they're both still pressing on the bruise to make sure it's still there!!! every few months, they're literally just asking on public television, does it still hurt for you like it does for me? and like clockwork, someone will release new information about them or one of them will say something about each other (in my heart, he's still my best friend/yes... and teammate) and the answer will remain the same, yes, of course, always.

[ninadove]

Hello there.

[Slides elegantly into the tags]

Do you ever think about Emotion?

Of course you do. How could you not. But do you ever think about this exchange specifically:

“You’re not Adrien!”

Because Adrien is sweet, and forgiving, and kind. In fact, kindness is his defining quality — Marinette herself made sure of it:

“I’ll never tell another boy I love him before I know everything about him! Whether he’s kind or not, thoughtful, what he does outside of school and with who… I’ll know everything.”

But.

Do you ever think about Adrien’s development in S4 and especially S5?

Overtime, he has grown resentful of a system that exploits him relentlessly.

Of the people he gave countless chances to, only to be let down over and over again.

Of the web of lies and half-truths he constantly finds himself tangled into. A web that is only growing bigger, stickier, and trickier to escape.

And the Senticousins. Do you ever think about them?

Do you ever think about how they are each other’s reflection, identical and opposites all at once?

“When you bring a living being into this world, you have a responsibility towards them. Your duty is to protect them, love them, help them discover the true meaning of their existence. To deprive them of that… is monstruous.”

“To have a child is to help them blossom, to grow, to find themselves and to be free!”

Do you ever think about their opposite character arcs in S5 — one learning mercy and trust, the other developing a rage so strong it could destroy the world?

Do you ever think that if Felix can now have this exchange with his mum, and mean it:

“They’re all monsters!”

“Not all of them.”

Then there’s nothing stopping Adrien from saying this:

“Look closer, Marinette. They’re the monsters.”

[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.

[kristalijah]

HE'S CHECKING OUT GARY!!!! I REPEAT, HE'S CHECKING OUT GARY!!!!

[ecoamerica]

Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared

The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!

[sonknuxadow]

collection

[mattodore]

playing with dionte's hair bc i'm procrastinating

[elfcollector]

I feel ill. All the fools and villains who ever fell for my ploys, they're — they're here!

[afewproblems]

Season 2 Halloween AU Part Four

Part One, Part Two, Part Three

A very big thank you to @strangersteddierthings for chatting with me today and being such a great sounding board for the next update!

Synopsis: What if Eddie had been at Tina's Halloween Party in Season Two? Featuring Steve!Whump, Stancy Breakup, and Eddie just trying to keep up with all these new revelations about who King-Steve actually is...

***

"So…I have to ask," Eddie blurts out, cutting through the awkward silence that has fallen between them, "how were you gonna pick up your car before you ran into me?"

"I don't think it counts as running into you, if you were waiting for me Munson," Steve side steps the question expertly, flashing him a strange smirk that seems out of place. It falls after a second and twists into something pained.

"I was hoping Nance would take me," Steve says eventually, his voice soft, "which was pretty stupid in hindsight, 'specially cuz she was counting on me to drive her this morning, which--"

Steve cuts himself, snapping his mouth shut with a harsh click of teeth, he shakes his head and lifts his hand to run roughly through his hair.

"Doesn't matter anymore".

Eddie holds his breath, feeling the conversation begin to shift. It's as though he's stepped onto a tightrope and any wrong move could potentially send him over the edge.

He settles for nodding once, turning the key in the ignition.

Steve sighs and lets himself fall back into his seat, "I know you know already, the whole fucking school does, Billy saw to that," Steve gestures to his face, "say what you really want to ask". 

Eddie's fingers tighten around the wheel as he turns them out of the parking lot, fighting the immediate urge to say, 'why did Miss Priss throw it all away?' 

"You think I believe the rumours that come out of that shithole?" Eddie lies, keeping his eyes on the road this time.

He can feel Steve's unimpressed stare as they continue down mainstreet.

"Right, so you had no clue I was in detention?"

Eddie chews the inside of his cheek to fight the sly grin that begins to creep over his face, "Alright smart ass".

He hazards another glance at Steve as they begin to hit the residential area, he looks so different from the night before.

His limbs are loose, tension free, if it weren't for the heavy bags under Steve's eyes and the nervous tap of his fingers on the passenger door, Eddie would think he was finally relaxed.

"I knew a fight definitely happened, it's Hargrove," Eddie says slowly, carefully weighing his words, "but I typically prefer to hear the whole sordid story from the source before I pass any judgements, ya know?" 

Steve doesn't say anything as they continue driving through residential  the houses getting progressively bigger as they go.

"Did you," Steve pauses and breathes out slowly before shaking his head and lifting his face to meet Eddie's gaze, "is that offer for something stronger still open?" 

Eddie smiles, "I think that can be arranged". 

***

Eddie pulls over beside Tina Cline's house, wincing as the right front tire rolls over the curb and bounces the van as it lands on the street once more, startling a snort out of Steve. 

"Yeah, yeah, laugh it up Harrington," Eddie huffs as Steve shoots him a grin.

"Didn't say a word," Steve hums, unbuckling himself from the seat. Eddie watches as he opens the door and hops out. For a moment Eddie worries Steve will pull the same disappearing act from last night but he simply stops beside his car door and motions for Eddie to roll down his window. 

Eddie cracks his door open instead, "window's broken, what?" 

Steve rolls his eyes, "whatever Munson, you know the way? It's north on 5th and--"

"Then two more rights, yeah man," Eddie says with a laugh in his voice, "I dropped you off remember?" 

"Fuck off," Steve huffs out, he's grinning though.

Steve swings the Beemer’s door open and slides in. He turns on the ignition and flinches at the loud burst of music from the stereo, the volume obviously set from the mood of the previous night. 

'I want to know what love is, I want you to show me--'

Steve slams his hand against the console, cutting off the song with a harsh crack. 

The van is parked just behind the Beemer so Eddie can't see Steve's face, but his head drops down onto the wheel for just the briefest moment before he slowly lifts it, turns on his signal and pulls away from the curb. 

***

Steve beats him to the house.

He's getting out of the car, which is parked on the long driveway as Eddie pulls up to the street. 

Eddie hops out of the van, hiking his backpack higher up on his shoulders, not bothering to lock it. Who would even want his shitty van among the BMWs and Mercedes parked down this street --hell, Eddie could have sworn he saw a Jag three houses down.

Eddie stops short of the lawn. The Harrington house is so different in the light of day, the strange emptiness that seemed to ooze out of the dark windows the night before has disappeared, leaving an ordinary house in its wake. 

"Well?" Steve calls out as he pulls a pair of keys from his back pocket and spins them once on his finger, "you coming or what Munson?" 

Eddie rolls his eyes and jogs to catch up to Steve who turns on his heel to stride up the walk. He stuffs the key into the deadbolt and swings one of the double doors inwards before shucking off his sneakers.

No shoes? Fucking rich people man.

Steve must notice Eddie's expression because he blushes and shrugs, "I know, I know, but my parents will be home for Thanksgiving this year so…may as well…"

He gestures around the sterile foyer with a tight smile, as though it explains everything. 

If anything, Eddie has more questions. 

Steve cuts off the thought by clearing his throat, "we should smoke outside, last thing I need is for you to burn a hole in the couch or something".

Eddie steps over the threshold and has to stop himself from whistling, were the ceilings always this high in this place?

He lifts his foot to unlace his left chuck, snorting at the strange little table in the middle of the foyer. A giant vase sits atop it filled with a mixture of what have to be silk flowers --no way they were real. He pulls the shoe off and tosses it to the side before lifting his right foot. 

Eddie never had the greatest balance so he hops back and forth with his right foot in the air before hopping as close as he can to the wall of the foyer and leaning back against it.

He finally gets the knot in his laces undone and throws the sneaker to the floor, dropping his right foot to the hardwood.

Eddie looks up to find Steve staring with a bemused expression on his face, he ignores the wide hazel eyes and removes the backpack from his shoulders -which can't have been helping the balance issue. 

Eddie unzips the top and yanks out the trusty metal lunchbox, sliding a wicked grin into place.

"You said something about outside?"

***

By the time they've settled, facing one another on a couple of pool loungers, the sun has begun to dip low, painting the patio and empty pool a warm glowing copper. It catches Steve's hair, which shines like gold in the dying sunlight, like some Autumnal Fae King--

Eddie wants to slap himself, suddenly thankful for the November wind that cuts through the backyard, forcing him to chillout.

He picks up the grinder from his lunchbox, unscrewing the cap to open it.

"You good with a joint this evening my good King?" 

He pours a handful of a new strain Rick let him try the other day into the grinder and starts twisting. It's not something he would typically share with anyone other than Jeff, but Steve seemed like he could use something a little more special tonight.

Eddie looks up after a beat of silence, "yo, Major Tom, you with me?" 

Steve's face is pinched, tilted towards the empty pool, "please don't call me that," he says quietly.

"Major Tom?"

Steve raises his eyes to meet Eddie's gaze, his mouth cuts a hard line across his face, the typical easy grin it usually houses is gone. 

"King-Steve," he runs a hand through his hair, letting the fingers linger to grip and pull, "I just, that's not who I am anymore, I don't--"

Steve swallows harshly, "that's all anyone could talk about this morning".

He drops his voice and octave, "oh, King Steve is so pussy whipped he let his girl fuck Jonathan Byers before she dumped him".

"Is that what Hargrove said?" Eddie asks quietly as he pours out a portion of weed onto a paper.

Steve shakes his head, "that was Tommy, but that wasn't why I hit him". 

Eddie nods, and lifts the joint to his mouth to run his tongue along the edge of the paper. Steve watches him from the lounger, his eyes follow the movement before he blinks and continues.

"Tommy and I had been best friends since we were five, he uh, he knows a lot about me," Steve lifts his hand to his mouth and chews the nail of his thumb briefly before dropping it back into his lap.

"Stuff I don't tell anyone, stuff he knows will hurt". 

Eddie nods, twisting the joint closed, he can kind of understand that, although the only person in his life that knew him like that was Wayne.  

And Wayne would never hurt him. 

Did Steve really not have anyone else like that in his life, someone he could tell anything to that wouldn't look at him weird or judge him. Someone safe.

"Anyway, Hargrove started in on me after that, but he's been fucking with me for awhile so," Steve shrugs again, "he saw his big opportunity here".

"Hargrove's been messing with you?" Eddie asks sharply as he pours more weed onto another paper. He lifts it and runs his tongue along the edge of the paper before twisting it into shape. When he looks up, Steve's ears have gone slightly pink and he's sitting strangely, slightly hunched and twisted.

"Yeah," Steve says after a moment, he clears his throat and straightens his back, "yeah, it's just been at practice so far, and I thought it was just because he wanted to one up me for my spot but," he shakes his head, "it's getting worse". 

"You know, I have a bit of a reputation around school," Eddie says slowly, carefully, watching as Steve freezes and looks at Eddie with wide eyes.

"The Hellfire club is more than just the game we're playing, it's also kind of a sanctuary for kids that don't have anyone to lean on, we look after each other," Eddie continues, ignoring the way Steve relaxes slightly, "you wouldn't need to play or anything but if you need somewhere to sit at lunch now…" 

Steve looks at Eddie for a long time, his expression blank, guarded, "really? Just like that?" 

"Yeah man, besides I get to use my 'Mean and Scary Guy' persona on these fuckers so it's a win-win for me".

Steve grins, raising one skeptical eyebrow, "mean and scary?"

Eddie bristles a little bit at the questioning tone in Steve's voice and can't quite swallow the urge to snarl, "yeah I mean you looked plenty scared of the town freak yesterday". 

Steve winces and immediately starts to shake his head, inching forward in his seat so he's even closer to Eddie, their knees are almost touching.

"That's not, I wasn't," he stops and takes a deep breath, "I was upset about Nancy and it was so dark outside, the trees--"

"You afraid of the dark Harrington?" Eddie cuts him off, the lingering irritation still simmers in his voice as he coos. 

Steve just looks at him, there's something strange about the haunted expression on his face that makes the hair on the back of Eddie's arms stand on end. 

"Things happen in the dark, in the woods," Steve says softly, his eyes drift to the empty pool again. 

Eddie opens his mouth to ask Steve what the hell he means by that, when a voice shouts across the yard.

"Steve? STEVE?!" 

The sound of someone running through the grass has them both of their feet, the joints forgotten on the pool loungers. 

"Dustin?" 

A kid, he can't be more than twelve or thirteen, skids into the porchlight that has replaced the last copper rays of evening light, the sun fully set by now. The kid's blue eyes are wide underneath a mop of curly hair and hat, he's breathing hard.

"I need your help".

Tag List: @eriquin @luvinthefreaks @cinnamon-mushroomabomination @goodolefashionedloverboi @ellietheasexylibrarian @bambibiest @sadboislovebeans @howincrediblysapphicofyou @coleys-a-nerd @whycantiuseunderscore @airconditioning123 @xxfiction-is-my-realityxx @corrodedbisexual @starman-jpg @ilovecupcakesandtea @yoriposts @clumsiluni @pelinelin @phantomcat94 @lololol-1234 @anaibis @airconditioning123 @steveshairspray @hellfireone @sunswathe @eddielives1986 @tentativeghost @robin-not-batman @estrellami-1 @manda-panda-monium @tinyplanet95 @perseus-notjackson

Part Five

and for some peeps that I think may be interested! @steddierthings @steddie-there @steves-strapcollection @outpastthebrakers @henderdads @stevesbipanic