#background-position

[jcmarchi]

Revisiting CSS border-image

New Post has been published on https://thedigitalinsider.com/revisiting-css-border-image/

Revisiting CSS border-image

In my last article on “Revisiting CSS Multi-Column Layout”, I mentioned that almost twenty years have flown by since I wrote my first book, Transcending CSS. In it, I explained how and why to use what were, at the time, an emerging CSS property.

Ten years later, I wrote the Hardboiled Web Design Fifth Anniversary Edition, covering similar ground and introducing the new CSS border-image property.

Hint: I published an updated version, Transcending CSS Revisited which is free to read online. Hardboiled Web Design is available from my bookshop.

I was very excited about the possibilities this new property would offer. After all, we could now add images to the borders of any element, even table cells and rows (unless their borders had been set to collapse).

Since then, I’ve used border-image regularly. Yet, it remains one of the most underused CSS tools, and I can’t, for the life of me, figure out why. Is it possible that people steer clear of border-image because its syntax is awkward and unintuitive? Perhaps it’s because most explanations don’t solve the type of creative implementation problems that most people need to solve. Most likely, it’s both.

I’ve recently been working on a new website for Emmy-award-winning game composer Mike Worth. He hired me to create a highly graphical design that showcases his work, and I used border-image throughout.

Design by Andy Clarke, Stuff & Nonsense. Mike Worth’s website will launch in April 2025, but you can see examples from this article on CodePen.

A brief overview of properties and values

First, here’s a short refresher. Most border-image explanations begin with this highly illuminating code snippet:

border-image: [source] [slice]/[width]/[outset] [repeat]

This is shorthand for a set of border-image properties, but it’s best to deal with properties individually to grasp the concept more easily.

A border-image’s source

I’ll start with the source of the bitmap or vector format image or CSS gradient to be inserted into the border space:

border-image-source: url('/img/scroll.png');

When I insert SVG images into a border, I have several choices as to how. I could use an external SVG file:

border-image-source: url('/img/scroll.svg');

Or I might convert my SVG to data URI using a tool like Base64.Guru although, as both SVG and HTML are XML-based, this isn’t recommended:

border-image-source: url('data:image/svg+xml;base64,…');

Instead, I can add the SVG code directly into the source URL value and save one unnecessary HTTP request:

border-image-source: url('data:image/svg+xml;utf8,…');

Finally, I could insert an entirely CSS-generated conical, linear, or radial gradient into my border:

border-image-source: conical-gradient(…);

Tip: It’s useful to remember that a browser renders a border-image above an element’s background and box-shadow but below its content. More on that a little later.

Slicing up a border-image

Now that I’ve specified the source of a border image, I can apply it to a border by slicing it up and using the parts in different positions around an element. This can be the most baffling aspect for people new to border-image.

Most border-image explanations show an example where the pieces will simply be equally-sized, like this:

However, a border-image can be developed from any shape, no matter how complex or irregular.

Instead of simply inserting an image into a border and watching it repeat around an element, invisible cut-lines slice up a border-image into nine parts. These lines are similar to the slice guides found in graphics applications. The pieces are, in turn, inserted into the nine regions of an element’s border.

The border-image-slice property defines the size of each slice by specifying the distance from each edge of the image. I could use the same distance from every edge:

border-image-slice: 65

I can combine top/bottom and left/right values:

border-image-slice: 115 65;

Or, I can specify distance values for all four cut-lines, running clockwise: top, right, bottom, left:

border-image-slice: 65 65 115 125;

The top-left of an image will be used on the top-left corner of an element’s border. The bottom-right will be used on the bottom-right, and so on.

I don’t need to add units to border-image-slice values when using a bitmap image as the browser correctly assumes bitmaps use pixels. The SVG viewBox makes using them a little different, so I also prefer to specify their height and width:

<svg height="600px" width="600px">…</svg>

Don’t forget to set the widths of these borders, as without them, there will be nowhere for a border’s image to display:

border-image-width: 65px 65px 115px 125px;

Filling in the center

So far, I’ve used all four corners and sides of my image, but what about the center? By default, the browser will ignore the center of an image after it’s been sliced. But I can put it to use by adding the fill keyword to my border-image-slice value:

border-image-slice: 65px 65px 115px 125px fill;

Setting up repeats

With the corners of my border images in place, I can turn my attention to the edges between them. As you might imagine, the slice at the top of an image will be placed on the top edge. The same is true of the right, bottom, and left edges. In a flexible design, we never know how wide or tall these edges will be, so I can fine-tune how images will repeat or stretch when they fill an edge.

Stretch: When a sliced image is flat or smooth, it can stretch to fill any height or width. Even a tiny 65px slice can stretch to hundreds or thousands of pixels without degrading.

border-image-repeat: stretch;

Repeat: If an image has texture, stretching it isn’t an option, so it can repeat to fill any height or width.

border-image-repeat: repeat;

Round: If an image has a pattern or shape that can’t be stretched and I need to match the edges of the repeat, I can specify that the repeat be round. A browser will resize the image so that only whole pieces display inside an edge.

border-image-repeat: round;

Space: Similar to round, when using the space property, only whole pieces will display inside an edge. But instead of resizing the image, a browser will add spaces into the repeat.

border-image-repeat: space;

When I need to specify a separate stretch, repeat, round, or space value for each edge, I can use multiple keywords:

border-image-repeat: stretch round;

Outsetting a border-image

There can be times when I need an image to extend beyond an element’s border-box. Using the border-image-outset property, I can do just that. The simplest syntax extends the border image evenly on all sides by 10px:

border-image-outset: 10px;

Of course, there being four borders on every element, I could also specify each outset individually:

border-image-outset: 20px 10px; /* or */ border-image-outset: 20px 10px 0;

border-image in action

Mike Worth is a video game composer who’s won an Emmy for his work. He loves ’90s animation — especially Disney’s Duck Tales — and he asked me to create custom artwork and develop a bold, retro-style design.

My challenge when developing for Mike was implementing my highly graphical design without compromising performance, especially on mobile devices. While it’s normal in CSS to accomplish the same goal in several ways, here, border-image often proved to be the most efficient.

Decorative buttons

The easiest and most obvious place to start was creating buttons reminiscent of stone tablets with chipped and uneven edges.

I created an SVG of the tablet shape and added it to my buttons using border-image:

button border-image-repeat: stretch; border-image-slice: 10 10 10 10 fill; border-image-source: url('data:image/svg+xml;utf8,…'); border-image-width: 20px;

I set the border-image-repeat on all edges to stretch and the center slice to fill so these stone tablet-style buttons expand along with their content to any height or width.

Article scroll

I want every aspect of Mike’s website design to express his brand. That means continuing the ’90s cartoon theme in his long-form content by turning it into a paper scroll.

The markup is straightforward with just a single article element:

<article> <!-- ... --> </article>

But, I struggled to decide how to implement the paper effect. My first thought was to divide my scroll into three separate SVG files (top, middle, and bottom) and use pseudo-elements to add the rolled up top and bottom parts of the scroll. I started by applying a vertically repeating graphic to the middle of my article:

article padding: 10rem 8rem; box-sizing: border-box; /* Scroll middle */ background-image: url('data:image/svg+xml;utf8,…'); background-position: center; background-repeat: repeat-y; background-size: contain;

Then, I added two pseudo-elements, each containing its own SVG content:

article:before display: block; position: relative; top: -30px; /* Scroll top */ content: url('data:image/svg+xml;utf8,…'); article:after display: block; position: relative; top: 50px; /* Scroll bottom */ content: url('data:image/svg+xml;utf8,…');

While this implementation worked as expected, using two pseudo-elements and three separate SVG files felt clumsy. However, using border-image, one SVG, and no pseudo-elements feels more elegant and significantly reduces the amount of code needed to implement the effect.

I started by creating an SVG of the complete tablet shape:

And I worked out the position of the four cut-lines:

Then, I inserted this single SVG into my article’s border by first selecting the source, slicing the image, and setting the top and bottom edges to stretch and the left and right edges to round:

article border-image-slice: 150 95 150 95 fill; border-image-width: 150px 95px 150px 95px; border-image-repeat: stretch round; border-image-source: url('data:image/svg+xml;utf8,…');

The result is a flexible paper scroll effect which adapts to both the viewport width and any amount or type of content.

Home page overlay

My final challenge was implementing the action-packed graphic I’d designed for Mike Worth’s home page. This contains a foreground SVG featuring Mike’s orangutan mascot and a zooming background graphic:

<section> <!-- content --> <div>...</div> <!-- ape --> <div> <svg>…</svg> </div> </section>

I defined the section as a positioning context for its children:

section position: relative;

Then, I absolutely positioned a pseudo-element and added the zooming graphic to its background:

section:before content: ""; position: absolute; z-index: -1; background-image: url('data:image/svg+xml;utf8,…'); background-position: center center; background-repeat: no-repeat; background-size: 100%;

I wanted this graphic to spin and add subtle movement to the panel, so I applied a simple CSS animation to the pseudo-element:

@keyframes spin-bg from transform: rotate(0deg); to transform: rotate(360deg); section:before animation: spin-bg 240s linear infinite;

Next, I added a CSS mask to fade the edges of the zooming graphic into the background. The CSS mask-image property specifies a mask layer image, which can be a PNG image, an SVG image or mask, or a CSS gradient:

section:before mask-image: radial-gradient(circle, rgb(0 0 0) 0%, rgb(0 0 0 / 0) 60%); mask-repeat: no-repeat;

At this point, you might wonder where a border image could be used in this design. To add more interactivity to the graphic, I wanted to reduce its opacity and change its color — by adding a colored gradient overlay — when someone interacts with it. One of the simplest, but rarely-used, methods for applying an overlay to an element is using border-image. First, I added a default opacity and added a brief transition:

section:before opacity: 1; transition: opacity .25s ease-in-out;

Then, on hover, I reduced the opacity to .5 and added a border-image:

section:hover::before opacity: .5; border-image: fill 0 linear-gradient(rgba(0,0,255,.25),rgba(255,0,0,1));

You may ponder why I’ve not used the other border-image values I explained earlier, so I’ll dissect that declaration. First is the border-image-slice value, where zero pixels ensures that the eight corners and edges stay empty. The fill keyword ensures the middle section is filled with the linear gradient. Second, the border-image-source is a CSS linear gradient that blends blue into red. A browser renders this border-image above the background but behind the content.

Conclusion: You should take a fresh look at border-image

The border-image property is a powerful, yet often overlooked, CSS tool that offers incredible flexibility. By slicing, repeating, and outsetting images, you can create intricate borders, decorative elements, and even dynamic overlays with minimal code.

In my work for Mike Worth’s website, border-image proved invaluable, improving performance while maintaining a highly graphical aesthetic. Whether used for buttons, interactive overlays, or larger graphic elements, border-image can create visually striking designs without relying on extra markup or multiple assets.

If you’ve yet to experiment with border-image, now’s the time to revisit its potential and add it to your design toolkit.

Hint: Mike Worth’s website will launch in April 2025, but you can see examples from this article on CodePen.

About Andy Clarke

Often referred to as one of the pioneers of web design, Andy Clarke has been instrumental in pushing the boundaries of web design and is known for his creative and visually stunning designs. His work has inspired countless designers to explore the full potential of product and website design.

Andy’s written several industry-leading books, including Transcending CSS, Hardboiled Web Design, and Art Direction for the Web. He’s also worked with businesses of all sizes and industries to achieve their goals through design.

Visit Andy’s studio, Stuff & Nonsense, and check out his Contract Killer, the popular web design contract template trusted by thousands of web designers and developers.

[josegremarquez]

Personaliza tus Páginas Web con Fondos en HTML5 y CSS

Los fondos son un elemento fundamental en el diseño web, ya que permiten crear atmósferas y establecer el tono visual de una página. En este artículo, exploraremos las diferentes formas de agregar y personalizar fondos en HTML5 y CSS, desde simples colores hasta imágenes de fondo complejas. Colores de Fondo La forma más sencilla de agregar un fondo a un elemento es utilizando un color…

[lil-lemon-snails]

sometimes you just need to hear it v some stills below the cut v

[lucien-leigh]

[dumpitos]

affirmations for the week!!!!!!!!

[bizarrebazaar13]

Armand wasn’t even that weird stage managers are just like that

[chasingfigments]

WoT S3E7

“Stop trying to protect—” and “Kill the ones I miss,” and the choreography and camera framing commit to it.

From the moment Perrin says “Kill the ones I miss” until after his confrontation with Padan Fain, he does not turn to face Faile. Any enemy fighter that gets past him no longer registers—they’re Faile’s to deal with. Several enemies he just knocks down/aside, but he doesn’t stop to finish them off.

Even when Faile is probably not technically behind him (given the shape of the village square), he is not looking at her. He’s being framed as surveying the battle, or he’s fighting someone else, or she’s out of frame, and then Faile comes into the shot and kills the enemies he did not see.

Faile speaks directly to him twice (“I like your Women’s Circle” and “Kill him!”). Both times, she’s behind him, and he doesn’t even verbally respond. He has a mission: first to rally everyone at the square and then to get to Padan Fain. He trusts Faile with her own mission: to watch his six. To protect him.

And even when the enemy is retreating and he has finally turned around to watch them go, he’s still not focused on her. Not until she pulls him down into a victory kiss.

[angelsndragons]

hi, veilguard peeps, can we take a moment to talk about rook mercar? because rook mercar is possibly one of the most batshit rooks in the game and they deserve to be recognized as such.

but not only that, mercar's backstory shades the shadow dragons and venatori conflicts in very interesting ways so let's talk about them.

so first, the nessus job.

i don't blame you for forgetting (or not knowing, i know the shadow dragons aren't everyone's cup of tea) so here's your quick refresher from the shadow dragon background blurb found in the character creator:

Breaker of Bonds

“Rook risked everything to liberate the enslaved people of Tevinter, even knowing it would anger the ruling elite. The foundling Rook was adopted into a military family and joined the Shadow Dragons to fight from the shadows for change in Minrathous. While guarding a visiting dignitary who was investigating a slavery ring in the nearby city of Nessus, Rook concluded that the mission would fail without throwing caution to the wind. Alone, s/he(/they) sneaked the dignitary deep into Venatori-controlled zones and brought him back, along with the rescued slaves. These actions brought Rook to the Venatori's attention, and the Shadow Dragons decided to keep Rook out of sight.”

that is the nessus job.

except this doesn't quite square with what the game has to say about it.

the background:

first, here's the viper's letter about the job:

so right away, note how weird it is that the viper's writing mercar's letter. i say this is weird because, with the other factions, the person writing rook's letter is someone they're familiar with, usually in a position of leadership. antoine and evka are the notable leadership exceptions here, having actually been involved in thorne's backstory actions.

here's the rub: mercar doesn't know the viper. they've heard of him, certainly, but when that little popup telling you that you've worked with these faction agents before appears, mercar doesn't have the option to act like they know the viper.

the lines mercar gets are:

it's an honor to stand beside a legend

i know he likes to make an entrance

i know he gets things done

now, i will grant you that some of the responses to mercar's comment indicate tarquin is familiar with both rook and ashur (his response to the honor line is 'well, that'll go straight to his head' while the entrance line earns the viper's comment 'no one watches the rooftops' and tarquin's exasperated 'sure, that's what he says') but the point is, for a character mercar is "supposed" to be very familiar with, neve still tells them about the name ashur. like, seriously, it's the same dialogue tag every rook gets.

which is weird because veilguard is actually pretty good at keeping track of rook's faction and seamlessly changing up the conversation while still getting across the relevant information.

but it doesn't stop there, oh no.

during mercar's unpacking scene, we get these default shadow dragon lines:

now, these right here ping for the following reasons:

varric isn't the "visiting dignitary" that rook was guarding, given that rook had to get to nessus before meeting varric

the fact that rook's backstory happens dao style, where all events are true but only one has duncan varric available to pluck rook out of the immediate consequences

minrathous slaves, specifically, are mentioned as being freed here, even though we're supposed to be in nessus. now i'm not saying that minrathous citizens can't be enslaved and sent elsewhere, i'm just pointing out the phrasing here

the magisters who were financially benefiting from the nessus ring (aka venatori and their backers) knew enough about rook to put a name and a face on them. the structure of the sentence here is that everyone knows who is "too much trouble" to keep around and that is fucking wild kids. no, seriously, that is wild. there is so much wild here, put a pin in it.

no, seriously, this matters and matches the backstory blurb that the job "brought Rook to the Venatori's attention." put a fucking pin in it.

whatever rook's feelings, they always take pride in freeing those slaves- impulsive rook just dislikes that it comes at the cost of putting the shadow dragons in danger (put a pin in it), righteous rook thinks that the shadows should have used the crackdown to start a full out war with the venatori and their magister backers mind you while finally stoic rook just hopes that the shadow dragons weathered the storm safely.

okay, so ready for more batshit mercar?

the next solas conversation is the one where rook tells solas why they're going to stop the gods and here's what mercar has to say about that operation:

i just want y'all to marinate in that little gem of a line for a sec.

done screaming yet? it's cool, take another minute. no one's doing it like mercar.

okay, so finally a fuller picture of mercar's backstory comes into focus, if you ignore the weird bits. like the fact that the shadows made a plan with varric to rescue a friend, which does not appear to be the original nessus job, mind you.

mercar met varric, something went screwy, and mercar and varric decided the only way they had a chance was to start an armed rebellion in the city of nessus. the slavery ring is busted, said rebellion is (apparently) put down, the venatori and the magisters know who to blame for it all, and mercar hightails it out of the country with varric. simple and straightforward, right?

wrong, we have so much to work through.

the fallout:

like why the fuck are ashur, mae, and dorian squatting in dock town, exactly? tarquin lives there but those three surely have a high town shadow dragon cell they can go bug, right? and why is ashur the only one of the three making any cell decisions? i mean, points to mae for being a decent house guest, i guess, but what exactly is going on here? why are the venatori breathing down the shop's neck, to the point that they knew its location well enough to deliberately target it in the save treviso route?

remember those pins? it's time to pull them.

i repeat: this is real fucking bad for the shadow dragons. unlike the rest of the origins, the shadows are a covert operation. they don't want anyone knowing who their members are, who their backers are, any of it. the people in power being able to identify shadow dragons is how you lose shadow dragons: to arrests, targeted killings, beatings, destruction of their livelihoods, etc. ya know, like the viper mentions in his letter.

the fact that the first warden can not only link rook's face and name to the shadow dragons but to very specific crimes, crimes for which rook can absolutely be arrested, should set off all the alarm bells. as dorian says, the man is more politician than warden and as charter's letter from marnas pell states, "Assume every noble Tevinter family not with Shadow Dragons has Venatori pulling strings." this is extremely bad.

after nessus, the venatori had rook's identity as mercar and what did they do? they started looking into every single person mercar had known contact with, every path they took, their home, their family, the bar they stopped in for breakfast that one time. that's how resistance cells die, by the way. including, potentially, mercar's. this is why the shadows were more than happy to see mercar out of the way for a while where they couldn't cause any more trouble; so long as they're not around, they can't compromise more of the various cells' activities and members. it's the safest move for literally everyone involved.

because the damage has been done:

mae's related to varric via marriage, by the way, if the full picture hasn't come into focus yet.

mercar and varric were id'ed in that rebellion, the venatori were pissed at the lost revenue streams and suddenly mae's knocked out of the magisterium?

yeah.

my guess is that there is no high town cell anymore because of the nessus job. for all that mae worked to ensure that dorian was out of the line of fire and squeaky clean, the shadows and their backers couldn't stop the venatori crackdown after nessus, as mentioned by ashur's letter. ashur and mae are here specifically because there is no other cell to go to.

this is why tarquin is snippy, by the by. mercar and the highbloods are drawing attention to him and endangering all of his people just by being there.

hang on, it gets worse.

because the venatori are obsessed with the viper and proving that he's the divine (he is the divine, for the record, there are too many ambient dialogues, codices, and missions pointing in that direction). and to that obsession, i say, what the fuck? how did they come to that conclusion, exactly? what trail did the divine leave behind that first got the venatori on his tail?

well, he's related to and has close ties with mae's family. secondly, the divine is known for being quietly supportive of slave liberation. but the real reason, i think, is the original nessus job.

because again, why were the shadows in nessus originally? why was mercar in nessus to meet varric in the first place? who was the "visiting dignitary" that mercar was guarding?

yeah, i think the dignitary was the divine. and i think he was there in his official capacity. it would handily explain the discrepancy that ashur knows mercar but mercar doesn't know ashur. while the divine might not have a lot of actual power, the power of the press and drawing attention to issues and plights should never be discounted. especially when it's a plausible excuse to get several minrathous shadows in place to shut down the nessus slaver ring.

the divine being guarded by a now known shadow dragon (the viper likely made an appearance, ashur is known to pop up when slave rebellions start) combined with his anti-slavery views and ties to anti-slavery politicians turned the venatori's eye on ashur's night job.

remember, the shadow dragons are officially labeled as insurgents; if the venatori can tie the divine and all his people to them? that would be a death knell for any political support for liberation. the checkmate for the anti-slavery cause for the next age.

tldr: mercar exposed their ties to the shadows (and possibly the divine's) by starting an armed rebellion with varric to free slaves and shut down a slaver hub. in response, the venatori sniped several cells using mercar and varric's likely contacts, which led to ashur, mae, and dorian squatting in the dock town shadow dragon cell instead of some high town cell.

lucky the gods show up to cause trouble, huh?

god i love this game.

[fluentisonus]

I've said this before but valjean's view of the bishop throughout the book gets me so bad because like. he knew him for what, a day maybe? and it absolutely had a vast & profound & positive impact on him. but then he goes on to spend the whole book comparing himself to his idealized vision of the bishop & finding himself wanting & feeling guilty and miserable about every petty or selfish thought that crosses his mind. but it's so fucked up because like we as the readers know the bishop better! we've read the whole first book and we know he came from a privileged & wealthy background, that he was a rake when he was young, it wasn't til he was in his 40s or 50s to have some sort of change of heart & become a priest (a similar age to valjean when he met him!), that he has moments that seriously shake him, that he has some dubious politics left over, that he still has moments of pettiness he has to work through on the page (his initial approach to the member of the convention, e.g.). and also he's just kind of a weird old guy (affectionate). and like this is not to criticize the bishop, I think he's a genuinely really good guy, just that while the bishop has a realistic view of himself & his past ("he described himself with a smile, an ex-sinner,"), valjean is not getting any of this except maybe like. what would be mentioned in the newspaper when the bishop died. so his whole view of him is of this one shining moment where he changed his life and he feels he doesn't live up to that. which is sad! because the bishop understood him more than he realized & wouldn't have wanted him to feel that way

[zuiz41]

IwaOi/Oiiwa Manga Valentine Special!

Happy Valentines Day, Everyone!! 💖💝💞 🎉✨

[yuikomorii]

// Can we collectively agree that these are the DL pics with the most aura? Straight up masterpieces.

[rqartmaker]

I AM BACK !!!

My main got mass reported by antis :,) and banned…

Old Radueer Backgrounds !!

[hiphopcherrrypop]

red... fishing line of fate?

[dirtytransmasc]

I think I need MelVik connecting when Viktor was on his sick bed. they had been amicable before, maybe a little more than that due to their connection through Jayce and her presence around Hextech and such. but they weren't entirely friends. not yet.

and she goes to see him. perhaps she feels a tinge of guilt at assuming the worst about Jayce, or her bleeding heart makes her feel responsible for keeping Jayce out of the lab when Viktor had needed him. maybe Jayce needs to step out for a moment, and she soothes his worry by promising to sit with Viktor. maybe she just wants to be closer to the man that's so painfully important to the one she loves, wants to befriend him, wants to know him, all before it's far too late.

maybe it's a little bit of each.

but she goes to see him. she sits in the chair that Jayce has nearly worn a hole through, and keeps a semi-awkward distance between them, not knowing what is too close and too far.

this man is dying. he is dying and he has accepted that. he looks like a corpse. cold emanates off of him. he is something she doesn't fully understand.

she doesn't know how to approach.

but she does.

she greets softly and speaks softly and hesitates to touch, but rests a hand over Viktor's and feels how cold he is, even as a sickly warmth brews in his bones, leeching the warmth from his skin and the energy from his body.

he seems surprised she's there. it feels out of place. like the song and dance of their dynamic has shifted, and now he needs to relearn the steps. and now this is a dance of two, not three.

she will tell Viktor, in enough detail to be understood and not enough to be awkward, where Jayce was. because it feels right to confess. it's not an apology, but the avoidance of keeping something like a secret from a dying man.

Viktor will probably just nod and say something self deprecating, because what else do you say when your body is already making a joke of itself? before assuring her that Jayce is not his keeper, that she is not to blame, but even that comes off as some twisted attempt at humor. sue him for being sardonic as he lay dying.

but unlike Jayce, who will cringe at the jokes, she will hide a smile behind her fingers, muffling a soft, if not saddened, chuckle in her palm.

Viktor's eyes will light up ever so slightly.

she'll feel awkward once more. should she have laughed? was this playing into a complex? was this right of her?

Viktor will smile weakly.

she'll feel a little less awkward.

she will realize Viktor needs someone to laugh with. that Jayce, bless his soul, cannot be that person for Viktor. his worry has brewed too long. it's too strong.

but maybe a fresh face like Mel's can be there to smile when Jayce cannot. will laugh when Jayce cannot. can make cheeky jokes and pokes and prods.

the three fit together like 3 pieces of 3 broken puzzles. they fit together, not perfectly, but they fit, and create a finished object, even if off kilter her and uneven there. but it's ok, they're making due.

[ohnebindestrich]

Feel free to use as background if you’d like

[fuckyeahchinesefashion]

Beauties in 1986 chinese drama Journey to the West西游记

yutujing玉兔精 jade rabbit spirit

zhizhujing蜘蛛精 spider spirit

chang'e嫦娥 moon goddess

jin bi bai mao shu jing金鼻白毛鼠精 Golden nosed white haired mouse spirit

nv er guo guo wang女儿国国王 The Queen of Women's Kingdom