#basically i just wanted to figure out color schemes and the like

[tears-of-boredom]

day 3: unnecessarily complex fit

ii gotta be honest, they were originally gonna have two feet but then i couldn't figure out the perspective of their right one so i decided to just not draw it

[wombywoo]

Ok! I've finally decided to put together a (somewhat) comprehensive tutorial on my latest art~

Please enjoy this little step-by-step 💁‍♀️

First things first--references!

Now I'm not saying you have to go overboard, but I always find that this is a crucial starting point in any art piece I intend on making. Especially if you're a detail freak like me and want to make it as realistic as possible 🙃

As such, your web browser should look like this at any given point:

Since this is a historical piece, it means hours upon hours of meaningless research just to see what color the socks are, but...again. that isn't, strictly, necessary 😅

Once I've compiled all my lovely ref pics, I usually dump them into a big-ass collage ⬇️

(I will end up not using half of these, alas :'D)

Another reference search for background material, and getting to showcase our models of choice for this occasion~

When picking a reference for an actor or model, the main thing I keep in mind (besides prettiness 🤭) is lighting and orientation. Because I already kinda know what pose I'm gonna go with for this piece, I can look for specific angles that might fit the criteria. I should mention that I am a reference hound, and my current COD actor ref folder looks like this:

Also keep in mind, if you're using a ref that you need to flip, make sure you adjust accordingly. This especially applies to clothing, as certain things like pants zippers and belt buckles can be quite specific ☝️

Now that we've spent countless hours googling, it's time to start with a rough sketch:

It doesn't have to be pretty, folks, just a basic guideline of where you want the figures to be.

The next step is to define it more, and I know this looks like that 'how to draw an owl' meme, but I promise--getting from the loose sketch above to below is not that difficult.

Things to keep in mind are--don't go too in-depth with the details, because things are still subject to change at this point. In terms of making a suitable anatomically-correct sketch, I would suggest lots of studying. This doesn't even have to be things like figure drawing, I genuinely look at people around me for inspiration all the time. Familiarize yourself with the human form, and things like weight, proportions, posing will seem a little more feasible.

It's also important at this stage to consider your composition. Remember to flip the canvas frequently to make sure you're not leaning to one side too often. I'm sure something can be said for the spiral fibonacci stuff, which I don't really try to do on purpose, but I think keeping things like symmetry and balance in mind is a good start ✌️

Next step is just blocking in the figures. Standard. No fuss 👍

Now onto the background!

It's frankly hilarious how many people thought I was *hand-drawing* these maps and stuff 😂😂 I cannot even begin to comprehend how insanely difficult that would be. So yeah, we're just taking the lazy copy and paste way out 🤙

I almost always prepare my backgrounds first, and this is mostly to get a general color scheme off the bat. For collage work, it's really just a matter of trial and error, sticking this here, slapping this there, etc. I like to futz around with different overlay options until I've found a nice arrangement. Advice for this is just--go nuts 🤷‍♀️

Next, I add a few color adjustments. I tend to make at least 2 colors pop in an art piece, and low and behold, they usually tend to be red and blue ❤️💙There's something about warm/cool vibes, idk man..

Now we move on to coloring the figures. This is just a basic block and fill, not really defining any of the details yet.

Next, we add some cursory values. Sloppy airbrush works fine, it'll look better soon I promise 🙏

And now--rendering!

I know a lot of beginner artists are intimidated by rendering, and I can totally understand why. It's just one of those things you have to commit to 💪

I've decided to show a brief process of rendering our dear Johnny's face here:

Starting off, I usually rely on the trusty airbrush just to get some color values going. Note--I've kept my sketch layer on top, but feel free to turn it on and off as you work, so as to not be too bound to the sketch. For now, it's just a guideline.

This next stage may look like a huge jump, but it's really just adding more to the foundation. I try to think of it like putting on make-up in a way~ Adding contours, accentuating highlights. This is also where I start adding in more saturation, especially around areas such as ears, nose and lips. Still a bit fuzzy at this point, but that's why we keep adding to it 💪

A boy has appeared! See--now I've removed most of the line layer, and it holds up on its own. I'll admit that in order to achieve this realistic style, you'll need lots and lots of practice and skill, which shouldn't be discouraging! Just motivate yourself with the prospect of getting to look at pretty men for countless hours 🙆‍♀️

I'll probably do a more in-depth explanation about rendering at some point, but let's keep this rolling~

Moving forward is just a process of adding to the figures bit by bit. I do lean towards filling in each section from top to bottom, but you can feel free to pop around to certain parts that appeal to you more. I almost always do the faces first though, because if they end up sucking, I feel less guilty about scrapping it 😂 But no--I think he's pretty enough to proceed 😚

They're coming together now 🙆‍♀️ Another helpful tip--make sure you reuse color. By that, I mean--try to incorporate various colors throughout your piece, using the eyedropper tool to keep a consistent palette. I try to put in bits of red and blue where I can

Here they are fully rendered! Notice I've made a few subtle changes from the sketch, like adjusting the belt buckles because I made a mistake 😬 Hence why you shouldn't put too much stock in your initial sketch~

The next step is more of a stylistic choice, but I usually go over everything with an outline, typically in a bright color like green. Occasionally, I can just use my initial line layer, but for this, I've made a brand new, cleaner line 👍

And the final step is adjusting the color and adding some text:

Tada!! It's done!

All in all, this took me the better part of a week, but I have a lot of free time, so yeah ✌️

I hope you appreciated that little walkthrough~ I know people have been asking me how I do my art, but the truth is--I usually have no clue how to explain myself 😅 So have this half-assed tutorial~

As a bonus, here is a cute (cursed) image of Johnny without his mustache:

A baby, a literal infant child !!! who put this wee bairn on the front lines ??! 😭

Anyway! peace out ✌️

[purplealmonds]

Continuing to fire on all cylinders to make this Sky 🤝Mononoke collab a reality! 🐲⚖️🌊

Process GIFs and artist commentary below the cut. ⬇️

Left: Process GIF Middle: Just the background, cos I really like how it looks! Right: Illustration without the collab logo

And here are my notes on my inspirations and references. There's a lot of 'em, so instead of embedding relevant images one by one I put them in a callout sheet! For accessibility, I also included transcript (with bonus ramblings) below each sheet.

Ofuda circle modeled in Google Sketchup 2017, then lightly transformed in Photoshop to flare out. I tried my best to hand-draw these, but it the results came out really clunky and stiff. I figured if Mononoke shamelessly utilizes 3D in their show, I can too!

Krill and sky kid composition roughly inspired by the Ayakashi DVD cover illustration. On the surface level, the krill's black-and-red color scheme mirrored that of the bake-neko. Not to mention, in the world of Sky, the krill would be the best fit of a mononoke-like entity. The red background is also a nod to the red skies seen during a shard eruption in Sky.

Sky kid gesture based on the Festival Spin Dancer's Tier 3 poses and the Medicine Seller's iconic pose in the Zakishiwarahi episode as inspiration. This was the idea which springboarded this illustration into existence. I wanted to do my take of the Medicine Seller's pose, but in a more dynamic manner: rotate the pose to a profile position and set the ofuda in a diagonal, flared out arrangement.

Cape inspired by tenbin design featured in the 2024 Mononoke movie. This one's an interesting one - I wanted the cape to be a stiff material that doesn't "flap" when in flight - similar to the Aurora wing capes. It ended up looking like a kite of sorts, which I'm not entirely opposed to! I haven't had the opportunity to showcase the back view of this cape design, but I envision it having some mechanical aspects to it - the "wing" which are flared out in this illustration fold in like moth wings, and a little bell is attached to the "tail" part and it jingles a little whenever the sky kid flaps!

Bandana is based on the Scaredy Cadet's hairstyle from the Season of Assembly. Mask design utilizes the 2023 Days of Style mask and the Nintendo Pack mask as bases. Pretty self-explanatory. I basically went onto the Sky wiki and found the cosmetics that most closely matched what I was looking for. Then if necessary, I went to the Office space to do photoshoots to get the appropriate camera angles for them all.

Seasonal pendant inspired by the classic Medicine Seller's necklace and the eye motif featured in the 2024 Mononoke movie. Possibly the only one-to-one homage to the classic Medicine Seller design here, but his garnet necklace was too good of a match to the seasonal pendant. A side tangent: does the new Medicine Seller possess a necklace, let alone a mirror? So far all the shots of him don't feature it. Fascinating.

Dark dragon krill anatomy references a custom figurine crafted by @/escaflowne_n07 on Twitter. Until I found this, I was honestly at a loss finding reference for this - be it on the internet or during in-game photoshoots. The lighting on the krill in-game focused on its menacing silhouette rather than its structure. And not to mention, getting a close-up shot almost always set off the dark creature's aggro. I have no idea how this guy found the references to put this model together - well done!

Mantas, elder constellations, and sun dog references murals in the Cave of Prophecy. Krill aside, the overall illustration was leaning a little too much towards Mononoke so I tried finding opportunities to insert more Sky into it. Added bonus is that now there's storytelling in the background: during a shard eruption, a giant krill rises from the frothing waves of dark water to hunt down a flock of mantas.

Clouds behind the sun dog reference the ones featuring heavily in the Umibozu episode. This illustration has a lot of ocean theming, so I figured this would be appropriate.

Rendering style of the background is lightly inspired by the 2007 Mononoke illustration. Mainly having a 2D inked style to contrast with the more polished render of the sky kid. Funnily enough, this was a tertiary inspiration, which lead to the discovery in the next point!

Dark water waves and sun dog composition heavily references Hokusai's "The Great Wave". The waves were modified to be bottle-green of the Golden Wasteland's dark waters. The sun dog is in the spot where Mt. Fuji is in the original composition. these were all hand-drawn by the way! I merely emulated the style of the source material. As a side note, I also borrowed the spotted sea spray rendering for the krill's red spotlight.

Background pattern taken from the ofuda design featured in the 2024 Mononoke movie poster. Mainly to add some gritty texture to the sky. I worked pretty hard to replicate this ofuda design as a high-res asset so I wanted to use it more!

[sage-is-in-fact-very-tired]

might've cooked too hard on this. it sure is. so many worbs. [18,320 words, to be exact.]

but, i commit to my bit, and I will continue to do so because i'm a *loser* - so, welcome to the “sage looked at the c!sherb playlist and went far more bonkers than probably necessary” post. because uh. nothing i say ever stays a bit very long-

—

[Section One - Man. Icarus Morningstar is such a character. The most character of all time.]

-> [Icarus]

-> In my mind, this is 2 to 3 people talking to/about Icarus. The first section, up until the instrumental in the middle, being Centross. Just the whole idea of drinking, it feels very much Centross about them. (“Living beyond your years” is very reset coded - not Centross talking about them, but the rest of that section definitely feels like Centross.) The second section, up until “you put up your defenses when you leave”, is very much Fable talking about them. Just the whole idea of them falling - he would've been the one to see that - and the whole idea of him being scared of that happening again and again and *again.* The last section, following that, could be argued it's either Centross or Rae. How they both know that Icarus puts up this front, this armor, when they talk to people, when they walk around, and only really *really* drop that when they're alone or when Centross or Rae is around. (Well. There's an argument that they *don't* drop their walls completely around Centross or Rae, but this is playlist analysis, not character analysis-)

(Also the whole reset idea of Icarus dying over and over again, forgetting over and over again - falling over and over again.)

-> [Redesign Your Logo]

-> This is very much about the whole change from *just* yellow's and golds, to the yellow and purple color scheme they end up with due to the eye. It's very Midas to Icarus coded, basically. Because as a kid, they were mostly dressed up in yellows, but as time went on, and as the eye happened, and as the resets started, that *changed.* they shifted into wearing purples more often, mixing them with yellow - for all intents and purposes, redesigning the logo they had previously had. Also the whole idea of the trident changing from the trident to the Quixis symbol - cause. Yeah that's kinda Icarus’ logo. (The argument could also be made about how they become nicer with the eye and the following resets - their logo, their typical-ness of being a snarky asshole shifts into being something kind and caring and compassionate. It's Redesigned, and it's at least *partially* Midas’ doing.)

-> [Any Day Now]

-> Icarus about the wack. How they want it to stop, *think* it will stop, soon. It'll stop ‘any day now’ - it can't keep going forever, can it? (Also the pain Icarus is constantly going through - the bad, the horrible and the terrible and the suffering - it'll stop eventually, right? It can't keep going on forever - it'll stop any day now as long as they can *make it* there, make it to the point they're good and happy and it can stop. They just have to keep going and it’ll *stop.*)

-> [&]

-> Icarus’ hypocrisy. How they do things, harm, yell at, everything like that, to others - while doing the same things they're berating others for themself. How they'll do one thing, and call it fine, while criticizing that *exact* same thing. Also could be seen in a light of Fable talking about Icarus’ actions and friendships and things of that sort.

-> [Comb Attack]

-> Okay this one is. Mmm. Okay. Most of the words in here are very glitchy, very cut off from each other - something about the resets cutting off Icarus? Cutting their words off, cutting their actions off, cutting their memories off, *glitching* them.

-> [Hungover in the City of Dust]

-> Icarus’ Isolation. How their friends are constantly leaving them alone and isolated, and how they're constantly pushing people away, and how they're left running around in circles trying to catch up, trying to save themself, figure out what's wrong, figure out how to *fix it.*

-> [Mr. Backwards]

-> Icarus’ more backwards way of thinking. How they'll tell you what they *want* How they're hurting, but they're not going to tell you. How they're trying so desperately to not let people see that, seem so backward to others.

-> [Never Meant to Know]

-> Just the whole idea that there is so much about this world that Icarus cannot and should not be privy to until the correct time - how they live their life rather peacefully up to that point, not knowing, never knowing. The whole idea of the resets - and how really, truly, Icarus wasn’t supposed to know about *any* of this, how they were supposed to be *dead* and they’re not, they were genuinely *never* meant to know.

-> [Out of the Box]

-> Resets. The whole idea that Icarus has died again and again - and that whole like. Abrupt manner of the resets. How they can be doing something one moment and the next they're outside, surrounded by grass and surprised.

-> [Digital Silence]

-> Icarus siding with Fable, and really, Icarus’ actions in general - How they have to do this, regardless of what others say, and regardless of how it makes them *feel* - they *need* to do what they're doing right now; it's all a means to an end and they *need to* do it - because if they don't, things could go very wrong and very different. (Different in a bad way, of course.)

-> [Alien Blues]

-> Just kind of describing Icarus’ whole life - the pain, the bad, the terrible. The whole idea Icarus plays everything off as a joke - they *don't* let people see what really happens, and the snark and asshole attitude people give them because of that. Also maybe the whole idea of the way the things snark them sometimes after bad things, when they're repeating history in a bad way. (Also also also “I'd do anything for you, Mrs. Highness” something about how they’d do anything for Fable, *anything* - even if it meant killing their family, if it meant that he might love them; if it meant they’d be good and they’d have succeeded in something - succeeded instead of *failing.*)

-> [Under My Skin]

-> Just. Everything with being not entirely yourself. Everything about being yourself on the outside, but having someone else simmering right under your skin, telling you things, making you do things. The entire idea that Icarus isn't entirely all *themself.*

-> [Able]

-> That whole idea of Icarus not wanting to be alone in their own mind sometimes, on top of wanting to just be *fine* - on time of trying to so desperately *convince* themself that they're all entirely and completely fine. Saying it out loud so it properly sets into their mind, so it properly comes to fruition.

-> [Mirror Man]

-> That need to be *seen* by someone - anyone. That need to be heard and seen and known by someone - and the knowledge that if they don't, Icarus will make it worse for not only themself, but *everyone* else - make them live Icarus’ nightmare.

-> [Brass Goggles]

-> A) Copper duo; B) That whole idea, almost, that Icarus likes to shove down their feelings. They like to pretend the Icarus that has bad, upset emotions doesn't exist - at least, when in front of people. That whole idea that they try to present themself as someone who doesn't break down in front of others, they try not to cry and they try so desperately to keep this facade up and teach themself more as time goes on how to do so.

-> [Bleed Magic]

-> In my mind, this is very Midas talking to Icarus. Just that whole idea of Midas knowing what Icarus is like; that whole idea that Icarus is *lonely*, that no one believes them just because of how much they *lied*, and is, somehow, bleeding magic out. Literally, in the direct form of Sherbert's eye (Which was, in a way, *killing* Sherbert - not necessarily the bleeding eye, just simply the fact they didn’t become Quixis when they needed to), as well as the whole concept that due to the fact they didn't become Quixis when they should've, Midas has spent far far too much time and energy and *magic* on them. Icarus literally draining them, bleeding them, leaving them with such little control.

-> [Gold]

-> This being about how everything they touch changes no matter what they do, how they try so hard to keep if from changing - but the wack is random, Midas’ can't control it, and so it *changes,* it changes gold and bright. Everything they touch changes to gold, huh?

-> [Gold]

-> Just, I guess, that whole idea that no matter how many people leave them, or get killed around them, or anything like that, they'll come back. The idea that those people can't break like that, because Icarus has always seen them like a rock that *can't* break.

-> [creature]

-> That whole idea of how Icarus *is* Creation's child. They are creation, in a way. They push His ideals, however subconsciously, into people. He is leading their way, and will be, and this is a good thing. And Icarus pushes and pushes this idea - showing both the good parts of themself, not quite the good parts of Creation, as well as the bad more twisted parts, parts almost completely Fable's fault due to them almost being *His* ideals. (“I am creation, both haunted and holy.”) Also almost that whole idea of the resets, their body re-created and re-created over and over and *over* again. They *are* the embodiment of Creation's powers - a person remade through Him, made in His image, made to be the person *He* wants them to be. Haunted, in the idea they might as well be a ghost, and Holy simply because Fable deems them as such - deems them His favorite.

-> [Path to Isolation]

-> A) Oh my gods this song is so fucking coded what the fuck; B) The whole idea of how loss, be it of someone, or *something* - leads them down this path. Leads Icarus so often down this path of immense anger, leads them down the path of the side of the enemy. That whole idea of everything breaking, be it through their own means or someone else's. That whole idea that going down this path so often means that they're so incredibly alone, and means they can't *recognize* themself - they don't know who they've become in all this pain and hell and *bad*, they can't find it. They just keep falling apart and they don't even know when or where to begin to pick up the pieces.

-> [Bet On It]

-> Just that whole idea that Icarus wants to do the right thing, so desperately. Despite all their doubts, their disbelief, their questions about this world, they want to do the right thing - they *will* do the right thing. They need to. They've put all their effort into doing the right thing - it'd all fall apart if they didn't continue to do that.

[Section Two - Broters. also family <3]

-> [Problems]

-> Am I aware this is on the playlist because of Charles? Yes. Am I going to say this is brothers coded anyway? *absolutely.* Because it is brothers coded - something about Icarus seeing themself as bad and someone who can't be saved, while they view their brother in a significantly better light, and see him as the good one and the one who's gonna save them.

-> [Two Birds]

-> *Separation* - This is very much Icarus and Rae drifting away from each other. Icarus drifting away and leaving and hiding, while Rae continues time and time and *time* again to help them and save them and drag them back *home.*

-> [Family Line]

-> Something just about repeating history, and something about following after your parents, and something about how they'll try to change and change themself so much so they don't mirror their parents, and something about how they have to live with everything their parents have done.

-> [Call Them Brothers]

-> Separation!! Again!! The brothers are apart from each other, separated rather permanently through the resets, and, from Icarus’ point of view, they probably *can't* fix it. They can't mend themselves back together like they used to, they're broken.

-> [Brother]

-> Something about how despite being broken, despite all the separation and time lost that hangs between them, they still rely on each other. They'll still help each other no matter the cost, because, in the end, they're still brothers - they still love each other and they still *care.*

-> [Rule #4 - Fish in a Birdcage]

-> Icarus being trapped and isolated, be it through their own doings or their father's or *anyone's*, and how Rae will always be there to sooth them, help them, care for them, *love them.* He cares so desperately, and he'll do his best to take care of them, and Icarus *believes it* - that he loves them.

-> [Icarus]

-> This one feels *mostly* Rae talking to Icarus - Seeing just how far they've flown, and just how far they're willing to fall. That realization of what Icarus has become after all of this, and trying so very hard to drag Icarus back down in any way he can. The last part is Icarus to Rae, however. That try to get him to stop - that “you can't save me, Rae.” That acknowledgment, no matter when in the timeline, that Rae can't save Icarus. (Icarus has to be the one to save themself.)

-> [The Family Jewels]

-> Just that whole idea of cycles - that whole idea of just fucked their whole family is. That whole idea that this cycle of pain and suffering will continue until *they* (Icarus) stops it. Their almost snark to Rae, that idea that they only share *one* last name - Morningstar - and not both. Also that whole idea of Icarus being the favorite - that Fable conditioned them to be the “better” one, conditioned them to be like *this.* (Also just the whole idea of “jewels” - royalty. That idea, almost, of Icarus welcoming Rae to this life. This life of trying too hard, so very hard to be perfect - to be the best, to be royalty, because they have to be. And, arguably, that realization that Rae never had to live that life. That realization Rae never *had* to be the perfect one - Rae got to. Live normally, pretty much. Whereas Icarus grew up young having to be a prince and be as perfect as they could.))

-> [Sparkbird]

-> The whole idea of Icarus noticing little things, pointing them out, needing Rae to notice them. The whole idea that Icarus grew up far *far* too quickly, and Rae is almost their outlet of that - they want so desperately to make up for a) all the time they lost with the resets, and b) all the times Icarus was just an asshole to him.

-> [When the Day Met the Night]

-> Did Sherb say this was Fable, Enderian, and Isla? Yes. Am I going to say it’s brothers coded anyway? Also yes. Just the whole idea of how Rae is always there for Icarus, and how they make each other better when they’re together, and how yes, they often have their bad moments between each other, but in the end, there’s always good - in the end they always manage to find a way to have the sun shine brightly upon them, how in the end they still love and care to deeply about each other.

-> [Icarus]

-> Rae to Icarus. That whole idea that Rae can so easily see through Icarus’ front - so easily see what they're trying to hide. The idea that Rae can so easily see the danger Icarus so often leads themself to, and so often tries to deter them away from that. The whole thing of Rae so often giving Icarus an *out* - asking them questions, leading them in the right direction. (Or, at the very least, trying his hardest to do so.)

-> [I've Got You]

-> Considering this is a Zenni song, and one made for Fable specifically, it doesn't *really* need an explanation - However, just like. The whole idea that despite everything, despite all the brothers have been through and all their arguing and all their bad and terrible, Icarus and Rae still care about each other. Icarus will still keep Rae safe no matter what happens, because that's what older brothers *do*, that's what *family* does.

[Section Three - Season one, am I right or am I right-]

-> [Fine]

-> Just that whole idea at the beginning of season 1 that everything was actually *okay.* It was fine, it was okay, they were all *okay.* Nothing bad had happened yet (at least, not that they could remember), and it was all going well - and the idea that it was going to *continue* to go well. To them, nothing bad was going to happen, because why would it? It's all gone well up to this point - why would it start now?

-> [My Eyes]

-> This is very early corruption - the first part being Icarus, that slow realization of what they're falling into - bad and anger and hopelessness (almost?), and that whole idea that they're getting *worse.* The second part is Momboo - almost trying to comfort herself and Icarus, convince herself and Icarus of what they (Icarus) *really* wants - that they don't want to be bad, truly. (Regardless of their actions, and what Momboo and Co see so clearly in front of them.)

-> [If I Killed Someone for You]

-> Icarus to Momboo in early corruption. The idea of their true sense of self - or at least, the sense of self they had before - is slowly rotting away as corruption takes hold. Slowly killing the good person they were, slowly killing them, and leaving only the bad, ugly, and bloodied pieces of them. Would she still care about them, still hold their hands, if they weren't the same person she had fallen in love with?

-> Could also be viewed as Icarus to Momboo in late corruption, more towards the end, after killing Haley. How there's physically blood and gore on their hands, and would she still hold their hands knowing that that covered their hands like that.

-> [Laplace's Angel (Hurt People? Hurt People!)]

-> Corruption. Basically Icarus to *everyone* - That snark of “am I *really* that bad?” because they know, if necessary, they can be so *so* much worse. That acknowledgment that if anyone else was in their shoes, they'd probably drop to the same lows they had - the same bad, terrible and horrible actions. (Well - they *think.* They come to know later that probably wouldn't be the case, but it's almost what they end up believing up until, really, Breaking Bonds.) Just that whole idea of their mentality during corruption - how bad they can be, and how much worse they could be, and how much someone else in their same shoes would be just as bad.

-> [Ways to Be Wicked]

-> Very Ominous Bane. Just that whole idea of there being so many ways they can just be *evil.* The whole idea of trying to convince people to join their side, to join their cause, to change the story, to be *bad.*

-> [Heathens]

-> Sherb said this is very Easton talking to Athena about Ominous Bane/Icarus, Centross, and kinda sorta Seven, and I very much agree with that. Just the whole idea of a *warning* - of how messy and chaotic and bad Ominous Bane can be. The whole idea of everything they've been through before this, be it if they remember it or not, and how it affects them still to this day. The whole concept of someone trying to warn Athena of what they're getting into, *tell them* what everyone here is like.

-> [I WANNA BE YOUR SLAVE]

-> Just that whole idea of wanting to be seen as good by Enderian - almost? That whole idea of *wanting* to be her puppet, and wanting her to tell them what to do. (And that whole idea of after it, wanting to be redeemed.)

-> [Twisted]

-> Hot take - Icarus taunting people. Icarus trying to get Ominous Bane with them to help taunt people - *specifically* Athena. Just that whole idea of trying to get them to believe that, a, they're not a hero, they're not going to be - and b, this world as it is, isn't worth saving. They need to mess with it, blow stuff up, kill people, *something* to make it worth it.

-> [Ramalama (Bang Bang)]

-> Just the whole idea of Icarus and Co going around and blowing shit up. Just the snark and annoyance and bullshit they say during it, and the stuff they tell people while they're blowing stuff up - the whole *loudness* and bangs of the explosions - all of it.

-> [Secret]

-> Icarus asking Athena to keep all of this - Ominous Bane, *everything* about corruption - a secret. That loosely veiled threat of what would happen if Athena told *anyone* - what would happen to *them* if they dare spill that to others. The fact that Icarus so desperately wanted to keep corruption, keep their actions, keep Ominous Bane and Athena's involvement in it, a *secret.* (And how, in the end, they can't. Because in the end, Athena *tells* - and Athena gets hurt because of that, but they also get *saved* because of it.)

-> [Hawk in the Night]

-> Icarus to Athena - That whole idea of Athena doing good and being what Icarus wants her to be for them and Ominous Bane. That whole idea that Athena should fight against their friends, stop trying to call out to them for help, stop trying anything - and being proud when Athena would finally end up doing that, cutting ties.

-> Hot take, not in the correct spot in the playlist for this, but also Fable talking to Icarus - be it before or after the cathedral. That whole idea of Fable *wanting* Icarus to isolate themself from their friends and brother, and being pleased when they did that; as well as the whole idea of fighting your friends and family and siding with the “bad guys” and not, well, your family. (Or well, Your family family. The people who really love you. The people who’d care if you’d die. The people who want you to be there and you to be around them.)

-> [Sharks]

-> Just that whole idea of Icarus and Ominous Bane almost taunting Athena while he’s with them. The whole idea that everyone knows, that Athena thinks they can be better than everyone else (when in reality they’re just the same), and the whole idea that one day Athena will see that all she’s doing is swimming with sharks that want her gone and dead and hurt the same as everyone else.

-> Another hot take, Rae to Icarus around A Brother’s Final Stand. That whole idea that one day Icarus will realize their mistakes and missteps and wrong doings and how *Fable* is wrong, and they’ll truly realize how in too deep they are, and just how deep they’ve gone to swim with the sharks.

-> [Lies]

-> Just that whole idea of *all* the lies Icarus tells during season 1. To others, to get people on their side; to Ominous Bane to make themself look better; to *themself* to hide away they're *cracking.*

-> [We Both Reached for the Gun]

-> That whole idea of being a puppet to someone else. That whole idea of someone standing behind you, trying to control your actions and words and *everything* about you. That whole idea of corruption, being a puppet to yourself - in a weird sort of way. And that whole idea that during corruption and Ominous Bane, Centross tried so desperately to make Icarus do what *he* wanted.

-> [Wolf in Sheep's Clothing]

-> Just the whole idea of corruption. All that anger and upset and *mad* - targeted at *everyone.* Arguably, Icarus to Centross. Just that anger at how he gets to Enderian, that anger he gets to do whatever *he* wants, and they're delegated to. whatever this is. All of the arguing that happens between them - it's very season 1 prison duo.

-> [Play With Fire]

-> This is Centross and Enderian, yes; *Arguably* them almost taunting Icarus. The whole idea of them getting to do all of this, and do it *together* - while Icarus hasn't even gotten to *talk* to Enderian.

-> [Can't Stand the Rain]

-> Just that whole idea of literally not being able to stand the rain - how it's constant, how it means this just keeps going and going and *going* and they're not really getting any further than before. (Also like that whole idea of love - how there's truly no such thing as it, as long as this keeps going; as long as they’re corrupted.)

-> [Bust Your Kneecaps (Johnny Don't Leave Me)]

-> Three Strikes Three Strikes Three Strikes. This is so *incredibly* three strikes coded. Just that whole idea of Icarus taunting Athena, chasing after them and everyone else, threatening them. The way that Icarus was fully willing to hunt and kill all of them - fully willing to *go there* and hurt them like that.

-> [6up 5oh Copout (Pro / Con)]

-> This is so very prison coded. Just that whole anger at the fact they were even *put there* - the idea that people would dare misuse their trust like that to trap them. The anger of being alone and trapped and the fact no one was even *considering* letting them out. That need and what to be *out* because they were perfectly fucking *fine* - they didn't need to be trapped like this, why did they even *think* Icarus needed to be trapped like this?

-> [Murders]

-> Getting put in the prison. The idea that they go looking for something, they’re promised something and they work incredibly hard to get to that point - but in the end the prison ruins that for them. In the end, all their efforts were really worth nothing. All their efforts to see the end of this weren’t worth anything because look at where they are now. Look at where this has gotten them - trapped in a prison, panicked and alone and *hurt.*

-> [Nothing Left To Lose]

-> Loose Ends Loose Ends Loose Ends. This is so very incredibly Loose Ends coded. Just that whole idea of Icarus’ to put Centross into the prison - and their attempt at that. Then Centross almost immediately trying to put *them* back into the cell. The following argument and then Centross flying off, Icarus and Rae following. And then the whole idea of Icarus trying so *desperately* to keep him from blowing up their house - and failing because Centross just doesn't give a shit. Centross doesn't have any attachments to them anymore, they've served their purpose (his words), and he doe\snt need to keep them or their house or their anything around any longer - and so he goes through with blowing it up. He leaves Icarus alone there to pick up whatever they can.

-> [As the World Caves In]

-> The season 1 finale - just that whole idea of Centross blowing up the tree, the world literally caving in as Fable rips away yet another page. The way everyone gets ready, gathers around for the funeral of a woman none of them *really* knew, ready to mourn, but not knowing the events that would follow; they get ready for a funeral - only it’s not *only* Haley’s, but also their own. Sure they’ll come back, but the world will still cave in, and the person that sat in those seats will be long gone by the time they do.

-> Arguably also could be the season 2 reset - that whole idea of getting ready and dressing up and *armoring* up to fight Perix/The Warden and getting to that point, putting her soul into the portal frame; only to find Midas had switched Fable and Haley and it was all for nothing, and. Oh. Now the world is caving in - it’s falling apart.

-> [What if Tomorrow Comes]

-> I guess really that whole idea of hoping that Centross blowing up the tree isn't really, truly, the end of this all. That hope that tomorrow will come regardless because this can’t be the end. But also almost that doubt and unknown of if it really would come - that idea that, to them, it really seemed like they were *going* to die with no way of coming back. (And that whole idea of being proven very wrong as they wake up a few weeks later in a reset world, and slowly work to get their memories back as time goes on. That realization that tomorrow *will* come because it came once, it came tens of times before, so it’ll come again and again until they figure all of this out and stop it.)

[Section Four - Season two, why are at least a half of these about putting centross in the prison. *sherb*]

-> [New Life]

-> Just that whole idea of how since no one remembers at the beginning of the Sculk reset, they all - Icarus especially - have an opportunity to, at least until they remember properly, start anew. Icarus doesn’t remember, and for a while no one really remembers them, so they have an opportunity to have a new life; to rebuild things long since broken and make them better. Icarus doesn't have to worry about everything they did in the past if no one can remember it, meaning they get a free past to - at least, for a while, and for all intents and purposes - start a new life on a clean slate.

-> [People I Don't Like]

-> Very much Centross at the beginning of season 2 - to everyone really; though considering this *is* the Icarus playlist, it's arguably to Icarus. Just that whole idea that Centross *knows* them and everything they did and all the feelings he holds about them - and the whole idea that Icarus just. Doesn't. That whole thing of Centross trying to make himself seem good in everyone's eyes, save face and all of that - especially to Icarus. (Especially considering Icarus has/had *very* strong feelings about everything Centross did and told them and. All of that. Not that they remembered all of that at the beginning of the reset, but. Concept.)

-> [Turn The Lights Off]

-> The whole vibe at the beginning of season 2 that people shouldn't go to the end - or at least go to the end *alone* - because look at where that got people last time. Don’t go to the end because you could end up corrupted just like *they* did, and they don’t want that to happen again.

-> Part of me would also say, maybe not within this season, but also season 3 - with the end, that this could also be used in reference to the Worldport and how it’s decaying and how that’s where Quixis is and everything that happens every time Icarus goes in there.

-> You could also maybe make the argument that it’s about Purgatory and Fable - Don’t go with him, don’t go in there and subject yourself to that because you could become more of a monster than a man - more of a loyal soldier than yourself, more of a guard dog than a person. Don’t go down that hole, turn those lights off, because who knows what will happen. (Don’t side with him because you’ll become the monster you’ve always feared becoming - you’ll become the person you’ve never wanted to become.)

-> [The Devil You Know]

-> That whole idea of Icarus not remembering - but also *wanting* not to remember. Icarus has seen the way people react to them, they don't want to remember that person. Sure, right now they're not the *most* amazing person, but they can tell that they were so so much worse before - and they don't want to remember that. It's better to *just* remember the devil they are now, the person they've become, than the person - devil - they were before.

-> [What Did I Do?]

-> Very much season 2 Icarus runaway arc. Just that whole lead up if it - that idea of them wondering what they've done for months and months, and their proposal of an *arena*, and the fallout, the way they ran. That whole idea of them not knowing what they did, what they were, who they were; that whole idea of them wondering what they *did* to be looked at like *that* - what they did to be talked to like that and threatened, what they did to make their family (the only semblance of stability they had even during season 2) so *afraid* of them. (And almost the idea that they were afraid of that - afraid and scared of being viewed in such a way; that idea that this is an active fear that they have.)

-> [It's Not the Same Anymore]

-> Very much Icarus remembering - but less that immediate “*oh fuck yeah I remember!*” and more that “oh. fuck. I *remember.*” Just that whole idea of now that they remember, nothing back home, nothing within town, is going to be the same. None of it will have the same connotations to it, and none of their relationships with people will be the same - because now Icarus *knows* and now they're going to be far, *far* more cautious with their words and actions. It's not the same - and oh how they remember just how fucking *miserable* they were. Additionally, that kind of whole idea of how they should be happy, they should be happy now that they've remembered everything - they *know* now; but really, in the long term, remembering everything just makes it so so much harder to navigate *everything.* (The vibe the end of the song really gives is after all of the Prison Arc Part 2, Icarus trying to make up and make their relationships and friendships and *everything* better - fix them up and pick up broken pieces.)

-> [Could've Been Me]

-> Remembering but we're happy this time! Don't think about all of the consequences and bad feelings and *everything* that comes with remembering you're a horrible person - only focus on the fact you remembered and can now go home and definitely totally be incredibly happy with your family again! All jokes aside, that's very much the vibe this song has. Just that whole idea of Icarus being incredibly happy that they've remembered everything - that they can go *home* finally, they don't have to stay out in the middle of nowhere alone because they're terrified of hurting people. Also that whole idea of everything they want to do now that they remember and know where the line is - know what they can say that won't tow too far over a line and/or trigger someone.

-> [Brutus]

-> Oh to be Icarus Morningstar upon opening their door, post remembering, and seeing David Centross Mistvale. Just that whole anger and upset Icarus holds for Centross after they remember. That anger at what he did, at what he didn't do, at what he said and told them, the anger at what he *left them with* - and the anger that *he* got to talk to Enderian. He got to hear her and listen to her and know her, and Icarus didn't. He was her favorite, and *gods* how that made Icarus so very angry. And the whole idea of how that anger carries over - how Icarus so desperately wanted what Centross had, and didn't get it, and now that they remember they want to *make* it known just how angry they are. (And that whole idea and action of putting him in the prison.)

-> [Absinthe]

-> Very similar to Brutus - that just *anger* at Centross for all of this. That anger at everything he did and everything he said and everything about the endstone reset. And also that way they *don't* believe that front he's put him since the beginning of the reset - don't believe the “good guy” front he's tried to keep up since appearing this reset.

-> [The Main Character]

-> The whole idea that they can do this - do what they're doing to Centross, and *keep doing it* because there are worse people than them out there - there are so so much worse people than them out there, so they can do this, because, well, they’re better; they’re not bad bad like a lot of people. The idea that this is okay because of everything else.

-> [You're Not Welcome]

-> Just all of that angry Icarus holds for Centross bubbling over - this *is* the act of putting him in the prison. That need to make it known he's *not* welcome - the idea they try to convince both themself and him of that no one would care if he just disappeared. And, well. Welcome to the first of like four more detailed line by line analysis cause i'm a loser.

“Don't you know you're not welcome ‘round here?” Just that whole idea of Icarus being willing to lock him away because they fully believe, what to believe, want *him* to believe that he's not welcome - he's not welcome and therefore that makes their following actions “okay.”

“I think you should go ‘fore you cause some drama.” Almost that idea that he needs to leave - he shouldn't be here. That whole idea that he should leave before *they* do something. That whole idea that if he stays, regardless of if he does something, they’re going to *hurt him.*

“Don't you know I'm the one you should fear?” They *want* him to be afraid of them - want him fear them so they *finally* have that upper hand on him. (Want him to be afraid of them like they were afraid of him after they got out of the prison - want him to know that fear, want them to be able to get their revenge.)

“Talk to me if you've got a problem.” That whole idea that Icarus wants to be the one to deal with him - that whole thing of no one else dealing with Centross the way *Icarus* thinks he should be dealt with.

“I can't believe you used to truly scare me.” Because he *did* genuinely scare them - after they were uncorrupted they were genuinely and truly scared of him. However, like this, with the offer that Icarus can stab him, with the way he just lets himself get put into the prison, he's really not that scary. They can't believe he used to genuinely scare them when he's just. almost pitiful like this - in the prison.

“You were like a ghost story told to keep me weary. But I never listened, no, I slept good ‘til morning.” Arguably *he* was the one telling them the ‘ghost stories’ - the warnings he'd tell them, the arguments they'd get into. The way Icarus never heeded them, only pushing further and further until they tipped him (or themself) over the edge. The way Icarus would just sleep it off - because that's what they always did.

“And when our paths finally crossed, I didn't heed the warning.” Similar to that last line - Icarus didn't heed any warning. Icarus just kept pushing and pushing and pushing, arguing with Centross over and over and *over* again.

“Then push, push, push, push. Yeah, you pushed me to the edge.” Haley. Arguably, Centross was part of the reason Icarus killed her in the first place. That need to prove themself not only to Enderian, but also to Centross. That need to prove they weren't useless (weren't a *failure*), that they could be of use to Ominous Bane and weren't just *there* - that they could *do something.*

“I used to dread the thought of falling quickly” Something something resets something something. While they don't remember them or know about them at this point in time, just that whole idea of falling like that. Also, arguably, that whole idea of falling into an ideal and thought process - that idea they don't like to do that quickly, they don't like falling down a thought rabbit hole without thinking and considering it properly first. (Even though they do that so incredibly often.)

“But now I just wish that you'd send me off that ledge - So I can finally fucking take you with me” But also that whole idea that if it meant Centross was going down with them? if them falling down a thought rabbit hole, if them falling and doing something terrible, meant Centross would go down with them? If him pushing them to that point meant they'd go down *together* - two birds, one stone and all - and no one could be hurt by him again? Oh Icarus would gladly fall down. They'd gladly let themself if it meant they could kill or hurt or do *something* to him that meant they were going down together.

-> [Blood // Water]

-> Just that whole idea of Icarus being so very angry at Centross for all of this. That whole idea of there literally being blood in the water - he tried to kill all of them, and he *did* kill hundreds more. That whole idea that Icarus doesn't plan on letting him go *any* time soon - they want him so desperately to know just how what he did made them feel. (Also “you poisoned me just for another dollar in your pocket” that whole idea that he let Icarus dig themself into this hole, he argued and argued and *argued* and pushed and poisoned their mind with thoughts and words that *stuck.*)

-> [Lonely]

-> They hate each other, yes. However, What if they held hands about it? Maybe even kissed about it. Just like. That whole idea of of how during the season 2 prison arc they were really each other's *only* company. They were alone, but alone together. Yeah they hated each other - but they still *had* each other. That whole idea Icarus was *alone* - but they still had someone, regardless of how much they hated each other. (Also “Hey love, Have mercy on me, and keep me company” is very Centross to Icarus. Just that idea of wanting mercy, wanting Icarus to *stop* hurting him - but also still wanting that company because they were *alone.*)

-> [GONER]

-> They definitely still hate each other - like absolutely still hate each other. Like they are arguing and fighting and snapping at each other every fucking opportunity they get the longer Centross is in the prison - especially more towards the end, Centross is being just as snippy and antagonistic towards Icarus as they're being to him. That whole idea of Centross snipping at them - that idea of “at least he fights back when he's imprisoned.” However, arguably, they also probably kissed about it. They hate each other - but like, sometimes you have to acknowledge the other person is definitely a little kiss-able. (“You look so damn appetizing” like. *like.* so many of these lines imply they at the very *very* least kissed about it.)

-> [Forgive Me Chester]

-> Very end of season 2/the season 2 reset. Really that whole idea of seeing the 3 people you've spent your life chasing after all at once, all in the same room, all together. That idea of fighting the Warden, that whole idea of trying to get Fable out, that whole idea of trying to finally chase the bad away - chase the resets and the Warden and the anger and the bad and *all of it.*

-> Verse one is very much talking about Haley; Verse two is about Centross (prison duo the beloved); Verse three is about Rae, something about broters and their relationship being good for that bit at the end there.

-> [Rock in a God's Shoe]

-> Just that general demeanor of late season 2 - trying to figure out if Fable getting out would *actually* help (even if Icarus really really wants him back), and that whole idea of trying to figure out if he will actually be on their side or not. That worry after everything that happened with Perix that maybe he isn't. Also that idea of Fable not giving that much information, and them all trying their absolute *hardest* to figure out how to get him out. (Also that bit at the end is Icarus to Midas coded, especially with the glitchy voice, and in this essay I will-)

-> [Moonsickness]

-> Very much the season 2 reset. The annoyance at Fable, that annoyance and *anger* at Quixis. That very demeanor they have toward Quixis at the end - being done with them and being annoyed at them; them seeing themself as a failure because of *course* they fucked up the thing that was supposed to help them. They can't do anything right ever - they fuck up *everything* they touch. Also, hot take, Midas talking to Icarus and Fable (and almost the grove in general? but I feel like *mostly* Fable). and, well, I have thoughts about some of these lines, so take this silly more specific analysis. (Not *every* line, just some I picked. Because if i picked all the lines we’d be here forever.)

“Everybody knows this place is dying, as am I.” Something about Midas dying as the Worldport does - decaying and falling with their realm. Something about the season 2 reset showing the world *literally* dying, falling apart, crumbling and everyone *knowing* it.

“I might not get another chance.” Midas switching Haley and Fable - they *knew* they probably weren't going to get another chance to try and stop Fable like that. As well as the whole idea of the grove only having one chance to open the portal - they, Icarus especially as the one who *put* Perix's soul in the frame, fully thought this was their *only* opportunity to get Fable out. Obviously this is proven wrong in season 3 - but they didn't *know that.*

“I am such a fuckup, if you only knew that I am such a fuck up.” Something about Icarus seeing themself as a failure - a fuckup. They couldn't even get their father out correctly, why can't everyone just see how much of a failure they are? Why can't everyone see how much they ruin everything they touch? (And, arguably, Midas as well. That whole idea of them failing in their duties to bring Icarus when they were supposed to, leading to so so *so* many worlds decaying.)

“And I am the worst mistake that God has ever made.” Sort of that same idea as the last one - that idea of Icarus seeing themself as a failure. Only this time it's more related to their Dad than themself. He made them, they're *his* child - therefore, if they see themself *that* badly, they're the worst mistake he's ever made. They're a terrible fucking person and they're a *failure.*

“But I make lemons out of lemonade.” Wack wack wack wack. This line is so very about the wack. Something about changing things from one thing to another in a way that *shouldn't be possible.*

“In your guts you know it's all destroyed.” Okay, Midas to Fable. Something about Fable knowing that this world is dying - something about how Fable would *know* the outcome of doing all of this. He would know that Rae would figure it out one day, the cause of the resets, and it wouldn't go *well* - that his relationship with one or both of his sons would be destroyed. (Also, mayhaps, Midas to Icarus - that whole idea that the world is destroyed and their chance at getting Fable out (at least this time) is *also* destroyed.)

“None of us belong, Everything I do is wrong.” Something about everyone being pulled into the resets from different time periods, being shifted and tugged and placed into the present but not quite *belonging* there. Something about how Icarus tries their very hardest to be *good* - but so much of what they do ends up being wrong on so many levels. (But it's all they know.) Something about how Midas tries their very best to fix and fix and *fix* and they can't really - it almost always ends up *wrong.*

“And in your blood you know what's right.” Midas to Icarus - that whole idea that Icarus has Fable's blood running through their veins, that they believe that he is *right.* Even if in the moment they don't know him well, don't remember him well, they still subconsciously think what they're doing that mirrors Fable's own actions is *right.*

Could also be Midas to Fable? That might be a slippery slope to climb and explain though.

“And in your bones you know what's wrong.” Midas to Icarus - something about Icarus so often knowing, but not *acknowledging*, that what they're doing is wrong. Icarus *knows* it's wrong, deep in their bones, they really really do. (But rarely do they acknowledge that.)

Could *also* be Midas to Fable for similar reasons.

“And in your throat you know you're lying to kids” Midas to Fable - While they're not *literally* kids and children still, they are *his* kids - and he's lying to them. Fable is lying to his kids and he *knows* it, not that he'll acknowledge that ever.

“And you know nobody belongs in this hell.” Midas to Fable - Something about Fable *knowing* none of them belong in this hell of resets and everything; that he should probably just let life run its course, let it go as it *should* - but he doesn't. And he's dooming them to this hell none of them belong in. (And he knows they don't.)

“I am God's worst Mistake” Just. Icarus. Once again just that whole idea that they just think of themself as a *failure* - especially after the portal glitches. They can't keep doing this - at some point they're just. A mistake. (Arguably, could also be seen directed more at Quixis as well - the way Quixis made them like this with the eye and all.)

“And you seem happy on the knife's edge, but I just lick the blade.” Midas to Fable - That idea that Fable kind of hovers on the knife's edge, but never tips over it. He tows a line, about to tetter over. The way Midas will *gladly* tip over that line - lick the blade, on this case - they'll go down, tetter over that edge, but they sure as fuck won't do it quietly or unnoticeable.

“And I'm the worst mistake your God has ever made.” Arguably, Midas to Icarus. Fable is the reason they couldn't get to Icarus - Fable is the reason they're *like this.* And, *arguably,* Fable is kind of sort of Icarus’ God. Also just that whole idea that Fable is the reason for *so much* between Midas and Fable. And now Midas is *angry.* Mistake in this case isn't a bad thing - mistake in this case is more “Midas is about to make their anger *very* much Fable's problem - and it's his fault.”

“Invisible hand savior, fucking up your definitions even though it's life or death.” Midas to Fable - Fable is, in this case, the invisible hand. He saves Icarus every *single* reset - he *is* the savior, and he's fucking up definitions *every* time he does it. Even though it's life or death, even though Icarus absolutely *should* die, they should be dead, they're not. He's literally fucking up definitions everytime he rips a page out or edits or does *anything* to As It Is.

“Don't you think it matters when we wish our friends the best.” Midas to Fable - again. Something about Fable wishing Rae and Co good luck on figuring out what the resets were being caused by - when *he* was the one causing them. It *should* matter that he wished them luck, but it really doesn't considering he *knew.*

“Because of all this bullshit I'm not anything at all.” Midas in general really - something about how they're just trying to fix everything now, but they're not really a person anymore. They're alone and they're almost a god and they're *angry.*

“There's nothing to believe in and there won't be ‘till we fall” Okay this line goes *far* deeper into the finale and things than it should. This is Midas talking to Fable but for once they're not being an *asshole* - they're lumping themself in with him. Something about Fable dying at the end of Fable, and Midas passing their torch (metaphorically falling/dying), and the way it leaves room for new gods - new gods people will actually *like* and believe in and won't cause harm and and and. Something about Midas knowing that until both of them are gone, no one is going to properly believe for a *while.*

“I can't get the numbers right - I can't fucking count because not one goddamn thing is in it's place.” Midas to Icarus *or* Vice versa (Icarus to Midas). Something about the wack changing and altering so so *so* much neither of them are really them anymore. Nothing is like it should be, and it hasn't been for a while. The Worldport is decaying, soon Midas will be too. Icarus isn't themself - they haven't been in a *while.* The eye isn't theirs (not that they *know* that), all of the purple isn't theirs, some of their members *aren't theirs.* Nothing is in it's place and that's *really* fucking shit up.

“You fuckers know it's all built on lies” Midas to *both* Icarus and Fable. Just that whole idea of how Fable manipulates and abuses in the way he does; twisting words and fabricating truths, lies laid with the grounds of a truth, but built on things objectively very false. And in Icarus’ case - their entire life and personality is a lie. They act so very differently alone than they do around others, it's all a front. Everything they've built to this point, and *so much* of what they'll build as season 3 starts is built on lies and half truths. (And that whole idea that Midas is *angry* at them.)

“But the beast refuses to die, and so I guess well neither can I.” This line *arguably* also leans very heavily into finale territory - mostly with things we know after the fact though. Just that whole idea that Fable can't die, he refuses to - as long as he's immortal he *can't.* And if Fable is alive, and actively keeping Midas from Icarus - then Midas can't pass the torch, Midas can't *die.* Something about how Midas fully thought they were going to die upon passing the torch to Icarus. If Fable refuses to die, meaning they can't reach Icarus, then Midas *can't* die. (Because what happens then? The Worldport is left without an overseer and wack gets hundreds of times worse? *No* that can't happen. So they power through it to let Icarus see the end.)

[Section Five - You died. Deal with the consequences, Icarus. (Season 3)]

-> [Is There Anybody Here?]

-> The season 3 break my beloved honestly. That's this song in a very very loose nutshell. The season 3 break - both their time in the Worldport as well as their time here. Just that whole idea of trying to find Quixis - and then trying to find *something* that they know and can hold onto. That idea of looking for something, anything, anyone that can help them because they *don't know where they are.* That idea that they're trying to find their way back home, and are struggling because they don't know how.

-> [Maybe Man]

-> Very much that whole mentality Icarus has early season 3. That idea that they *don't* know how they are, not anymore. They're just kind of. Floating. Also that whole idea of trying to figure out who the fuck they even want to be in the first place. They don't really have a direction - they just want to be *something.* (Something that will please people, make them smile whenever Icarus passes by because they're doing *good.*)

-> [Chasing You]

-> That whole idea of how Icarus has spent the past *year* trying to bring Haley back, trying to figure out how to see her and fix their mistake - and that whole idea that now that she's back, now that Midas brought her back, Icarus doesn't know what to do. Icarus doesn't know how to act around her, what they can and cannot and should and should not say/voice, what is too far over a line and what isn't. They're really just left floating not knowing what in the *world* they should do about it.

-> [The Garden]

-> The whole idea of Icarus getting so done with and so incredibly over Quixis and the wack and the changes and *us.* The whole idea of wanting to dig them up and out and remove them completely, no matter the consequence, no matter where it would get them in the end. The whole idea of how Midas knows their name - and we have to figure it out - and the way they don’t, and the way, more often than not, we as chat snark at them and are very passive aggressive sometimes, rather than being helpful - and how they don’t like that.

-> [New Eyes]

-> Two samples Two samples Two samples. Just, Icarus about the eyes in general. The finding put that the purple eye's blood *isn't theirs*, and the following realization that if the blood isn't theirs, then the eye itself isn't theirs either. That want and that need for people - Midas - to stop changing them, to give them *their* eye back - so they can see with new ones; so they can see with the eyes that were always *supposed* to be theirs. (Also just the general idea of needing to see things through a new lens, see things better, because they're suffering and hurting and *no one* seems to see it, and how one day that fact might kill them. (And well, it does, doesn't it?))

-> Sage and their ability to be so normal got this one on the playlist. We win these.

-> [The Tornado]

-> So very Unlocked - this *is* the Unlocked song. That whole idea of them being used to the wack, being almost surprised as it just *kept getting worse*, *the wings,* the running to the bunker and the *yelling* at Midas, Fable finding them, and - arguably - the aftermath of the wings and those few streams following Unlocked where they were just trying to heal and fix and *clean* up the path they had made. (Okay yes Quixis ascension, yes, but we’re not at that part in the playlist yet - so.) And, well. Some more detailed line analysis because I’m a loser.

“It was just startin' to drizzle as I walked out the door, But I've delivered papers in the rain like that before.” Just that whole idea that the wack being weird - being worse, changing their house more than normal, changing *them* and their clothes more than normal - was okay, in their mind. What’s the worst that can happen? It’s done this before, and everything was fine for both them and others - why worry about it this time?

“3:30 in the morning, I was happy as a lark.” That idea that Icarus was so very happy to get Fable out. They were so happy and excited, because this was what they had been working to for months and years and *resets* and they had finally been able to do it. They might’ve been a little worried, but they were mostly *happy.*

“The wind was pickin' up and howlin' louder all the time.” The redstone beginning as they were all standing in front of the now open portal - the way they weren’t expecting it, the way it just kept picking up and getting *worse* no matter what they did to stop it.

“The sky churned like a cauldron and the distant thunder roared, And I knew that I was in for quite a storm.” The redstone picking up, but also the fact Fable hadn’t come out yet - and they had been waiting and waiting for the others to get him for *minutes* now and it was beginning to worry everyone outside of the portal; that idea that they *knew* something might be up - with Fable or the wack.

“A little rain never hurt no one, so I kept pressin' on.” Up to this point, the wack hadn’t hurt *anyone* - well, with the exception of Icarus themself. Sure it had hurt and changed and wacked animals and blocks and all that - but never Icarus’ friends and family. It hurt them time and time again - but they were fine after all of it (for the most part - with the exception of the many breakdowns and *the eye*), why should they worry about others getting hurt? It had never *severely* hurt them like that; so they kept going and standing there and letting it get worse upon that assumption that it *wouldn’t do that.*

“And I tried to tell myself it's always darkest before the dawn.” Just that way they were so desperately trying to convince themself that it was all okay - that the group in Purgatory *will* bring Fable out and it’ll be okay. The wack will be fine and it’ll stop and it’s just a small little bad thing before they get Fable back - that desperate way they try to convince themself it’ll be okay.

“Lightning struck an oak tree as I leapt off my bike.” The way the redstone, the *bad* just keeps getting worse and worse as time goes on. Regardless of what they do it gets worse and they can’t seem to *stop it.*

“The sirens started wailing, but there was no good place to hide.” That whole idea that Icarus really, really, *really* wanted to run - they wanted their dad and they wanted the wack to *stop* because it just kept getting worse and they really, really wanted to just run. But they knew they column’t because running would make things so so much worse - so they don’t run, they just stand there and let it keep getting *worse.*

“I knew without a doubt there was a twister touchin' down.” That idea that they *knew* it was only going to get worse and worse the longer they stood there, without a doubt, but there wasn’t anything they could *do about it* - they just had to power through whatever happens, like they always do.

“The little bit of courage I had left was almost gone.” Something about how at the beginning of Unlocked they were mostly okay - that had *some* bits of courage - but the longer no one came out of the portal and the longer all the redstone did was get bigger, and the longer they just *stood there* the more that courage just. faded.

“And then the nightmare started, it got deafeningly loud.” Momboo. The redstone getting bigger and the wack *hurting her* (hurting someone other than Icarus, for once) and the way they almost *immediately* panicked and ran (or, at least tried to) off. And then like the following moments of running and running and trying to fly and then their wings *shattering.*

“Every fiber in me screamed out, but I couldn't make a sound.” Something about how they screamed as their wings broke, but about how their panic after the fact was so very quiet. They weren't screaming - they were just hurt and in pain and weren't going well but were trying so desperately to keep it under wraps. They refused to let themself break at *any* point during the run to the bunker, refused to let themself fall apart like that. They wouldn't - they *couldn't.*

“It sounded like a freight train was draggin' me to hell.” Something about the particular way the the wings sounded when they shattered - so *loud* and overwhelming as they crystalized and as Icarus *fell.* Even louder as they shattered against their own weight and Icarus’ back. They dragged Icarus *down.* (Metaphorically dragging Icarus to hell, I suppose.)

“And this was my prayer, "Save me from this terrible nightmare"” *Icarus yelling at Midas.* This line is os Icarus yelling at Midas, both on their way and inside of the bunker. They just wanted Quixis to *stop*, to know why they just kept *doing all of this* to Icarus and their friends. -They just wanted Quixis to stop, and they just wanted someone to be there for them and save them because *gods* they hurt so very badly.

“That was when I saw my family with my eyes shut real tight.” Fable showing up at the bottom of the bunker - they literally see their family. Also something about how they just wanted this to stop - their eyes shut and the denial of the past delays creeping back up on them.

“Would they know how much I loved them if this was how I died?” *Would they?* How many times does Icarus tell their family they love them? (How many times do people tell *them* that?) Would their family know just how much Icarus loved and cared about them if Icarus died - if they died like *this* with no one around?

“No, I vowed I'd not be murdered by a monster in the sky that night.” If you think about it - this injury could’ve killed them. It didn’t - and they definitely didn't want them to - but it *could’ve.* But they wanted to so desperately survive and live and *not* let Midas’ actions get the better of them - they vowed it wouldn’t happen.

“But if I went home to heaven, at least that's where I'd belong.” Midas’ would’ve pulled them before they died (just like they did in the finale) if the injury *did* kill them - they would’ve been where they belong because they were meant to become Quixis *decades* ago; that, the worldport, Quixis, was supposed to be their home for years yet it *wasn’t* - it's where they belong but, at this moment, they’re not there.

“There was nothin' but destruction and wreckage in that town.” The mess the path and wack made; the redstone in front of the portal; *the tree.* (Their wings.) It was all a mess and destroyed and, for at least some of that - there was no fixing it. It was just destroyed and they just had to deal with that.

“And that was how I learned to live when you can run, but you can't hide.” They could run from hurting Momboo, and they could run from the wack, and they could run from their wings breaking - but they can’t *hide from it.* They have to deal with the consequences of their actions, they can’t hide from it. They have to see the tree - see their mistakes, see their bad - nearly everyday. They can run from it, sure, but they can’t *hide.*

“How to feel trapped in a tunnel but come out the other side.” They’re trapped and grounded and alone (somewhat - Fable is doing his whole “isolate his kid so they lose attachments” thing) but they come out of it, eventually. They get their wings back, they can fly again - they may have felt trapped for a time but they *made it out.*

“'Cause with all the stormy weather in the world, you learn to take life one storm at a time.” Pulling out the character analysis card - Icarus gets very focused on *one* (big) thing very easily. Their wings, they wanted to fix those - spent weeks trying to get better; Enderian talking to Rae - they were so incredibly stuck on that until they made up; And, the more obvious one from season 3 - Centross. It was a 5 month long storm - but it’s all they focused on. They take their life, especially during season 3, one big problem and thing at a time - focus on *it* and nothing else. (Because focusing on other things means acknowledging just how much you’re hurting, and they can’t do that.) And I mean, it gets Icarus through. They make it to the end going like that. It’s not healthy - but they *make it.*

“I keep hangin' on.” No matter what happens, no matter how close to death they get and no matter how much death would probably be kinder at a point, Icarus is still there. They keep hanging on - keep living and keep just, going through the motions.

-> [Birds]

-> Just that whole idea of how after Unlocked (and arguably also *during* Unlocked) Icarus just wanted to *relax.* They were done and hurting and upset and they just really, really wanted to sit, alone, with the flock. They just want to be calm and relax and not have to think about any of what just happened.

-> [Look Who's Inside Again]

-> Unlocked. Probably Midas to Icarus? Or just someone outside looking in at Icarus in the moment after their wings break. This song specifically being more about Icarus’ desperation to get to their bunker - and their feelings while inside of it. How this is just like the prison - putting themself into a box, a prison, a *room*, to keep people safe. To keep them from hurting people. They're back here again - trapped in a box with no way of getting out until someone comes to get them, yelling at the person who (for all intents and purposes) put them there. They're back here again, *inside* again.

-> The whole idea of Fable, after he gets out, beginning to isolate and cage Icarus - with the guise of keeping them safe. He’s removing them from their friends and family and leaving *him* as the only person Icarus can safely - at least in their mind - rely on.

-> I have further words about Fable and Icarus in regards to this song, and that’s really tying into the “again” aspect of this. Viewing this through the lens that this is Fable isolating Icarus, and the visions of a child shown throughout this song, then it’s not terribly hard to come to the idea that this probably isn’t the first time Fable did this - isolate and cage and manipulate - Icarus. That whole idea that his manipulation and abuse has been going on for much longer than we see on screen - this isn’t a new thing. He did this before and he’s doing it again and Icarus just has to deal with that. (Even if they don’t *know* he did this when they were a child. They don’t remember any of that aspect of themself.)

-> [Let Me Make You Proud]

-> That whole idea that yes, Icarus has failed and made mistakes and disappointed Fable - probably time and time and *time* again - but that they really, really, *really* want to make it up to him. They want to make him proud because they feel so much like a failure after everything that keeps happening - they want to make all their mistakes and missteps up to him. They want to make it up to him and they keep trying and trying and *trying* to do that. (And, arguably, failing at it rather often.)

-> [the fruits]

-> The whole idea of how Icarus wants so desperately to help Fable and all he’s doing, but the idea of how Fable can’t see that they’re not entirely them - can’t see just how much they can keep falling and repeating history and just how badly they’re doing. The whole idea that they can’t help him - they can be the person he wants them to be and the person he’s trying to make them into because they’re not entirely themself in the whole sense of them; they can’t be that if they’re not entirely themself - they can’t help him like he wants them to, and how they spiral because of that.

-> [Loser Baby]

-> Centross and Icarus. Kind of to each other. This song is. So *incredibly* drinking stream coded. Just. That realization of just how similar the two of them are, just how much they have in common, just how much they're both going through the same shitty situation. That realization that they can *rely* on eachother. The realization of how they're so so *incredibly* similar - especially in regards to Enderian and Fable - and how they're both losers, they're both having a bad bad time, but they can do it together. (Which, arguably, they’ve known for a while - but it becomes a lot clearer in the drinking stream; especially with Icarus calling Centross their best friend.)

-> [Down the River]

-> *Breaking Bonds* - This song is very Athena to Icarus. The whole idea that Icarus likes to run and hide and leave the past and everything they’ve done behind and not acknowledge it whatsoever - How they can’t do that; How even if Icarus wants to forget and leave and run, others aren’t going to do that for them - Others are still going to remember all of this and all they’ve done, and what happens to them, the grove, once Icarus leaves and decides to ignore it. What happens then? What happens to all those people you’ve hurt?

-> [Hero]

-> Centross’ death. That way Icarus just spends that immediate moment after him fading just trying to convince themself it's *okay.* They're okay and he's okay and he'll be *back* and it's okay. Them just trying to convince themself it's alright and trying so so desperately to comfort themself in this hell. Arguably, also almost their anger at Fable for killing their best friend - that immediate sharp anger and bared teeth (“I'm the hero of the story, don't need to be saved.” Just that whole idea that Centross saved them - but he shouldn't have had to. They were the *hero* of this story, no one should have to save them - and no one should have to *die* doing that if they even tried. Icarus’ whole thing is trying to save themself, figure out ways they can fix it *themself.* No one should have to die because Icarus couldn’t do that. They’re a prince, they’re supposed to be alone. People shouldn’t have to die because they weren’t.)

-> [Can't Catch Me Now]

-> Centross almost like. Taunting Fable and trying to comfort Icarus. How he's always going to be there for Icarus, he's always watching over them, even if he can't tell them and show them that physically, he is *there.* But also almost taunting Fable in regards to the fact that Fable can't catch him now; Fable will not find him no matter what he tries and attempts, he will see Centross everywhere, be reminded of him just like Icarus is, and he *will not* find him - and won't be able to bring him back.

-> [Do What You Gotta Do]

-> This that short bit after Fable kills Centross where Icarus just *yells* at Fable. That snark, that anger that Fable *did that* - and Fable's argument that he “did what he had to”, and that was *necessary*; Fable did this (killed Centross) because he had too, Icarus should hear him out. Just that whole conversation between Icarus and Fable after he kills Centross, and that whole falling out between the two of them, and that whole slow manipulation from Fable's end as the conversation continued. (Also Fable's whole “being a god” thing-)

-> [The Cave]

-> Centross to Icarus after the cathedral. How he *will* be there for them, no matter what, but also how he has other duties to attend to - but also also how he can't stick around due to the fact that Fable is currently killing every God in his sight, taking every power for himself. How Centross *wants* Icarus to know he's there for them, but also how he can't physically be there. He'll try his *hardest* to keep them alive - try his hardest to keep them going until the end.

-> [Paid in Exposure]

-> Very much Coworkers - just that whole idea of doing only what they're told and becoming, a, a coworker, and b, one of the bad guys - or the people on the stereotypically “bad” side.

-> [Natural]

-> *Also* Coworkers. That whole idea that for them to be on this side of this war they have to be assholes - they have to be cold and sharp and not care, and the whole idea that they're *good at it.* The idea that all three of them are good at that - they're almost naturals at it. They don't have to practice because they can settle into that role far, far too easily. (Also “Rather be the hunter than the prey” is incredibly Coworkers - because they all know that Fable is hunting gods and hunting people down, and they'd rather be beside him as he does that than cowering beneath his sword.)

-> [Burning Pile]

-> Just like the whole idea of wanting to put all your problems in a big pile and just light them up and on fire - kill them, get rid of them, ignore them. That whole idea of wanting to get rid of all your current problems, all the shitty stuff you’ve gone through, get rid of it all and never properly look back - you’ve burnt it, it’s gone, you don’t have to think about it anymore. (Or, that’s the dream at least. Not really what ends up happening in the end.)

-> [Can't Go Back]

-> Just that whole idea that Icarus should forgive themself - how most of this isn't really *their* fault, and how they should be learning to forgive themself for that - not blame themself for stuff that isn't their fault. (Also the whole idea that none of this is *fair* - it's not fair to them and nor fair for Fable and not fair to *anyone* in the grove.)

-> This definitely feels like Violet trying his absolute hardest to comfort Icarus the best he can even though he can’t physically be there with them in the moment (and he won’t be able to be for a while. (And even when he was able to be there for him, at the end, it wasn’t for very long.)

-> [Try To Change]

-> How Icarus just keeps trying to change, change and change and change, they're trying so incredibly hard, and it just keeps failing. The whole idea that they can’t find it in themself to change - there's safety in it, they’ve always been like this, why wouldn’t they just keep going and being like this. Why would they try - there is *no* point to it. They’re safe like this, Dad likes them like this, why would they change into something he wouldn’t?

-> [Let Us All Down]

-> Just that whole idea of how the Grove feels about Icarus working with Fable. Arguably, they all thought Icarus could be good - they gave Icarus so so *so* many chances, they didn't think that they'd go this route. They didn't think they'd be involved in Centross’ death like this and this didn't think and and and. (Also, arguably, Icarus spiraling. Just *thinking* about what people would say, what people would think, what they would *feel*, how they would react.)

-> Arguably kinda sorta maybe Two Shall Break/Two Shall Mourn for the priorly explained reasons.

-> [Lima Bean Man]

-> Icarus about Momboo. Icarus so *desperately* wants Momboo to not be dead, so desperately wants to be able to bring her back. Not necessarily telling themself she *isn't* dead, but that she *can't* be - because that means they killed another person, that means they did it *again.*

-> [Shots]

-> Icarus to. Everyone basically. They're so so *sorry* - they're breaking down crying near everyday by this point, and they just keep *killing people.* (“why do I kill everything that I love?”) and they're so so *sorry.* But also that they need everyone to know they're *in too deep* - People aren't going to be able to save them now, not through normal means. It's not going to happen - they need to let Icarus drift away because if they *don't*? More people will only get hurt.

-> While I won’t elaborate on this statement, as it speaks for itself, your friendly reminder that Icarus did not truly hate their father when they killed him - Icarus still held some sort of semblance of love for him, even at the end, even after everything, even as they stabbed that trident into his chest as he revealed he was never going to bring Centross back.

-> [Prodigal]

-> That whole idea that where Icarus is right now is all their own fault. They caused it, it's their fault, and there's nothing they can really do about it. They're alone, they've dug themself a hole and fallen down it (because that's all they do, really) and they can't get out - and it's their fault. It's all their fault - it always *is* their fault.

-> [Solitary Confinement]

-> They're alone! After Momboo, and after their conversation with Athena, they're *alone* - Confined. And they're. Okay with it, almost. They wanted to push people away, wanted to be alone, because it makes all of this so so much easier. But they *really* wish they didn't have to do it. Didn't have to push people away like that, didn't *have* to do this to everyone and themself. They do it, yes, because in the end it will benefit them to do so, but they really really don't like doing it - they're spiraling. (And really, they have been for months.)

-> a “devious read” by yours truly according to the sherbertquake56

-> [No Longer You]

-> Okay. Now. What I'm about to say *might* sound like. horribly wrong because everyone kind of looks at this and goes “oh the prophet is Haley” and to that I say. Nope. No, the prophet is Midas. This song is *Midas* talking to Icarus about their future - regardless of how this goes. Because Midas would know what would happen after they “Draw their final breath” so to speak - Midas would know. Haley wouldn't. Also, because I'm a little loser, and the fact this song *really* lends itself to this, line by line analysis.

“I see a song of past romance” Perhaps talking about Momboo? This line could be very ambiguous. Cause you could also argue Wet Birds, but I'm not sure that really *fits.* (If you wanted to go the Prison Duo route, you probably could as well.)

“I see the sacrifice of man.” This line being about Centross - Sacrificing himself to save both Icarus, as well as the rest of his family.

“I see portrayals of betrayal,” This line being about Jamie - Betraying the family they *had* for the family they *want.*

“And a brother's final stand.” This is. Just the ‘A Brother's Final Stand’ stream. Rae trying so so *so* hard to save his brother, and failing because they *just* don't *want* (don't think they need, don't think they deserve) help.

“I see you on the brink of death.” Icarus after they kill Fable. Or, really, Icarus throughout the last week-ish; throughout that they're on the brink of death, they're *dying.* (They have been for almost 5 months - but after he dies Icarus is left so much worse off because Fable isn’t around and alive to keep Quixis’ powers at bay.)

“I see you draw your final breath.” Them *jumping* - Them thinking they were going to die. Them being fully fully accepting of it.

“I see a man who gets to make it home alive.” Midas pulling Icarus into the Worldport, *alive* - telling them that they'll be able to go back home eventually.

“But it's no longer you…” But the person Icarus would become after all that time in the Worldport, after leaving it, would be starkly different to the person that entered it - that it wouldn't really be Icarus anymore. It'd be Icarus, of course, but they'd know and have been changed that they wouldn't be the Icarus they *were.*

Just. It really encompasses those last few months of Icarus’ life before becoming Quixis - those last few months of pain and desperation and *bad.*

-> [Monster]

-> The whole idea of how Icarus *will* be the monster if they have to. They'll kill and slaughter and murder and *be* the monster if it means they'll all make to end - if it means they'll get to bring everyone back, *fix* everything.

-> [No Children]

-> This is very much Icarus’ mentality at the end - about Fable and about Rae and about *everyone.* That idea that they don't want to be saved anymore, not like this. That idea that if they have to go down - they're going to take Fable with them. That idea that they just want Rae and *everyone* to give up on them - and, arguably, that idea that if *they* die, they want Fable to come down with them. Uh. Well here's another set of far more detailed line analysis <3 Not the last one either <3

“I hope that our few remaining friends give up on trying to save us.” That whole idea that Icarus doesn’t want to be saved - not like this. They don’t want to and they don't think they’re deserving of it - they fully hope that Rae gives up on trying to save them.

“I hope we come up with a fail-safe plot to piss off the dumb few that forgave us.” While they didn’t *know* it’d be fail-safe, Jamie. Because by this point there were *very* few people still trying to save and help them - and really, to their knowledge, it was *just* Rae - and to them? To those people *that* was the tipping point. For that last week they were left completely alone because they had *finally* pissed off the people trying to save them.

“I hope the fences we mended fall down beneath their own weight.” Very similarly to that previous line, during Family Reunion - arguably - Rae and Icarus had *kind of* mended their relationship. Icarus didn’t like that - Icarus really hoped that he’d just let it go. They really hoped that the weight of everything would mean their relationship, whatever Rae thought was left of it - at least, would just crumble. That Icarus wouldn’t have to hold on to him and their family anymore because holding onto it means there is *complications* and attachments and they really can't have that - not now.

“And I hope we hang on past the last exit. I hope it's already too late.” That whole idea that Icarus was in too deep - Icarus was going to hold on and stay attached to Fable until the very, very, *very* end. That whole idea that Icarus very much thought, very much hoped, that they were too far gone and it was far, *far* too late to turn back now. (Also that whole idea that

“In my life, I hope I lie. And tell everyone you were a good wife.” Okay, a, that whole idea that Icarus lies about *nearly* everything - they lie about so, so, *so* much that it’s really all they do and hope to do. B, that idea that they so desperately want to see their father as a good person - so desperately want *everyone else* to think he’s a good person; to the point that they *will* lie about it, they hope to, they hope they get the opportunity to lie about it.

“And I hope you die. I hope we both die.” *If he dies they don’t have to do this anymore.* Just that whole idea that if he dies they do not, really and truly, have to continue to do any of this. They can fully and completely leave it behind and *gods* how they really, really want to do that. Also, arguably, that whole idea that they don’t think they’re worth saving, and that whole idea that they think they fuck everything up and ruin it regardless of how much they’re trying. If they both die between now and the end, then when this is all over no one will have to get hurt anymore - their family will be *safe* and sound and they won’t have to stress about themself *or* their family *or* what their father is doing.

“I hope I cut myself shaving tomorrow. I hope it bleeds all day long.” That idea that icarus thinks they’re deserving of all the hurt and pain and sorrow sent their way. All this pain and suffering and the way it’s constant - they fully, *fully* think they’re deserving of it; they fully hope it keeps happening solely to prove that point. (This is not the time or place to go on a rant - but I would like to bring up how, after Centross dies, whenever Icarus gets really injured - unless it's dire dire - they refuse to use potions on themself. And even when it *is* dire they’re almost hesitant about it.)

“Our friends say it's darkest before the sun rises; we're pretty sure they're all wrong.” Rae thinking he can save Icarus, save them despite everything they’ve done and despite all they’ve been through - and Icarus thinking, *knowing*, he can’t. Regardless of what he says, Icarus knows they’re in too deep and knows that means Rae can’t save them or get through to them very easily.

“I hope the worst isn't over.” Ties back to the line before last - that idea that Icarus thinks they deserve all the pain and suffering they’re going through. It’s their fault, they deserve it, maybe they don’t really like it very much by they do understand where its coming from and they can agree with it because deep down they *know* what they’re doing is so very very wrong.

“I am drowning. There is no sign of land.” They’re falling and falling deeper into this little pit they’ve dug themself and they can’t find a hand hold to even start trying to climb themself out. They are lost and *alone* with no one there to help and they *know it.*

“You are coming down with me, hand in unlovable hand.” That idea that if Icarus goes down - they’ll take, to try to take, Fable with them. That idea that both themself and Fable are seemingly unlovable - at least in Icarus’ eyes - and the two of them would go down hand in hand; it’ll be one of their faults and they’d drag the other down with them (Also, arguably, Icarus and Midas as well - if Icarus goes down they want to drag Midas down with them; if Midas goes down they’ll inevitably *have* to drag Icarus down with them. The two of them are so intertwined that if one goes down they’ll drag the other whether they want to or not.)

-> [Mr. Author]

-> How Icarus really just wants this to all *stop* and finish up - how it's been going on for so long and they don't know how much longer they can keep going like this. How they want to talk to the person who wrote their story like this - talk to the person that keeps *letting them do this*, want to talk to the author ruining their life.

-> [Icarus]

-> Something about Fable realizing, however small, that his actions are hurting Icarus. How Icarus is hurting and dying, and how he can't *fix it* - he's not going to be able to fix it, fix *them*, make them what he wants them to be. He can't save them in the way he wants to - they're *going* to die and gods he won't be able to stop it. Specifically right at the end, Fable's death by his own son's hands.

-> [The Bad Guy]

-> That whole idea that all Icarus wanted to do, really and truly, was *fix* everything - but that's not how it went. They went to bad places to fix things, they became the bad guy. They didn't want to be, of course - not again, not after last time - but that's what *happened.* They became the bad guy, and they're finally finally realizing it. (Only, it's really too late, because they're dying now.)

-> [In My Blood]

-> Just that whole idea that this is how Icarus is always going to be, how this is how Icarus is and there's no changing it - how it's in their blood to do this, to *be like* this - how there's no stopping it, no turning back.

-> [Daniel In The Den]

-> Really just that whole idea of Icarus killing Fable, and the following way they attempt to move on. That way Fable was killed by “the ones you think you love” - Icarus, yes, but really everyone contributed. (And, arguably, almost that bit of anger Icarus harbors toward Fable at the end - that idea he wasn't ever going to fix this; that all this pain and suffering was for *nothing.*)

[Section Six - They're. Kind of God now. Question mark. Maybe. I dunno, Icarixis is. Yeah. They're a guy. That's for sure.]

-> [Ruin]

-> They have a conversation. This is simply Midas and Icarus having a back and forth conversation about mistakes and Quixis and *all of it.* It’s very hard to summarize - so uh. Hi line by line analysis, welcome back-

(ICARUS)

“I will bring you ruin in everything I do.” Something about how no matter what Icraus does and no matter how hard they try - they ruin things. Their family, their house, their friends house, their *life.* They bring the people in their life - including Midas, and including themself - ruin and pain no matter what they do.

“It’s never my intention, but it happens all the same.” Icarus rarely means to hurt their family and friends like that - it’s rarely their intention but it *happens.* They can’t stop it happening, be it because of the wack or because they’re trying to *fix something* or or or. They never mean to hurt people - they don’t *like* hurting people - but it just keeps happening and happening and *happening.*

“It starts with love and comfort, becomes a strength of will.” Arguably, talking about their time in the three resets they remember. It started good and okay and alright and it just slowly became their goal to just *survive* - it became a strength of will to just keep going after every little thing that just kept *happening;* After all the death and harm and suffering they’d experience they had to fight to keep going.

“But all that strength made rubble of the towers we built.” Icarus keeping going like they did broke *so much.* The Worldport, Midas, Themself, *The overworld.* It all fell apart, was all unstable, because of *them* - all of that kept falling apart into rubble because of *them.* (And, arguably, also partially because of Midas.)

“Cause brick by brick, you built us and I’d fill in the cracks.” Midas helped build this world, this *life* for Icarus. They built it brick by brick - keeping Icarus from being Quixis so young gave them *this* - a family, a life, safety. Midas built it, and Icarus made it *theirs.*

“Nothing quite prepares you for when they don’t come back.” Icarus wasn't prepared for when Centross didn't come back - when it wasn't just a fluke. They weren't prepared for being *alone* and by themself for that long and they weren't prepared for him just being. Dead.

“I wish I’d done things different, I wish that I’d been brave.” Something about wishing they'd home about getting Centross back differently - not killing people, not doing any of that. Something about wanting to be braver - be braver to leave Him and side with their brother and the rest of their family and not side with the person who killed Centross and who killed so many people. Something about *wanting that.*

“I wish I’d known these stones were something I could save.” Arguably, something about wishing to have known that they could have saved Midas so much earlier - could've taken up their role *months* (*years*) ago and saved Midas so much pain and bad and suffering.

(MIDAS)

“Our mortar was your laughter.” Something about the funnier aspects of Midas changing things - it kept them together. At least for a little bit. It kept everything okay and alright - the silly-ness of it all. (Obviously that didn’t stick very long.)

“And you hurled curses at the land.” Icarus yelling and ranting and being so *angry* at Midas. That anger that Icarus just let boil simmering over whenever something bad or upsetting or just *annoying* happened.

“We didn’t talk, we made universes - out of bitten lips and broken hands.” Something about how Icarus and MIdas never talked talked - sure they had the book and their comms but they never really properly *talked.* Something about how despite that, they built things through their pain and hurt. They built friendships and lives and all of that - even without talking.

“You said, “I love you less than when it all began.”” When it first started Icraus didn’t think anything of it - wanted to know what was up with it but also wasn’t really *worried.* Icarus, at the beginning, almost thought it slightly funny. They didn’t really care what it did. But as time went on and as Midas lost more and more control and as the wack got worse and worse and as it broke more and more - the less and less Icarus liked it. It lost its novelty once it started hurting people.

“And I said fewer cause I make jokes to show how broken I really am.” Something about Midas communicating very *directly* with the wack and their comm and things as the end came closer and closer - they stopped with the messing around and the jokes and the silly changes they used to do, and they just became serious calls for help on both ends. (And beyond the direct communication - the *interfering* with things that could get Icraus hurt or killed.) Gone are the jokes and the small silly laughable changes, replaced with calls for help and calls for *something* because Midas was dying and so was the Worldport. And something about how the direct communication was a lot more spread apart in comparison to Midas’ jokes.

“And in the wreck of all we burnt, stands our piano like a wound.” Something about how in the wreck of everything Midas has done, and everything Icarus has done - The two of them still stand tall, *alive.* And something about how so does the Worldport - despite all the decay and all the things it's been through, it's still alive and it's still going and it's still holding all the worlds and it's slowly getting fixed and and and.

“I’ll play our song to see if it’s in tune.” Arguably, something about letting Icarus see to the end of their story. Letting the song play rather than stopping it far far too early - letting Icarus live and learn and seeing if they’ll make the correct choice; seeing if the song is in tune.

“And I promise to be patient.” Something about how Midas kept *going* - no matter what happened and no matter how much it seemed like Icarus was too far gone and no matter how much it seemed like Icarus wasn’t going to make the right choice, Midas persisted. They were so patient with them - waiting and waiting and *waiting* until Icarus *did it.*

“And you promise to be kind.” Something something Icarus never really wanted to hurt their family - they just wanted their best friend back something something Midas telling them that they’ll be - *knowing they will be* - a good Quixis something something to be Quixis you need to be kind and considerate and things like that something something

“”We can rest,” you say, “in the pieces of what’s left or what we’ve found.”” Guys we don’t know where Midas is, but we do know they’re *somewhere.* Something about Icarus taking up the mantle of Quixis means Midas *finally* gets a break. Midas finally gets to rest and relax after so long of not being able to and having to constantly be doing something wand watching someone - Midas can just *rest.* (Wherever that may be, we have yet to find out.)

“I wish I’d done things different, oh, I wish I’d made it right” Something about how even if Midas doesn’t regret what they did - doesn’t regret leaving Icarus to live their life, doesn’t regret keeping them from being Quixis - part of them probably wishes they had done it differently. Something about wishing so many people didn’t have to die, or their worlds decay, or or or. Something about wishing they had made it right earlier - so they didn’t have to go through nearly as much pain. (So they didn’t have to go through feeling their body decay and *rot* from the inside out.) Something about wishing that, but not regretting - not truly - how you did it in the first place.

“But we’ll burn a hundred theaters, If it means we get the wallpaper right” Something about how Midas would let the Worldport fall apart, let worlds die, let *themself* die, if it meant Icarus got to see the end of their story - if it meant Icarus got to live the whole of their life that had been written out. They’d let it all die, let so much decay and fall apart until it was even decaying *them,* if it meant Icarus didn’t have to Quixis so young (they were younger than midas), if it meant Icarus got to say goodbye.

“Nothing quite prepared me for when that piano sang again.” While we don’t know exactly what Midas has been up to fo the past 2 months since the finale - I feel like finally getting a break and *centuries* and finally passing on your title and finally being *yourself* (or, mostly yourself) again wouldn’t be something you'd prepare yourself for in years of being alone - something about not being prepared to be able to rest and be yourself again after so long of *not* being able to do those things.

“Tomorrow I’ll do things different.” Maybe a bit more Icarus than it is Midas (Mostly because there’s not much more different Midas can do, not now, not after so much time has passed) - something about knowing what happens when you wait to bring a Quixis and something about vowing to *not* do that and put all of the Sherbs through that for a second time. Something about vowing to be different than the person you look so much alike. (Something about vowing to be different than Fable.)

“Tomorrow I’ll be brave.” This one is Midas - something about finally being brave enough to pass on the title of Quixis to Icarus, finally being able to let it go - give it up. (Even if it was just the end of Icarus’ story - even if it was the only logical time to pull them and pass it on - it was still brave. They had waited *so long.*)

-> [Icarus & Apollo]

-> Something about Midas living vicariously through Icarus. Something about Icarus showing Midas *so much* about life and their world and everything. Something about in turn Midas showing Icarus how to be Quixis, how to do this job *correctly* and not fuck it up like they did. Just that whole idea of ascension.

-> [505]

-> I guess Midas after Icarus ascends. That idea of going back home and not really knowing what awaits you. You have an idea, a concept of what might, and you're fully *prepared* for it. That idea of them *knowing* they have to leave after Icarus takes their place - or something like that.

-> [Show Yourself]

-> Icarus to Midas - How they just want to know what in the *world* Midas wants with them, and wants to do with them. Why Midas is following them, why they're changing the stuff they are, the decay, the eye - just wanting to *know*, but also very promptly ignoring Midas more often than not.

-> [Who You Are]

-> They're supposed to be Quixis!!! This is exactly who and where they're supposed to be!! This song really feels very Midas talking to Icarus - Telling them all of this as encouragement that they're going to do good, and that this is exactly where they're supposed to be, regardless.

-> [The Last Goodbye]

-> Saving the multiverse with another version of you. This is very Midas and Icarus coded - How Midas was willing to go down hand in hand with Icarus if it meant the multiverse surviving; also how Icarus was completely willing to take up the mantle of Quixis, even if it meant the people back home couldn't remember them.

-> Something about how they both think they're gonna die, Icarus and Midas - something about it.

-> [still feel.]

-> Dying over and over again, being reset over and over and *over* again, and yet. They still feel alive. Fable pulled them from the grave more times than they can count, and they still feel *alive* despite all that's happened.

-> Quixis is where they're supposed to be, Despite *jumping* they're still here, and they're still alive, and they're still *living.*

-> [Back To Black]

-> Oh so very wet birds. Something about them genuinely only saying goodbye with words - they didn't hug, didn't touch, no. Only words. Something about Ven going back to when he got pulled out, going back to Fable and all of the consequences that come with it. That whole idea Icarus isn't going to go back like that - they're going to go back to the present day and they're *going* to remember him.

-> [Spring and a Storm]

-> This one feels just very general epilogue/post finale times to me. Just everyone off doing their own thing, having fun and being happy. Reminiscing about the past *sure*, but having fun and being good all the same. (If you wanna look at it through an Icarus *specific* lens, for some added angst - Icarus watching their family and friends grow and be happy and gain things they couldn't gain before, while they're in the Worldport. Watching their family grow and get to be truly truly happy while they work on cleaning up Midas’ unintentional mess.)

-> [Ghost Song]

-> Just the whole idea of how after becoming Quixis, Icarus isn't reality seen or *known* anymore - And how they so desperately want to be. How they so desperately want to be seen and known and lived, but they can't - not for a while. How at this point they're just a ghost - changing and lurking, an entity everyone knows the name of, but not knows properly. Also almost that whole idea that they spend so much of their time watching over the Grove while their in the Worldport; changing and altering the small things so people, even if they won’t know until Icarus comes back, know they’re *there.*

-> [Introduction to the Snow]

-> Just that whole idea of now that Icarus is Quixis, they're alone. The Worldport is *empty* - no one is physically there with them, they're alone. They can't talk to anyone, no matter how much they so desperately want to. Also how this is *exactly* where they're meant to be.

-> [Today Today]

-> Just very ‘end of season 3’ coded - how upset Icarus, how much they were just *crying*, and they couldn't seem to stop regardless of how hard they tried. Also that whole idea of time going so so much slower in the Worldport, how ‘today' to Icarus must feel so so much different now. Also just that whole idea of being stuck between places, having everything to do because of everything up with the Worldport. That whole idea of so much happening in all the worlds they’re watching - there's so much to see and watch and understand and and and.

[Section Seven - Group songs, but an asterisk is attached to the first 4 because I write those pre stream and pre playlist re-organize- (sherbert please why did you do that right before stream-)]

-> [Machine]

-> The doubting of Fable's ideals, the realization of maybe they (Icarus) aren't doing the right thing by doing this, and how they don't *really* want to be a part of this anymore - how they don't want to be a part of Fable's machine, don't want to be a tool in his tool box, a means to an end.

-> The Idea that none of the people here, any of the members of the grove throughout the seasons, *want* to be a part of any of this - what to be here, want to do this, want to see any of this. The idea they don't want anymore resets - don't want anymore people to go through this, don't want to be a part of this revolving machine Fable has built for them.

-> [Suburbia Overture / Greetings from Mary Bell Township! / (Vampire) Culture / Love Me, Normally]

-> Just that whole idea of how Icarus is just *angry* at Fable - How they're beginning to doubt him, and his ideals, and how they're just angry at the concept that he won't bring people back - that this was all for *nothing.* Also just them being so incredibly angry at *everyone.*

-> This is also very just season 1. Just the anger at Enderian and Ominous Bane and. All of season 1 and its hardships.

-> [Enemy]

-> Something about how, especially at the end, *everyone* wanted Icarus dead, gone, or both. They didn't want to be friends with Icarus, they'd been given too many chances, and no one was willing to save them anymore. How everyone wants to be, *is*, Icarus’ enemy by the end.

-> Just. The idea of everyone, at some point, being each other's enemy. At some point everyone has been on opposite sides with someone else in the grove - and that meant everyone else was going to side with *one* of them.

-> [The Search]

-> Just Icarus’ mentality right at the end, trying to find something, *anything,* that'd save or fix them, regardless of what. Searching for something they won't find, looking for something they can't see. Also their whole mentality towards Fable - anger and annoyance and *mad* - how in the end they end up killing like he almost killed them.

-> The whole idea of everyone like. Looking for something they can't find, can't get back, can't *see* - and the idea that over time they all slowly grow angry toward Fable and the resets and everything that's taken *anything* from them.

-> [Misery Fell]

-> I feel like you could argue this is either the very end of season 3 coded, or just the grove coded in general. Something about how they're constantly going through terrible terrible things - constantly having misery fall upon them.

-> [When You're an Adams]

-> How living in the grove is often a while experience - How you need to be prepared for anything, really, because you never know what's gonna happen next; never know what Gods are going to get involved or whatever people are going to go on a harming spree or or or.

-> [Ready As I'll Ever Be]

-> Either Perix fight coded, Or the Faction preparing to fight Fable. Something about getting ready for this big battle and fight, while the other side does exactly the same as that.

-> [We Don't Talk About Bruno]

-> I feel like you could argue either Enderian or Fable? The grove singing about them - respectively. Enderian mostly after season one, while the singing about Fable more now. How they probably don't really want to talk about much of that, no matter how far into the future it gets.

[urwhorecrux]

james dating ravenclaw next 🙈

of course 🙈

⋆ ˚⁀➷ ₊˚⊹⋆ james potter dating a ravenclaw.

pairing. james potter x ravenclaw!reader.

warnings. fluff.

you first met during a gryffindor common room party, while he was still daydreaming over lily.

eventually after the amount of times she's rejected him, you're there to comfort him.

ever since then you became friends with the other marauders, james noticing you around them and around school more.

he didn't really care for the fact that you were in a different house, instead he was more than curious about the traits of your house and the people in it.

once you show him around the common room he's instantly fascinated, hoping to get to know you more.

after you show him around the common room he asks you out for a date on the astronomy tower, figuring it's an environment you'd both enjoy.

you enjoyed the date more than you thought you would, he was a gentlemen basically the whole time, almost nonstop flirting with you.

when he invites you to meet his parents they literally love you right away, not caring what house you're in.

he love love loves sleepovers in your common room more than his, falling asleep to a ceiling full of stars is so peaceful to him.

(if you play quidditch) he'd cheer for you at your matches, he dosen't care what house he's from he'll cheer his partner on.

he'd even wear your jersey number across his face in blue and silver.

when he wakes up the next day with your jersey numbers still on his face Sirius is just like "you're supposed to cheer your own house on :(" but james dosen't care.

after a long night sometimes he ends up accidentally wearing your scarf, mistaking it for his which was on the floor last night.

he's always buying you little gifts, wether it's something in plain silver or with small blue diamonds, he see's anything that reminds him of you and buys it.

he's a morning person but hates when he has to get out of bed with you by his side, insisting your bed is more comfy than his.

secretly meeting up in empty classrooms because you don;t have many classes together.

he literally begs you to help him with his o.w.l.s or else he claims "baby I won't graduate with you if you don't :(" you already know he's being dramatic as usual but help him anyways.

after hogwarts he asks you to move in and stay together, living in a small beach house cottage.

he lets you decorate it anyway you want, whatever would make you happy.

a year after living together he proposes, after a date night in the city.

he knew a long time ago that he wanted you to be his forever, but knew it was completely right.

it's such a beautiful wedding with your family and friends, the color scheme would be baby blue with creme white and he absolutely loves that you chose him.

[thewertsearch]

Second part of the giga-ask compilation!

@publicuniversalworstie asked: Why assume the Horrorterrors would know that changing events would create a doomed timeline? That assumes both A) that the horrorterrors know the future and B) that they don't think it can really be changed. Maybe they genuinely thought they could change things, such as by perhaps fulfilling all the requisite loops a different way? Imagine a scenario where a time traveler learns of their death, therefore being destined to die, and instead fake their death to create the conditions under which they learned of the death originally.

It's possible. But if the Horrorterrors do have a way to trick the Alpha Timeline like that, then they've really been holding out on us by not mentioning it to the Players. Such a revelation would completely change the game - we might even be able to fake the Earth's death.

Anonymous asked: i want to learn more about coding to analyze homestuck better - do you have a place i could start? resources? idk love the liveblog hope you're doin well :]

Absolutely! I've got two separate answers for you, depending on what your goal is here.

If your main goal is just to analyse Homestuck, then you’re probably best off picking a language whose syntax is easy to understand, such as Python. You'll pick up on the basic logic pretty quickly, and the ~ATH snippets will start to make a lot more sense.

If you’re actually interested in programming for its own sake, then I recommend you start with my own first language, C. It’s a lot harder for a newbie to get to grips with, but doing so will give you a much more solid theoretical foundation then ostensibly ‘easier’ languages.

W3schools is a decent starting resource for both languages - but if you need more specific guidance, let me know, and I'd be happy to help!

@skelekingfeddy asked: actually grubmom having the same color wires as in that pic of sahlee wasnt intentional! i based it on how sollux’s game grubs have red and blue wires attached to them

Serendipity!

Anonymous asked: Did you run any mysterious ~ath programs on that computer of yours?

Honestly, running ATH on that thing would probably have improved it.

Anonymous asked: One voice headcanon I have for Terezi is the English dub of Power from Chainsaw man

Honestly, she sounds pretty much exactly how I imagine Terezi does. She even has the horns!

@martinkhall asked: I'm surprised none of the suggested instruments for a time player were an ocarina.

Some fruit is just too low-hanging.

@delicate-ruins asked: what's an animal you like that you think doesn't show up very much in media, be it fiction or news or just generally? example: i like secretary birds. but except for videos about them, i have never heard them references.

They're not obscure, per se, but there will never be enough sloths in media. The only fictional sloth of note is Sid from Ice Age – and he does not do them justice.

Capybaras are also underrated as hell – so much so that LibreOffice, which I'm using to edit this compilation, doesn’t even recognize the word as real!

Anonymous asked: “I’m trying to figure out if it’s fully a Breath outfit, or if there’s some Heir stuff too.” the general rule for god tier outfits is that the colors and symbol represent the aspect, the clothes represent the class. so, for example, if two princes of different aspects ascended, their clothing style would be the same but they would a have different color scheme. @skaiandestiny asked: If you haven't already figured it out, class informs the godtier outfit and aspect informs the colors and icon!

In that case, there is something about John’s outfit that says ‘heir’ – but nothing really stands out to me.

@driventopoison asked: Hey, I don't know if it's just me but it seems like you've skipped ahead. I have been following your liveblog daily, but I haven't seen you come across the windy thing yet. Is this because you were using the app or something? Also just want to let you know that I love your liveblog. Keep up the good work!

Thank you! Anyway, John’s Windy Thing is indeed documented on the liveblog, and it’s visible to me. I was using the app for some of that segment, though – are app-made posts particularly buggy?

@classpecting-guide-official asked: story about a modded game of sburb where the characters notice that something isn't right and slowly realize that their world is a lie

Back in Act 1, this is pretty much what I thought was happening. It was a simpler time.

@ignis-cain asked: Note the colors the capslock flashes for WV.

When WV locks his capsule, the button’s light flashes red and green – but I’m not sure what the significance of these colors is, in this situation.

Anonymous asked: i know i'm SUPER late to answer this, but i think the instantiation thing is the same as any video game, newly made with a prebaked history. when you name your character, that has been their name for their whole life, even though you thought it up a few seconds ago. when you enter the medium, the planet has a history and the denizens have memories, even though they just showed up when you entered.

Yeah, I’m pretty sure this is indeed what’s going on. The implications are just a lot more wild when the game is physically real, rather than virtual!

@kintatsu asked: So, I know I'm a little late to the party, but I have to point out: Alternian sunlight doesn't need to be THAT much stronger than Earth's to blind Terezi as quickly as it did. Trolls are nocturnal, which means they almost definitely have a tapetum lucidum (eyeshine membrane), which means that however much light entered Terezi's eyeballs? Her retinas were blasted by every photon twice.

Damn, Vriska. For a second, I thought this ask was explaining why Terezi wasn't in as much pain as I'd thought - but this alternate explanation might actually be worse than what I was picturing!

@delicate-ruins asked: It's delightful to see somebody read Homestuck and be as charmed by it as I and a lot of my friends were way back when we first read it, and the calm, digesting pace at which you're enjoying it is honestly so nice. I rushed way too much to catch up since my friends recommended it in about 2016, which means I went from knowing nothing about the comic to being caught up on it in like a week. I never sat down with the ideas and thought "hey, does this mean XYZ?" because quite often I got the answer five seconds later as I rushed to catch up. But seeing you asking those questions is so so fun. Yeah, DOES it mean that?? Guess we'll find out! In the meantime, we get to guess, which means we basically get to have fun twice. It's reigniting my enjoyment of homestuck quite significantly, I think!

Thank you! It’s really nice to be able to engage in a dialogue about the comic through these asks, which is something that wouldn't be possible if I was speeding through it. As I always say, I'm here for a good time and a long time.

@manorinthewoods asked: Alright, here's another transtimeline fun fact. Each of the kids was supposed to have a Quest related to their associated material - John had a land covered in oil, Rose's ocean was polluted with chalk, the gears of LOHAC were gummed by amber, and LOFAF was in a nuclear winter. Ultimately, while the ocean of LOLAR is still chalky, nothing but John's oil made the cut. ~LOSS (16/5/23)

I think it was a good change, then. Not everything has to be a pattern, and Dave's two weird maybe-quests are a lot more unique and interesting than a generic 'materials quest'.

@captorations asked: oh hey, this walkaround! so funny story, i used to run a blog where i posted one of terezi’s canon appearances each day, in order. yes, i completed my task, and more besides. however! when i was wandering through this as terezi, a glitch rendered me trapped. i decided that this counted as a noteworthy appearance, and took a screenshot. then, by sheer coincidence, it ended up being posted on… halloween. it was pretty great (also don’t forget to check out ctrl + t)

You accessed the double-secret version of Past Karkat: Wake Up, which plays the Earthbound Halloween Hack version of Megalovania rather than the Homestuck one.

Anonymous asked: Personally, I think John gaining so many levels so quickly is tied to his role as the heir - he gains so many levels without really trying, not because he's better than the trolls or his friends, but because he just kind of falls into it. The game rewards him for taking the path of least resistance.

That certainly makes sense if we just look at John - but I have trouble reconciling this interpretation with our other Heir. Equius certainly has some advantages, but they aren't exactly unique to him, as you'd expect them to be if his Heir class was responsible for them.

Yes, he's a highblood, but he's outranked by three non-Heirs - and his strength doesn't seem to be unique either, as Feferi seems capable of similar feats. Perhaps Equius will trip and fall into more unique privilege, but it hasn't happened yet.

Anonymous asked: my personal headcanons for midnight crew claspects: Slick - Prince of Blood, Droog - Mage of Space, Boxcars - Knight of Heart, Deuce - Bard of Doom. knowing you youre probably gonna attempt to analyse these LOL

Slick has had ties to Blood since he first met Karkat, so that tracks - and Boxcars is a shipper, so Nepeta's aspect is probably the best fit for now. I'm not sure about the other two, but I'll revisit them later!

[mister-qi]

Mr. Qi Friendship and Romance Mod: 4/19 Progress Update

It's a working title, I'm trying to come up with something less wordy that still will pop up in Nexus searches.

I wanted to be able to track my progress, mainly for myself, but if you're curious, this is the state of the mod right now:

Writing:

Heart Events - the 2 heart event is fully written (with blocking directions), and the 6, 8, and 10 heart events are outlined. The 4 heart cutscene currently has me a bit stumped; I have ideas, but nothing concrete yet. I definitely now understand why Sam's 4 heart cutscene is him dropping an egg. 14 hearts is on the back-burner as a little treat to myself once I get further into things.

Generic Daily Dialogues - about 1/3 done, probably the highest priority for writing. I'm leaving his vanilla casino dialogue as the two heart dialogue, and the vanilla Walnut Room dialogue as his four heart dialogue, with a few small changes. And, since it's me, I have more marriage dialogue written than anything else...

Day-Specific Dialogues - very few written, lower priority. Hoping to have a lot of these made eventually, and I have plenty of ideas, but they aren't necessary for the core of the mod so they're on the back-burner for now.

Gift Dialogues - all 5 generic gift response dialogues are written, with an additional 22 dialogue lines for specific items/groups of items. I'm also up to around item 530 in figuring out what item corresponds to which dialogue/whether or not he likes it. Certain item groups, like cooked food, still need more lines, however. This is definitely something that should be low priority, but also something I'm really enjoying working on. Some personal favorites so far are-

[if given a fish (hated)]: "Eugh, it's all slimy..."

[if given a legendary fish (disliked)]: "If you must give me one of the rarest fish in the valley, can you at least wrap it so I don't have to touch it with my bare hands?"

And I think that's pretty funny.

Art

Portraits - 3 new portraits finished: "deep frown" "glint" and "glasses-less". I'll probably be messing with "glasses-less" for a looong while; it's first shown at a dramatic moment so it needs to look good. Blushing portraits are next on the docket.

Here's "glint" btw, with a background thrown on so I can have a custom icon. You know I gotta make him do the anime glasses thing a few times.

Sprites - no progress yet. Walk cycle is up next after I finish the blushing portraits. Did you know he doesn't have a walk cycle at all? [1.6 spoilers] in the cheated Summit cutscene where he attacks(?) you, he literally just slides at you very fast. Anyways, I may also change his map sprite a bit as well, since it was drawn to match his old portrait and doesn't actually have the same color scheme as his sprites. Note to self: is it possible to make the sparkles on his outfit prismatic?

Maps - no progress yet. The 6 heart and 10 heart cutscenes both require custom maps, with the 6 heart one being a fully custom asset. 10 heart recycles some existing assets but will still need some custom stuff done as well.

Misc Sprites - in my head, there's a dream version of the 8 heart cutscene that has so, so many unique sprites. Like an incredible amount of stuff. I think it'll kick ass, but also that sequence could be done with a few lines of text. So, for now, it's low priority. But maybe in a few months I'll put out a request for help.

Implementation

Not totally sure how to split this into sections yet, as I'm very much still in the preliminary stages so far. To say that I'm feeling overwhelmed is an understatement; documentation on the wiki swings wildly between "an asset is a file in a video game" and "this is an advanced tutorial. Read these 4 other pages first before continuing."

I've started using Ms. Coriel's NPC Creator which has been good for setting up the basic file structure, but ultimately doesn't cover some of the more complex stuff I want to do. EDIT: Turns out it's completely outdated for 1.6! Had to throw out a bit of work, but I still learned from it so it's fiiine.

I think setting up his "schedule" will be a challenge, in that I don't actually want him to have a real schedule like most NPCs. Not to pull back the curtain too much here, but I want him to "exist" in both the Casino and the Walnut Room simultaneously, which is to say, he does not exist in two places at once in the narrative, just in the code. This will change after marriage, however.

My next goal is to set up placeholder cutscenes for each of the heart events, and then to implement the generic daily dialogues once those are finished.

Final Notes

God, this will be a work in progress for a while, but I'm enjoying it! Definitely enjoying the writing more than anything else, but hey, that's how it be. I've got around 70 lines of dialogue written, a bit of art done, and I've started learning how to actually get stuff in game. I've always been more of a designer than a coder, but it's getting there!

ADDITIONALLY I've decided that if I abandon this project for more than 8 months, anyone is welcome to request my work so far and use it for their own mod. If this blog hasn't posted in a long while, feel free to send me an ask or message! I may say no, however.

Ultimately, I want this mod to exist in some fashion. While there is an existing one, I have a pretty different take on the character and I want to share it with you all! Every line of dialogue, every heart event, every little detail needs to share something interesting about a character and their world. Yet, Mr. Qi is a mysterious guy, and I think some things should be left up to player interpretation. And I think it's crucial to be able to match his tone and voice to the vanilla game, while also expanding on his characterization. It's a fun challenge to write, and I hope the finished product, uh, well I hope it gets finished mostly, but I think it'll be pretty good.

Thanks for reading all this. This is largely just a stream of consciousness for myself, but I hope it's...interesting, or something?

[kirbybecomesastarwarrior]

🫀and ♟️?

Questions from here:

Fair warning: Lots of Lore dumping is about to take place /A long read... (but for those of you who want a quick read, you can just skim to the picture/image sections which will give a quick summary of what is being explained.) Have a great day!~

Lady Celestine was actually never supposed to be Merlyn... She was originally going to be the "Lady of the Lake... Nimue"

If you see in the earlier drafts I tried to hang on to the whole blacksmith idea/ and the creator of the scared items but then I just changed it to alchemist cause it was just I solidified her role as Merlyn~

She was going to be the soul inside the Galaxia, but she lost all her memories because she was the first to rebel against the ancients and withheld her creations as an act of protest towards them and the other Heroes of Yore... And was punished as a result, but before she was permanently sealed she performed her last act of defiance and scattered them about the galaxy.

(Via. Galaxia imprisonment )

While Sir Uther & Sir Icarus were supposed to fill the bigger roles of how the galaxy became a wasteland, she was written to be the only truly "Good hero of Yore."

Lady Celestine as Lady of the Lake:

I couldn't grasp what to do with her... She definitely had a more stern personality to fit Galaxia, but I just couldn't get on board with her character. The best way to say it is I think I made her "too perfect" (or the girl bossed her too much... I was reading Remarried Empress at the time, so basically, she had Navier's personality.)

Seemly cold & calculating but has a heart of gold underneath is all merely misunderstood. Very nonsense struggles with connecting Normally methodical and is always composed but has a sarcastic tic to her if you rile her up enough...

She was still an owl lady, but it was a reference to the Athena Goddess of Wisdom in Greek Mythology. (Owls often being associated with her and being her symbolic creature.)

I much as I loved the arctype (Navier's personality.)I wasn't in love with her character...

She had nothing really attaching me to her... it just felt like she was there to fill a slot as another hero of Yore she had nothing endearing about her... I didn't know what to do with her...But I didn't want to throw her away (I loved her design & color scheme).

That is until I ran into another problem...

For those who don't know in the original draft, Srir Arthur was supposed to be the villain in the series. (or the surprise villain so to speak~) However, once the rewrite happened and created Sir Uther in the au...all his evil went into him.

Especially once I changed his relationship with Meta Knight as his father figure and became the one who saved him from Sir Uther. But despite all my mind just kept seeing that man as a villain~

But then it occurred while creating this post (Link here ) ... Wait a second (*me taking a long good look, at Sir Arthur in the narrative*) WHY ARE YOU GOOD? I needed a reason why Arthur was good in the KBASW.

I wrote him too naturally accepting he just seemed too suspicious... plus... And besides with such a corrupt system in the GSA (the one created by the Ancients & Uther), how could one good egg exist...

So in a very "Meta" way (pun intended), not only was I trying to find a motivation for him to be good that convincing in the narrative... I was also trying to convince myself...

Perhaps if it was another character, it'd be enough, but... The Sir Arthur from the first draft kept creeping in my mind... (it's so hard to let go of your first ideas...)

Then the answer came to me... who (in Arthurian) was Arthur's mentor and confidant, and his compass in guiding him to become king...Merlin. I had a Sir Uther... why not have a Merlin! (Plus, in the show Merlin 2008: Arthur started out as a little jerk ward and only became a better person through Merlin's influence!)

Wait a moment... don't I have a character design on the back burner.

So, I fully committed to changing her role as the Merlyn of the KBASW... I was able to get a better feel for who she was in the story. This resulted in the current design & personality she has now...

Basically, I pulled both the Disney & TV versions and took my favorite aspect of both of them which resulted in the vigilante persona of "Merlyn" was actually a nod to the TV series Merlin's old man persona Dragoon...I did want to make a few changes to really make her more than just a counterpart to Merlin. (I think that's why I got so stuck on her the first time when she originally was the Lady of the Lake...)

So her future vision would always be the main part of her character. Though I made it the reason why she was such an empathic person. Not only seeing the future, but she can feel it too:~

To go along with the whole guide theme, I made it a part of her title as a Hero of Yore~. Celestine, the "Navigator of the Constellation." The four-pointed Star Crystal refers to the "North Star," the closest star to the celestial pole, the main compassing star to signal north... it was used to guide people home~. (The moral compass)

Due to her ability, she gets overly involved in situations and emotions. Since she has all these terrible visions, she feels responsible for them. Which results in her being overly critical of herself when things go wrong and lacking self-care. Despite hating her abilities, she is overly reliant on them...

Overall she's a smart, witty, scatterbrained, down-to-earth, well-meaning goofball with a sassy edge...

I was finally able to give Celestine the soul that she needed. And how did they become a couple, you may ask? When writing her her story was so entirely laced with Arthur (because of Arthurian legend) that their chemistry was undeniable...(Also I shipped Merthur in the TV series, so once I saw an opening I took it)

And she since was supposed to be Arthur's person. I used complementary colors to connect the both of them together. Adding orange & gold to her blues & yellow...

And so with that all said Sir Arthur became

The First Redeemed Villian of KBASW~

Redeeming the former baddies so they can use their skills and talents for the forces of good through kindness (Kirby). Celestine is basically the first one to do so... This did so much for the plot.

Sir Arthur: If someone like me could be given a chance and be changed for the better... Then so can this lot (Referening to Star Allies)

Arthur can naturally, relate to Kirby's menagerie of former villains who wanted to improve and be reformed. It fixed the problem of his niceness/goodness coming off as disingenuous (when I first was writing). There's a motive and reason behind them... Celestine. She showed Sir Arthur that there was a better way, a smarter way, a kinder way... It's her influence & example that inspired him to be a better man... a good man.

That's how Arthur gained the empathy & courage to stand up to Sir Uther and injustice when he was about to execute baby MK. It also enriches Meta's relationship with Sir Arthur... The man was barely holding on, and Meta gave him a reason to live.

Due to the Ancient cursing & erasing Celestine from existence, she was, he could not even speak her name. But Arthur was able to walk around this by speaking about that funny whimsical rouge that he was never able to catch "Merlyn." The stories always made Meta laugh; however, he could never understand why Sir Arthur would speak of this failure so fondly.

He deeply blames himself for not being able Celestine. Everything that happened to her was out of his control... This is why Arthur wants to create a better world, a place where Meta & Celestine would've been accepted.

Not only that, but he has this fear of being alone left. This is why he made the safest route for Meta Knight (to be one of the holy knights to keep him safe...), but wasn't the right path for him which (Leads to "Birth of Lone Swordsman...") and misunderstands. This makes it all the more heartbreaking to Arthur that Meta Knight thinks he doesn't truly love & care for all of him... when he does </3.

(Don't worry) He learns his lesson, and they make up (early on during Falsapr getting punished for the Fisher King incident, spontaneously meeting up when they're both saving Falspar...) It wasn't a proper talk and it was mostly Arthur and Meta apologizing because they missed each other.

MK only understands Sir Arthur after the war (& the Knightmare's End Saga). And goes to apologize to him again during the Kirby & Crystal Shard (I need a reason why the Meta wasn't there during the game... perfect excuse...)

Also presents a reason why Sir Arthur allows Meta Knight & Kirby to stay in Dreamland. "You deserve a chance to find yourself after this war... that man (Uther) can no longer have a hold on us... You have nothing to prove, you're free now... but if you need anything I will always be here waiting, just visit when you can okay?"

He learns his lesson, too, allowing him to leave & stay as he pleases... and the door was always open for him & Kirby the gang!~

(and someone gets rather jealous of this bias.... *cough* Dragato)

And of course, they do visit often (the plot demands it)... This leads MK to re-establish closeness with his mentor (learning from his own time with Kirby). Sir Arthur was trying his best too & he isn't perfect... he's not invincible... Wait what's happening to him...Why is he moving slower... His protector who seemed so unshakable...his father-... Is he getting weaker?

The early reconciliation is to make way for the true conflict: Meta realizes that his father figure is growing older & weaker. But why (*cough* Trip to Underworld *cough *the deal *)... like I said the man did not leave for free, a price had to be paid... (Did I have these two rekindle their wholesome father-son relationship only to have something tragic happen to the father... yes!)

There's such an emotional reason why Meta Knight has to become the leader of GSA. He's not only continuing Arthur's legacy but also Celestine's legacy. With the way Arthur raised him, he was able to instill the beliefs of her as Merlyn... And I also:

In the Kirby game series, Meta Knight always offers a sword to Kirby. It comes into play with Arthur's story. This act was done with Arthur & Celestine, however, not for the sake of due... for a very different reason... And this action & courtesy is passed down. (There's a hidden special meaning behind it... SWORD & THE STONE REFERENCE)

And so, making Celestine Merlyn was the best decision I ever made!

Celarthur/Merthur

Really, I wanted to engineer a love story that complemented the series as a whole... I was able to write Arthur as a fuller character as well as give an emotional core to him. And Celestine became a fleshed-out three-dimensional character and found his place in the narrative.

I KID YOU NOT THESE TWO SAVED EACH OTHER'S CHARACTER WITHIN AND OUT OF THE STORY! I LOVE THESE GOOBERS WITH ALL MY HEART!

@kirbyoctournament

Fun Fact:

Guys I kid you not she was so close to being named "Celestia..."But then I kept associating the name with My Little Pony~ (hardcore Brony back in the day) So she became Celestine...

~

@ceoofmetagala I got so excited when I got your ask (♟️it was the question I really wanted to get), and the fact that you were the one who asked made me so happy... I JUST HAD TO GO ALL OUT ON THIS POST~ And then I think I got carried away and ended up making it too long!~

I know you wanted this was just a questions 🫀 &♟️ on them:

♟️: When did you make your oc?

But it ended up being snowballed into the trial & error of creating Celty and how she wound up as the final version of herself.

🫀 : is there anything your oc and canon characters don’t like about each other?

I promise I'll get into this 🫀 A lot of people asked this. I'll get to the one soon... I wanted to do something extra special for this one... comic maybe~ (this was the one where I hinted jokingly that everyone wanted Arthur to get the couch~)

I hope this is enough & that you like it!

[dontmixpaintinyourcoffee]

EAH was one of my very favorite cartoons as a kid, and I've been enjoying it's renaissance very much, so REDESIGNS!!! (I've done a bunch over a couple months and put them on Instagram, but I figured I'd move them here cause Instagram sucks, so if you've seen them before over there that's why)

I think the original designs are aesthetically pleasing, but they're not super practical for the characters- case in point! Gay icon Darling Charming

I'm gonna put all my design notes under the cut so if you don't care about that carry on, have a nice day

Darlings original design is fun, but it doesn't serve an obvious purpose, at least not that I can see. She clearly wears armor on the outside of her outfit, the Marie Antoinette poof is a bit strange to me, and she has very little visually tying her to Dexter and Daring. I wanted to emphasize her secrecy, but also her passion for puzzle solving, riddles, combat tactics, ect. when she's around the people she trusts (as if the queer metaphor wasn't obvious enough)

Here are some details that just make me happy

-First, the hair. I knew I wanted to give the White Knight a more unique look, and I wanted to simplify it overall. I LOVE the original armor, but it would be a huge pain to animate, and I don't have the patience for that, so I went for a masquerade-ball-three-musketeers-vibe. The braided bun is still a fancy, regal style, but it's a lot easier for her to manage in her uniform

-I tried to synthesize the color schemes of the Charming siblings. They all have a pit of yellow, a bit of pinkish red, a bit of blue. The twins lean heavy into yellow and blue, with splashes of red where thematically appropriate. Darling doesn't really communicate with Daring much, so she has the least amount of red. I think having more muted colors in comparison to her brothers also emphasizes the fact that she's hiding herself. She is very much defying her family with her ambitions, and she has to work hard to keep it under wraps. Sort of related, I gave her a tooth gap, because it's a cute design detail, but also to act as a "flaw" to contrast with Daring. Daring's primary physical trait is his ungodly perfect teeth, so I thought it'd be fun to give her an "imperfect" trait, like Dexter and his glasses. There's nothing actually wrong with them, but it's a failure to reach the insane expectations that the Charming family has cultivated over the generations. Basically the Charmings are petty and I feel bad for the youngest generation.

-Speaking of concealment! There are a couple bits that I thought would be fun to hide throughout her outfit. First, the skirt is flowy enough and the shirt is positioned just right so that you can't tell, but she has pieces of leather armor on at all times. She saves the plates for wonderland. She also wears gloves to hide the callouses on her fingers from swordfighting! She also probably keeps knives in her hair somewhere. Pulling a small switchblade out of the base of her bun just seems like something she would do

-Final thing, I gave her a scar! From what I can tell, she's always been very rough-and-tumble, so I gave her a scar over her brow. She likes to pretend it's from a Mysterious Incident to mess with her friends, but really she was wrestling Daring when they were like, 4 and 6, and she bonked her face into a table. She got over it real fast, but Daring got a long lecture about it, and that's when he started getting over-protective about her

[velvet-games]

I finally finished the piece for @prince-liest's OC, Tzafael! this really reminded me of how fun character design is (and also that I've completely forgotten how to make digital art, but that's besides the point...) <3

credit to @hogbogglerspirits for the umbrella design! I kind of butchered it so please look at the original and throw lots of love at them

LOTS of notes, draft sketches, brainstorming, etc. below the cut. enjoy!

(note: a lot of what I'm talking about is based on posts prince made under their #tzafael tag, so take a look at those if you haven't yet!)

thanks for joining me below the cut! here's the sketch without the colors as a treat (in case you want to color it yourself or something, idk).

notes about making the digital drawing:

holy shit this took me forever -- I was not kidding about forgetting how to make digital art lmao. I forgot how much less forgiving digital lines are and genuinely lost the spoons to even attempt lineart, hence just a sketch below the colors.

some of you might've seen the original sketch I sent to prince, which the digital version diverges from just a little. it's mostly the halo which I'll explain later, and I finally caved and drew the sixth eye (you can tell I drew and erased it multiple times in the sketch lmao -- still don't know if I prefer it with or without)

here's the original color ref by the lovely @gendermeh! my color scheme ended up looking really different, so some notes about that:

I was looking at references for magpies like this

and I wanted to basically follow that color scheme while also being somewhat similar to the original -- dark head/shoulders --> dark top of the jacket, bright blue wings --> bright blue bottom of the jacket, greenish tailfeathers --> green pants, hints of purple --> purplish sleeve and pant ends

I also tried (and mostly failed, let's be real) to capture the iridescence of the feathers -- they look like oil spilled on the pavement or iridescent hematite to me! I think the key ended up being adding bright greens/purples and roughly blending them into the blues or vice versa but I didn't really figure that out until I got to the pants lol.

I'm gonna be honest; I don't remember why I went with this shape for the tailcoat. I just remember being unhappy with the sketch and then trying a bunch of different shapes that mostly looked worse lol -- I think I landed on this because a split tail kind of looks like wings?

KEPT the shoes -- absolutely magnifique. I wish I knew how to color gold better.

added lots of jewelry! they like shiny things :)

ALSO PLEASE LOOK AND APPLAUD ME. I FINALLY REMEMBERED TO LABEL MY LAYERS!! NO I DON'T REMEMBER WHY THE HALO HAS ITS OWN LAYER.

alright, time for some more design notes/explanations + draft sketches!

but first, a couple disclaimers:

I want to make it very clear that I LOVE everything about the original design. I made a lot of changes based on personal preference/the way I interpreted the character. I was actually planning on making a digital piece that was more faithful to the original design too, but I was just out of spoons for it cause of life stuff.

you probably shouldn't try to read the notes I made in the sketches I'm about to show you unless I say otherwise. most of it is incoherent brain vomit in illegible artist handwriting and I'll transcribe/explain the stuff I think is important :) (the stuff in quotes are direct transcriptions of my notes)

I know my sketches are very messy lol. I only draw for fun, so I usually don't force myself to make stuff any neater than necessary unless it's supposed to be a formal piece. try to bear with me.

1:

my first few sketches of them! (I think?) this was before I sent prince a laundry list of questions so I was still trying to get a vibe

"magpie -- beak lips?" -- you'll see this in a few sketches; I considered giving them the lipstick design that velvette has since it looks like a beak. I still kind of think it's cute, but 1) I'm pretty sure velvette is the only character that has them, so I didn't want to make it seem like they were related somehow and 2) I thought it might be distracting with how much other crazy stuff I ended up including in their head/face

also, sidenote since it's relevant to what I said about vel: something I realized was important is how one character's design relates to the designs of the rest of the cast. I wasn't sure how much I should've gone for what looked good in a vacuum, how much should be based on what other characters looked like canonically, or what other characters would look like if I also designed them. it ended up being mostly the second option, but it was honestly still a struggle. should I take away some of the tumblr-sexyman-ness (no shade to tumblr sexymen; I love them) because there are other characters that already have it? should I relate their design to sera's and emily's in the show or should I think about how I would've designed sera and emily? should I follow some of the design philosophy of the original show and just throw stuff on there because it looks cool (the answer is yes btw)? decisions, decisions ...

I don't think this showed up really well in most of the drawings, but they actually have a black line down their nose! let's take a look at sera:

since they're siblings, I wanted to include some similar facial markings. the nose line ended up being the only thing I kept though -- I was going to include freckles, but I have a compulsive need to give every character giant bottom lashes so there ended up being no room T.T I like that the magpie's hints of purple kind of match hers tho!

the wingification of the hair begins! I was still unsure of it at this point, but it was an idea I had since I was kind of struggling with how straight the feathers were in the original.

"maybe the ones on their head count as wings (so only one main pair)" -- I originally just had the 2 pairs of wings on their head, so I was thinking of just giving them 1 pair on their back so there would be still be 6 total. also this middle drawing of them is meant to be their exorcist outfit (I wanted it to be a cross between what the other exorcists wear and sera's outfit)

at this stage, I was thinking of giving them more magpie-like characteristics, so I looked at some references and tried to emulate them in a more human design. this ended up being really awkward so I scrapped it, but I still like the idea that their exorcist mask looks like a bird (kind of like a plague doctor's)

2:

peekaboo! I love the idea of them using the wing hair to cover their eyes lol. (ended up using that idea for my own seraph OC since that's their biblically accurate purpose: to cover their eyes/faces in reverence/humility -- doesn't really fit with tzafael tho lol, so they show their face most of the time)

an eyeball in the bowtie -- pretty self-explanatory. the eyeball motif is important.

the one in the middle is just me practicing drawing the original design, and the one on the right is another exorcist outfit I think. I wanted to include the diamond motif/points that sera has on her dress (the diamonds on the bottom turn into eyeballs, which is why the final design also has eyeballs on tzafael's sleeves/pants)

3:

lots of notes on the side based on what prince said in response to my ask

"localized omniscience (power of sight) -- cool + ironic that their sight was supposed to serve God but made them see Heaven for what it really is instead"

another exorcist outfit, this time including the feathers

I was also experimenting with the halo; I was trying to make it look sort of like sera's crown, but that didn't feel right ...

some practice with eyes -- my style is pretty flexible with eye shapes, so I try to make them suit the character. I drew lute's eye and also an actual magpie's as references -- lute's because of the exorcist background and also because they looked appropriately sharp, magpie's for obvious reasons. once again, my compulsive need for giant bottom lashes strikes

there was honestly a lot to balance with the eyes -- I wanted them to look condescending/bored (lowered top lid) but also amused (raised bottom lid) and like a magpie (round) but also harsh/mischievous (sharp, maybe slit pupils like a snake) and similar to sera's (but not too decorated -- also does it make sense for them to look like sera's if emily's don't even look like sera's?)

considered having wings on the shoulders -- the magpie pattern is super cool, so it would've been nice to have that somewhere more explicitly in the design. I still think that might fit in an outfit they would wear in heaven (maybe for formal occasions)

the introduction of the sweatervest! honestly I kind of love this for the way it captures more of the preppy, spoiled old-money upper-class vibe some heaven residents have, but it was scrapped since I couldn't imagine them wearing that while trying to scare the denizens of hell. maybe something they wear casually though.

"yes nictating membrane (on every eye!)" -- AHH I'm so sad I didn't end up putting this to use. I just feel like the whole effect is based on actually seeing them blink, and I don't animate lol.

4:

ugh, the nefarious laughter one ... don't worry I tried harder on a sketch later on lol.

"like the diamonds on Sera + Em" + "diamonds turn into eyes?" -- I draw the diamonds on the sweatervest turning into eyes later.

tried an actual bow instead of a bowtie -- very cute but didn't fit the vibe.

a skirt! I think they would wear a skirt sometimes.

5:

"FUCK ASS BOB" -- asghdk the wingification of the hair continues. unfortunately, I'm realizing at this point that the silhouette of the hair is starting to look a lot like alastor's. I gave a very half-hearted attempt at mitigating this, but it goes back to the thing of how much I am obligated to the original show's designs and what looks cool to me -- I think the wing hair fits them and I didn't want to change it because of alastor, plus my alastor design actually has completely different hair anyway. I did add a third pair to the back to look like a ponytail though.

introduction of the scarf! I was actually going to include this in the final design but uh,,, I forgor. are you starting to see a pattern.

the reason for the scarf is that the "tzafael going to places they know they'll draw attention/can incite chaos" reminded me of that scene in avengers where loki walks into a fancy building looking pretentious af and just casually stabs a guy's eye out. not really the same thing but I felt like the vibe matched. hence, loki's funny little scarf fit.

6:

uaoughdfjh it was SO FUN to draw the wing hair, and it was at this point that I realized they had to stay even though I wasn't sure if it was too different from the original.

gossiping with rosie cause that's the first person I thought of -- tzafael also summoned a pearl necklace to clutch because of the sheer drama of it all (your ex-husband did what??)

also started drawing the rings on their hands. magpie like shiny.

7:

lots of notes cause I was trying to compile the things I still needed to think about/incorporate into the final (I thought this was gonna be the last draft ... haha)

trying to include more bird/eye motifs

"fish ... purse?" -- ha! I forgot I was gonna give them a fish purse. I think I drew that in a later sketch, but not them wearing it.

"picked up Hellish traits bc of extended stay -- existential crisis?" -- I asked prince about the sharp teeth, and their answer implied that they became sharp as they stayed in hell longer, which got me thinking ... I feel like that's actually a great body horror concept. lucifer falling and looking like a normal angel at first, eventually waking up to more and more devilish features and feeling more and more like he's lost his home and his past self ... spooky.

another exorcist outfit -- I actually really like the eyes on the ribs! I never made a final draft for the exorcist uniform, but it would probably look close to what I drew here.

the one on the bottom was meant to be similar to the feathered shoulder pad idea, but this time with the whole magpie (with giant eyes). tried putting the "freckles" (really just dots in this case) over their brows, but that ended up looking kinda weird.

the eye is pretty close to the final design

the one on the right was supposed to be the full final design, but I was totally off lol -- the long trench coat really doesn't give off the right vibe at all

8:

playing around more with the loki vibes of the scarf, also added an eyeball to the chest

I never got happy with the design of the back of the coat -- I think it should probably just be blank at this point. but the sketch here is meant to look like wings/tailfeathers.

yet another exorcist outfit, this time with more magpie motifs. I actually like this one a lot, but I probably should've added the eyes on the ribs from the last sketch. I think I also considered giving them actual tailfeathers at this point.

9:

thanks for sticking with me! I promise we're almost done. have a trans dinosaur I saw while I was travelling as a treat <3

10:

this is after I finished the sketch for the final piece and realized I didn't like the halo design. I drew lute's, sera's, em's, and adam's as refs. (honestly I love the show's idea that each person/people of each rank have a different kind of halo -- I wonder if they can switch them out?)

my main inspiration ended up being the exorcist halo, but I made it look more like an eyeball -- since it always points toward heaven, we can say it's always "looking" at heaven.

(also sera's feather lashes! they're so cute)

11:

EVEN MORE EXORCIST DOODLES

12:

tzafael shooing away my fox demon OC

13:

these are actually sketches for my own seraph OC (raguel), but I wanted to include it since it has even more wing/feather hair variations. I also think the idea of the eyelashes being feather-like could've been cool for tzafael.

14:

some more OG design doodles

tzafael and raguel together because self-indulgence is the name of the game babey (also wanted to draw tzafael freaked out with their wings flared)

(raguel's blind btw, hence asking for eyes -- tzafael has so many!)

you can probably read the dialogue here so give it a shot. I believe in you.

15:

you know what? the fish purse deserves some doodles

16:

putting them in Situations! I was reading over prince's posts again and I realized there were some funny things I could draw them doing/saying

again you can probably read the words here

angel dust also loves fish (but is apparently bad at taking care of them, hence the suffocating blobfish), so tzafael shows him their aquarium (complete with live fish and flora ofc)

I thought alastor was 8 ft but apparently he's 7.3 ft? so tzafael is enjoying the .2 ft they have on him

trying and failing again to come up with a design for the back of the jacket lol

THE crowley quote

apparently the halo still sends signals from the exorcists -- thought their reaction to the battle at the hotel would be funny

the nefarious laughter (take 2) that I promised -- based on a doodle of alastor viv did that I found

them being sad and curling up in a pile of shiny things like a dragon

OKAY I'M DONE. huge, huge thank you to prince for sharing their OC! this was a lot of fun and clearly inspired me a lot haha. please check out their writing; it's literally so good that I can't read anything else these days. I am chewing on their thoughts constantly.

this was an absolute monster of a post, so if you're still reading, I am both impressed and bewildered at your patience. I hope you enjoyed! (I certainly did!)

[quibbs126]

So I made a second licofait kid, Licorice Syrup

I’m gonna be honest, I kind of forgot that she’s not just me making a second licofait kid and is instead Red Licorice’s replacement, but whatever. She does still replace Red Licorice I guess

So basically, Licorice Syrup here is a magician who uses sing based magic. I’m not entirely sure what her actual magic is, whether it’s necromancy or something different. I just knew how she’d use her magic and thought I’d figure it out along the way

Personality wise she reminds me of Trixie from MLP. She’s kind of a showboat and she acts incredibly confident. However her insecure side shows with enough pressure on her, and she’s not that much different from her dad in that sense

In my head, if she had a human name it’d be like, Sirena. Which I did pull from Venture Bros and I know isn’t a real name, but her powers remind me of sirens so I thought it fit. I suppose Serena works just as well, with it being like “serenade”

Also with the thing about sirens, I imagine her to be dating a mermaid, since I feel like that fits. Not sure how it happened but she is. Her girlfriend’s probably not another fankid, but rather someone else entirely

…*sigh* I’m sorry, this isn’t that good. Admittedly, she’s kind of been a thing I do in spare time over different intervals, and most of that time was yesterday when I was waiting for the volunteer event to start and waiting in line to pick up our stuff, so I wasn’t 100% focused on her. And so she’s a bit lacking in areas. This will also be relevant in the design section

Anyways, so her name comes from black licorice syrup. Which admittedly I wasn’t entirely sure was a thing but apparently it is. I came up with the name because licorice, and because Parfait has syrup in her pop star look (even if it’s not in her natural look), and ice cream (and I think parfaits) can have syrup in them

Originally her name was Black Syrup, which on one hand I still kind of like, but on the other, I realized after finishing her that I had recently come up with a new character called Dark Syrup, and the names are really similar so I changed her to Licorice Syrup since that’s still what she is

But yeah anyways, this is a picture of licorice syrup I found online

So I originally drew her in a rough sketch, just doing her hair, but as I recall the hair color itself didn’t look right, so I scrapped her at the time to come back to another day, which I eventually did. All I could really remember about what I wanted is that she’d have a similar color scheme to Licorice

Admittedly her final design may be a bit too plain. I tried to mitigate that with the light blue at the bottoms and with the skull pin, but she still might look too plain. But ah well

Speaking of the pin, I put that there to spruce up her head a bit, but then I forgot that she wears a hood, so I don’t really know how it works

I’m also not sure how I ended up with blue as her accent/secondary color, but I did. I guess it works with sirens and mermaids? It’s also why I made her eyes blue. I color picked them from Parfait’s pop star look, even though I know those are colored contacts, because they were nice and bright

I do wonder if I should have made her eyes a different color though, so that they can be an extra pop of color

Her hair was originally going to be all black, but I wanted to spruce it up a bit by having the ends white. The idea is that her hair is yogurt covered in licorice syrup. One of the main things I tried to do with Licorice Syrup even just starting out was that I wanted her hair and hair color to make sense, instead of just going from black to white for no particular reason like with Red Licorice, and I like to think I accomplished that

Overall while I recognize she may not be the best, I do still think overall I like what I did, and I hope you guys like her too

[suethesocks]

Third villain for my Egyptian Ben AU, Morningstar!! Michael was my favorite to work on so far and do my own take on him. Ive always been a big fan of his design and how his powers looked

The first sketch i did of him, i more or less knew what i wanted to do with his design immediately much like all the villain designs ive done so far haha. I just ironed out a few details in the final design more or less

After that was designing Michael himself and figuring out how i wanted him to look. I wanted to make him look more like a charming beautiful man and also make him look kind of twinkish, contrasting with how bulky and scary he looks with the armor

For his outfit i mostly figured that out later as youll see later in this post but basically it was mostly the same as the show, since i feel like it has that lowkey douchebag-y but still kind of stylish drip to it that i couldnt top myself. It couldve done with a bit of spice though so i did change around some stuff

Heres Michael being a piece of shit as usual. I imagine in his Morningstar era when he's scheming hed be more whimsical and in the moment about it, matching his smiley mask. Michael does kinda give me theater kid vibes

I imagine Michael is the kind of guy who speaks really eloquently and with a lot of charm, but once you push him over the edge or he can speak freely or thinks noone is listening, he speaks in this really gross distasteful way once he has no facade to keep up. Michael is definitely misogynistic and thinks of the women as objects

And finally for the most wild part of this, Goldstar. I noticed while refreshing my memory on Michael that he really doesnt really get supercharged all that often. It just happens once in his debut, once as a fakeout in the ult kevin arc, and once in that charmcaster episode. And only really his debut had that oomf to it from what i remember

So im tryna focus on it some more, making it more flashy and stuff and giving it a more creepy design that changes his body. I also wanted to make it more fun by having it affect his surroundings changing his clothes colors and making his armor turn golden and changing the shape of the buckles on his belts. Taking some inspo from like dragonball or sonic transformations

I think it'd be really fun to have the goldstar form be a seperate thing to access from michael regaining his beauty, cause it gives more opportunity to see him without first having him gain enough energy to revert his ugly-ness. Of course not too much though, cause it kinda loses its punch if he does access it as often as goku goes supersaiyan

[dnpanimationstudioclone]

Do u believe in or have any ideas about the whole Overlord Niffty theory?

Actually yeah! For my Niffty I’m going for that route!🐛

HUGE Spoiler alert!!!! Hazbin Hotel @the-burd-lord made these concept designs for me as a gift, I treasure them greatly💖 Their designs inspired from Centichoro from One Punch Man. The other character in the drawings is my take on Alastor!🦌📻

With the reveal of Husk being once an Overlord I like to believe the same with Niffty but rather than gained her power from souls(talked about this with @a-sterling-rose, she was an immensely powerful sinner like Alastor, but alas her form was far too big and scary for people to want to get close to and she was all alone…until Alastor came along and offered her a deal he’d provide a more approachable form in return for her eternal service).

One idea. I imagine she was once a regular sinner like everyone else but was still a centipede like demon so it wasn’t easy to gain peoples trust due to her scary appearance. But one day some overlord or jsut really strong demon or hellborn tried to attack her and in defense or just acting on first instinct…ate into them and ended up becoming stronger and scarier looking in the process, driving even more people to see her as a threat and try to attack only to well…think the Hungry Catepillar but more gruesome and scary.

I can imagine she used to live in the outskirts of the pentagram or underground somewhere as Centipedes can burrow. Occasionally some try to get close to gain power or try to kill her but failed. She was very lonely💔💔💔 Warning scary images.

A lot of her looks meant to be hiding what she is. Disguising her extra limbs as hair, her body’s color scheme based on a centipedes, poofy dress that could cover extra, even the bug design could be Interpreted as a long centipede. I was also going for a subtle sharp, mini legs for her apron ruffles, giving off her trying to look sweet and soft but could also be interpreted in another way…

I read and learned from a @lovesart23 redesign vid for her that, she was meant to be based on B-Alien Movies. LOVE that and I tried it myself(hardest part was figuring out what bug to make her and what themes to go with) but I ended up going for another Sci-Fi route. Kaiju/Giant Bug monsters. Creatures like Godzilla or those giant bugs creatures like “the Tingler” 1959(which was a centipede monster I read). I figure it’d connect well to both her struggles of fitting in but also her Japanese Roots.

Monsters are tragic beings. They are born too tall, too strong, too heavy. They are not evil by choice. That is their tragedy. They do not attack people because they want to, but because of their size and strength, mankind has no other choice but to defend himself. After several stories such as this, people end up having a kind of affection for the monsters. They end up caring about them."

— Ishir⁠ō Honda The Director of Godzilla

Plus some certain Kaijus could qualify as Aliens!.

There’s even a Yokai/demon based on the centipede known as the Ōkumade! I imagine Niffty’s true form is basically a giant monstrous looking centipede.

What do u think? Any ideas you have for overlord Niffty? I’d love to know💖

[telekitnetic-art]

Hi!! Your art is so fucking cool! Can I ask what the process looks like for form line? Ex. What do your sketches look like when they are really rough? How do you go from idea -> final product. 💕

Hadih, thanks so much for your question!

Honestly, it's sort of hard to explain? I do have some sketches to sort of give an idea though.

This sketch I posted a couple days ago is a pretty good example of what my initial concept sketches sometimes look like.. As you can see, they're pretty chaotic and very rough, and usually these sketches are more about getting the idea down then actually making the formline itself. There aren't formline shapes just yet, although I do sometimes sketch out elements or shapes like eyes or bodies or paws/hands that will usually have an ovoid in it, because those elements tend to be a focus or centerpiece. The sketch is obviously not final, and things can change along the way to account for space and balance as well as what I'm trying to convey. (These sketches aren't entirely accurate of course because they're for pieces that are meant to be fusions of character illustrations and formline art, but they're the best thing I can find on my pc at the moment)

The rough sketch helps me figure out the flow of the piece, and once I'm satisfied with it I try and get to putting down the shapes and silhouette, and it's here where I try to find the balance with my rough sketch and how the shapes can fit and behave in the piece to the best of their limits while also still conveying the message I want to send. The most common shape I start with is the focus shapes, which are usually ovoids.

This rough of my harbor seal formline which I sent to my aunt for review sort of gives a better Idea of what I mean when I say I try and focus on where the centerpoints will be. Ovoids are usually a focus, so you can see them pop up a lot; in the body, the head, the eyes, the tail, etc. Ovoids are so important and probably the most common shape in formline art, and one of the most common feedback I get from my aunt is to adjust how the ovoid looks in any one of my pieces; she often compared them to a loaf of bread! You don't want your ovoids to look like a loaf of bread! (Her words, not mine). I feel like I've gotten better at drawing ovoids though, because she gives it as feedback less and less nowadays. Ovoids usually also have to have a bit of weight/perspective to them; it's hard to describe but essentially the top of the ovoid should usually be bigger/thicker/have more weight then the bottom.

From ovoids, the next shapes are usually circles, u-shapes and crescents, then usually y-shapes/trigons. It can be difficult, because the key is to make sure the shapes flow together and feel cohesive, as well as to make sure the negative/positive space balance feels right. Also a fun tidbit, trigons are most typically used to essentially fill space; it's always important to make sure that they are binding bigger shapes like u-shapes and ovoids and not stealing all the space and attention.

The lines in this stage tend to be very rough and messy, and I always try to go over the next rough draft with a smoother and cleaner pen.

Once the initial shapes are done, I'll usually send the piece to my aunt (sometimes I send them earlier on, when I'm in the middle of working out the shapes) for feedback! I am still a student in formline work after all; basically all of my teachings come from my aunt, who has a lot more years of work in formline art then me. She'll give me feedback and tips of what she thinks I should fix or experiment with. I adjust and fix and sometimes even completely delete and redo parts of the piece with her guidance. The list of things she tells me to change decreases with each piece, so I like to take that as a sign that I'm improving!

Once the black and white version of the design is done, I move onto coloring. Usually I already have a color scheme in mind when I go into a piece, so I'll mess around and put down colors and see how well they contrast before I color it. Typically, a piece will have about 3 colors; one for the background, one primary color, and one secondary color. I use a clipping layer to color the entire formline piece with the primary color, and then go in with the pen tool and bucket tool to use the secondary color. Adding in the secondary color is tricky but important because it once again falls into balancing positive and negative space/colors and the transitions between the two.

Once coloring is done, the project is basically finished! Unless there are some other plans I have for it, ie using it for an overlay in a bigger piece, colouring is usually the final stage.

And that's about it! I hope this helps you understand a bit; this isn't a perfect explanation as this is just from my own artistic POV and other nations and artists have their own process, but I hope it helps nonetheless!!

Edit: I forgot I posted other WIP formlines here before 😭 here and here!! You can sort of see me figure out the flow and balance of the designs in between the WIP and the finished piece!

[viperwhispered]

This isn't really about Jamil so humor me for a second: I am dissapointed with Kalim's progress in the game bcause I feel like he is the boy with the most potential for improvement. Kalim is very much not stupid, we've seen him: he is capable of following instructions and noticing important details.

I would love seeing Kalim addressing his trauma with all the shit he's had to go through and finding other ways to cope than obliviousness. I want to see him expand his social circle and learning to identify who he can trust and who he can't.

Imagine Kalim walking up to the prefect and asking them for help in figuring out chores. Being the nice person they are, the Prefect helps him with basic recipes and household chores so he can look after himself.

Post CH7, Kalim offering to help rehabilitate Malleus by being his first friend outside of the Prefect. Its canon that Malleus can do chores because Lilia taught him but he was never allowed to do anything because "ChOrEs ArE bEnEaTh HiM". He was happy to finally get a chance when he started NRC and was crushed when Sebek insisted on doing things for them.

Imagine Kalim and Malleus forming this adorable friendship where both a trying to improve. Kalim is trying to become independant while Malleus is learning to socialize. The two meeting up twice a week where they try a new recipe or do some cleaning while they talk about everything under the sun. Malleus going to Kalim about how to approach people and Kalim making sure that Malleus is invited to everything. The two confide in each other about their insecurites and their lonliness and just try their best to improve.

Towards the end of the year, Kalim is pretty good in the kitchen and can pull his own weight at the the dorm no problem. He keeps notes on everything he learns and, with Ortho's help, set up a system of alarms on his phone so he can keep track of his schedule without needing Jamil. Most notably he starts keeping an observation diary. As way to ease out of his oblivious habits, Kalim started writing down every little observation he noticed. Not matter how insignifiant, he always wrote it down and kept track of it. Sometimes it came in handy and sometimes it didn't. This caused him to develop a hobby of people watching, where he'll sit someplace crowded and just observe everybody. Sometimes Floyd, Jade, and/or Malleus joins him and they'll make a game out guessing and making up stories about others based on Kalim's observations.

Ignoring the keyblade au I suggested, I'd love for Kalim to do some deep self-reflection and realize that "wow I suck at this dorm leader thing" considering his leadership essentially kicked Scarabia out of the competition with the other dorms. I want him to look at Jamil and feel guilty for stealing a position that is rightfully his. I want him to scheme a situation where he can pass on the title with minimal fuss. Imagine staying awake at night organizing all his evidence and construting an argument should his family intervene. Imagine Jamil discovering his drafts and evidence being shocked that "wow he's actually trying". Or even better nobody figures it out and Jamil is stunned that Kalim was able to manipulate everyone like that.

Imagine Kalim trying his best to learn from Jamil's leadership. Him keeping a separate journal not just for Jamil but all dorm leaders where he keeps track of their leadership tactics and how they approach leading the dorm. Him figuring out ways to adapt these strategies into a style that fits him and how it could be applied to the Asim business in his homeland. Kalim using his notes to scheme how he could approach reforming the traditions of the Scalding Sands.

Vice Kalim trying his best to support the dorm and Jamil in every way he can. He knows he's not very good with paperwork and he loses track of things easily, so he starts organizing things in colorful flashy folders so he can better remember where documents are and which ones Jamil needs. Kalim going out of his way to learn easy snacks and treats to leave at Jamil's desk whenever he starts overworking. Kalim trying to make Jamil's working environment as calm as possible by clearing students from the area and leaving some incense for both relaxation and bug repelling. Kalim carrying a passed out Jamil to bed or covering him with a blanket to keep him comfortable.

Vice Kalim sticking to the strict "one party a week" rule but still trying to make sure everybody can enjoy their meals Scarabia style. Having nice music play in the background and every day there's a different "special dish" (usually dessert) for everyone to enjoy. Vice Kalim learning to effectively organize clean ups and study groups without getting distracted.

Kalim joining the Vice-Warden support group and becoming friends with just about everybody. He meets up with Trey and Ruggie on weekends for cooking/baking dates where they brainstorm ideas for the special dishes for every dinner and how to spice up the weekly parties. Jade and Lilia join him for tea and discuss what to look for in a trustworthy person. Rook and Ortho will join him in his observations and it usually ends with them getting chased by an angry mob and Kalim knowing far too much about his classmates.

Even as a vice-housewarden, Kalim continues to memorize dorm leader schedules so he can track down and remind Malleus to be there on time.

Kalim learning to accept his anger and to set proper boundaries with his fellow students, awknowledging that he has to be strong because being nice won't get you very far at NRC. The rest of vice-housewardens corrupt him by teaching the art of being petty. A nice harmless piece of revenge that results in catharsis for Kalim and frustration for whoever it is pissed him off. Very minor things like moving all their stuff by two centimeters or filling their lockers with balloons or adding too much salt to their portion.

Kalim going home and shocking everybody with how competant he became. He's getting up and making his bed before the servants arrive. He's paying attention and is able to spot assasins on his own. He's making sweet treats to share with his siblings and encouraging them to learn.

Throughought all of this, Jamil is stunned and secretly proud of Kalim's progress and starts being genuinely nicer to him.

But the biggest shocker came during a meet up with RSA: Kalim's first fight. He ended up encountering an absolute ignoramus that made him genuinely angry for the first time in a while. A guy 10 times as oblivious as Kalim used to be and with 10 times the arrogance. He seems nice but he just keeps making the most ignorant insulting comments without even realizing and keeps brushing off Kalim's attempts to explain. Even worse, the guy got attatched to Kalim so the poor man couldn't even just walk away. This is the moment Kalim realizes exactly why his classmates despise RSA.

Then the guy makes a comment on how Jamil should know his place and all hell breaks lose. Kalim doesn't even think, just starts throwing hands until they're both bloody and bruised and the other guy passes out. Cater films the whole thing and it spreads like wildfire.

All of NRC is celebrating! The older students have tears in their eyes as Kalim is "finally becoming a proper NRC student" and "their baby is growing up". The teachers aren't bothering to stop the celebration as Kalim was technically doing it in his friend's defense and it was against RSA. Crowley is shooked and also crying with pride. The entire squad burst into the infirmery asking questions and patting him on the back. Then Jamil shows up and it all gets quiet.

Kalim is nervous and kinda scared as Jamil slowly walks up to him. Kalim is expecting the scolding of a lifetime but Jamil just sighs and asks "Did you win?"

"Pretty sure, the other guy didn't get back up"

"Good. If you ever lose and disgrace our dorm, you're sleeping in the desert. Understood?"

*nods*

"We'll be holding a celebratory dinner tonight and a school wide party tommorrow. Good job."

Cue one of the biggest parties in NRC history.

Also this fanart where Kalim and the other vice dorm leaders + Floyd go fuck shit up.

Nikki bonus: Nikki was one of the first people who started helping Kalim gain his independance. The pair would meet up whenever Jamil was busy and Nikki would show him how to do chores, clean up after himself, and show him simple recipes.

Ironically, this how their romance with Jamil started. Whenever Jamil tried to pull a "you're doing it wrong let me do it", Nikki would physically hold him back while going "no no no he can do it himself he is learning". Cue the pair arguing while Kalim successfully makes his first omelette by himself.

Kalim: *successfully does his own laundry*

Nikki: *sniffling* we raised that boy

Jamil: oh yeah, where's my child support money?

Nikki: i wouldn't know i'm the step-parent

Poor single mom Jamil having to raise Kalim all by himself.

Yeah, Kalim’s not stupid - there’s just a lot of things he’s not had to think about, and things he’s not had to or been allowed to try or do. But like, already in book 5 he did seem pretty emotionally mature / aware, reflecting on what he was feeling, even if iirc he was still doing a bit of the “brush off the problems” which… Yeah, totally a great coping strategy, never gonna bite you in the ass.

Ngl, just that bit about chores kinda has me imagining a whole montage, with Kalim being all “oh this is harder than I thought” and gaining a new appreciation for a lot of things (for Jamil, certainly, but other folks too in his life who’ve been more or less invisibly handling these things).

Aww what a “let’s learn how to be normal people” duo. Kinda love it tho, now that you’ve said it it totally makes sense that their interests would overlap in that area.

Tbf, with Ortho / the Shrouds, I feel like Kalim could easily end up with some sort of a personal AI / software assistant helping him along with some of the practical things. Somehow I have a feeling it’d definitely give Jamil mixed feelings. On one hand, lesser workload (once he gets used to it and accepts it), on one hand he’s kinda being replaced by a machine. Like, yay? (Not that Kalim would stop caring for Jamil and all that, but you know, it’d still be weird having a machine do your job, even if it’s a job you hate.)

Honestly, I’m still not fully decided on how Jamil would feel about the housewarden position. There is a part of him that likes to operate from the shadows, so to speak, even as there’s that other part that yearns for recognition. And to me, it seems like his plan for taking Kalim’s place only happened because it was Kalim, specifically - I’m not sure how compelled Jamil would’ve felt challenging any other dorm leader, or if he would’ve preferred kinda chilling with less responsibilities and just focusing on himself.

Though, tbf, as things canonically stand, Jamil basically is doing a big chunk of the job without the title already, so that already changes things. Though a Kalim making a conscientious effort to do better would certainly change that balance, anyway.

(Also now I really feel like combing through the stories looking for those times where Jamil would’ve taken more of a leadership position, not that I even remember where those bits would’ve been. This post certainly comes to mind about it, though I’d have to do a proper reread to see just how much I agree with these points.)

Tho, it would also be totally in character for Kalim to be like “surprise Jamil you’re dorm leader now” without asking Jamil how he feels about it, so… Oof.

Though I do love Kalim going through learning all these strategies, figuring out how he could keep all the new information and learning in order (when Jamil hasn’t managed to drill such methods into his head so far. Which, probably more to do with Jamil’s lack in pedagogic learning than lack of effort, for sure). I do wonder if NRC has some sort of a student counselor that could help Kalim figure out good studying strategies that then would carry over to his general attempts at learning & improving himself?

It is real sweet thinking of Kalim playing that support role for Jamil, tho, actually becoming more attentive to his needs in turn.

Hasdfs Kalim in his “delinquent” era tho. What a thought. Poor sunshine boy becoming like the rest of them (I mean, one has to adapt, but oh boy). Gotta love him sticking to his guns, tho.

(Also looks like this is the original source for that art. Good old pinterest and its lack of sourcing.)

Hasdfsdf that Nikki bonus tho. You really would need to hold Jamil back, or otherwise make sure he’s well occupied somewhere else. (Kill Jamil's bad old habits with fire is what I say, but easier said than done. Once indispensable always indispensable.)

[retro-with-a-twist]

¡WARNING!: VERY long post ahead!

I was recently asked to do a tutorial for two friends, and I figured I’d share it here! It’s on how I personally use markers and colored pencils for portraits, so if that’s something you’re interested in then this is for you!

I must preface by saying this is my first tutorial/guide thingy and I’m no professional, but hopefully it helps some! This is only one way of going about it, don’t worry if it’s not your way!

Without further ado, let’s do this! And remember: Trust the process!!!

First, the angelic (😏) reference:

Now, we all see tones differently. I also am using the Art Alternatives Portrait Set, which is limited in tones. So, this won’t be completely picture accurate- which is okay! Essence over accuracy!

Alright! Here we go!

Step One: the sketch!

Typically I do the sketch in the person’s undertone, usually pinks or purples. However, for whatever reason I was compelled to try blue on this one, and hey- what is art if not random attempts at creating beauty?

And just like the color scheme, the sketch isn’t 100% accurate. But again, it’s all good!

But anyways, the reason I do my sketches in colored pencil is because it doesn’t smudge like graphite does, and it actually blends into the marker. I feel it’s smoother, and it provides some undertones as you start layering with marker.

Step Two: base tones

This is where you wonder if you just destroyed the entire drawing. I promise you that you didn’t! Basically what I do here is I put pinks down wherever I see pinks in the reference and lay down where the skin is the darkest. I find that it blends better when it’s underneath the base layer.

Step Three: the base layer

Here, all you do is throw down the skintone over the entirety of where it goes, in this case the face. I typically try to leave out highlights, but sometimes the marker bleeds and covers things I didn’t ask it to. In this case, that was the eyes. Oh well!

One thing to notice here is how you can still see the colored pencil beneath the sketch. That’s a very useful guide for when you begin detailing.

Step 3.5: uh

This isn’t necessarily a marker step, it’s just me letting the ink dry and working on other spots with pen and colored pencil. Also, I do like to go over the pink areas a few times to make them less stark.

Step Four: beginning detailing

Now, black is a tricky color on the face, because it can either smudge on everything and turn it gray, or work really well. I used a colored pencil here, and began going over the blue colored pencil spots and lines that were visible under the marked, which started to bring out his face. I also covered the highlight on the nose that had been left alone thus far.

Step Five: THE™️ details

If there’s anything I’ve learned in my five years of drawing, it’s that the highlights and darkest points are what really make the piece. Pure white, bright highlights (like the ones in the eyes) are awesome, but lately I like smudging them out a little bit so that they’re gentler.

If there’s anything you want to hit, it’s the whites of the eyes with the white gel pen, and the pupils + nostrils with the black fineliner.

I have shaky hands, but I use them to my advantage in stippling the darkest part of the eyebrows and in the line of the lips with the fineliner- it just adds a little bit more depth :)

Hair is its own thing, I just sort of wing it. Black hair especially is not the easiest for me, just because I find it difficult to bring out the shades in it. It’s not done at this step as I was trying to figure out how I was going to finish it.

I will also blend things out with both the skintone marker and a pink colored pencil just to get stuff to be smoother. If you’re going for semi realism/realism like me, I highly recommend taking a reddish brown to do some freckles/skin texture with. You can’t see it too much in this picture, and I didn’t want to overdo it since Cas/Misha doesn’t have that many freckles as far as I can see, but it does make a difference.

Step Six: everything else

I did the jacket in colored pencil as well as the fake id!

If you have any questions let me know, I’m happy to help!

Hope this is a decent guide :)