#edited to add image description

[majestic-kestrel]

A truth universally accepted

[ID: Two pencil drawings of characters from BBC Ghosts. In the first panel the Captain is walking in the foreground with Mary and Annie in the background. Annie is telling Mary to "Say something to him". In the second panel, Mary says to the Captain "Thou art AUTISTIC!" Annie replies "Them's just facts, though". The Captain looks taken aback.]

[monstrousproductions]

Thought I'd throw this out to the H R Owen side of the internet too (from the mistholme discord)

[Image description: A screenshot of a Discord user called worm saying, "Really being full circle on today's outing. Started with the most recent monstrous agonies, the CEO got mentioned, started S5 of mistholme, the of s5, oh look! It's hero!" End description]

It's me!! 🤩

[sorcerornobody]

I love Whovians. [Image description: A post and series of replies on Twitter. The post is from the official Doctor Who Twitter in celebration of Doctor Who Day, and features an image of sixteen incarnations of the Doctor, including David Tennant as both the Tenth and Fourteenth Doctor. The first reply, from Max Kashevsky, reads “I think you’ve accidentally put the same face twice”, but instead of Tennant, highlights Jon Pertwee and Peter Capaldi. The second reply, from Charlie Ashby, says “fun fact, they’re both called Baker!”. The third and final reply, again from Kashevsky, says “Don’t forget the two Peters - Peter Hartnell and Peter Eccleston.”]

[nastiagarachtchenko]

[helielune]

vanity

[Image description: digital art of Grace from Infinity Train, facing a mirror and using a lipstick tube to apply the red Apex squiggle/sine wave to her face. The first image is grayscale, aside from red and gold accents. The second image is identical, but uses full color. End description.]

[tofixtheshadows]

Hello, op! While I do find your reading of Kabru’s self sacrifice and how little he eats really good, im curious why you consider him the deuteragonist? He is a foil to the protagonist yes, but still a supporting character.

I think its pretty clear Marcille is the second most important character in DM, and her story has much more weight than Kabru’s.

Hello! I've mentioned this on my blog before, but I actually consider Marcille and Kabru to both be deuteragonists to Laios's protagonist. I just wasn't talking about Marcille in that post.

Technically this term is meant to be used in playwriting, and the Greek tradition at that, so I'm playing a little loosey goosey with semantics and my argument would sound different if I were writing an academic paper. But this is tumblr dot edu and I'm trying to get a point across on my little blog, and part of the idea of a deuteragonist is that they support the protagonist. "Secondary main character who has their own importance in the narrative while bolstering the protagonist" works well enough for my purposes.

I think Marcille and Kabru are both playing specific and complementary roles to Laios. Marcille is at his side, facilitating the A plot: namely, "save Falin", which requires Marcille's magic, and then Marcille's method of resurrection ropes Thistle in, so the continuation of "save Falin" necessitates confronting the Dungeon Lord and conquering the dungeon (the B plot).

Kabru only intersects with Laios, but he is tied from the beginning to the B plot- and with dragging basically everyone else into it. Actually, the fact that he brings in this extremely loaded B plot despite only having brief face time with the protagonist should be seen as significant. In a sense, Kabru represents the surface world and all its concerns.

Before I talk about that more, I want to continue with the complementary line of thinking and point out that Kabru and Marcille have very similar background motivations.

Laios wants to save his sister first and foremost, and it's only along the way that he starts to consider what he'd do with the responsibility of Dungeon Lord. Coming to the conclusion that he wants to create a home for disparate peoples to live in harmony has connective tissue to both Kabru and Marcille's desires.

Marcille is the only one in their party who starts out with a greater motivation other than saving Falin (Izutsumi is a special case, but she's ultimately along for the ride), one that she keeps hidden for a long time. Because she is a mage, and because she is driven by a very personal tragedy (my dad died; I am terrified of outliving everyone), she is looking for a miracle to bring the different races closer together.

Kabru comes from a background of personal tragedy as well, but it's also a far greater, more political tragedy than just the death of a parent. It is not a coincidence that Kabru is a brown boy from an exploited region that suffered despite and because of military intervention from a first-world power, nor that he was adopted by a white woman whose coddling/dehumanization of him represents the paternalistic oversight of these world powers.

Thus, Kabru's motivations are both personal and political: if they, the short-lived races, can finally access the secrets of the dungeons, then not only can they have agency in stopping tragedies like Utaya's, but it will also give them a greater power of self-determination.

Marcille and Kabru have both correctly identified and set themselves against a problem that is greater than saving the life of one girl, greater even than sealing this one dungeon.

Despite Marcille's hopes, there is no grand magic solution to this. Only small, slow, backbreaking, ordinary solutions, the kind you labor over in kitchens and bedrooms and throne rooms and meeting houses and hearths and negotiation tables. The kind you run a kingdom with.

There is a reason why Dungeon Meshi ends with Marcille and Kabru on either side of Laios's throne.

Okay: back to Kabru (under the cut).

I've talked about this a little before, but I'll reiterate here: I consider Kabru to be the counterweight to the back half of the story. In a very literal sense too, as he pulls the focus up from the depths to the surface not once, but twice. Dungeon Meshi builds itself on the premise that the traditional "dungeon" must function as an actual ecosystem, and the monsters in it are biological actors in that ecosystem and not merely magical obstacles independent of their environment. The first couple dozen chapters are focused on this. Like regular animals, monsters have needs and instincts and unique behaviors, and they can be killed and consumed as part of a food chain.

And then Kabru comes along and he reminds us that humans are also part of their own special ecosystem, with their own needs and instincts and unique behaviors, and that beyond the biological drive of the literal food chain there are also complex social issues influencing these behaviors (like capitalism). Tansu's visit with the governor introduced us to these ideas, but Kabru is the one who carries them.

The way he and his party break down Laios's party also serves an important function. I think most readers are so busy being shocked that Kabru is "so wrong" about our goofy boy Laios that they don't realize that he isn't actually wrong about anything (he's only missing the context of what drives Laios, which he admits to and is part of the reason why he pursues him). We've gotten only Laios's view of things so far, and Laios is pretty tunnel-visioned. The narrative, through Kabru, is telling the reader this is how our protagonist actually comes across to his community.

We like Laios because we are following his story from his inner circle. We know he's naive and struggles with people but that he has a good heart and is ultimately just a big silly guy who won't harm anybody if he can help it. But we only know that because we're seeing him with his inner circle, in his environment. Outside of the dungeon, Laios is anti-social to the point of rudeness; he misreads situations and misjudges people, he acts in ways that cause friction, and he accidentally aligns himself with people who make his whole enterprise look suspicious: a prominent half-foot community leader, a mysterious foreigner literally surrounded by spies, the disgraced daughter of a criminal who now has to shoulder the burden of her father's reputation, and an elf in a land where there are no elves. And they seem to be very good at what they're doing. Yet this whole time, Laios acts as if he doesn't care about profit or taking the kingdom, the only logical reasons why anyone on the Island would gather up such a party and throw themselves into this death pit day after day.

Yeah of course Kabru finds this suspicious and interesting. Of course people don't know what to make of Laios. This all reiterates the question that Zon the orc already raised: What will you do, Laios, if you defeat the Mad Mage? If you gain control of all of this? Can you be a leader? Laios himself doesn't know yet.

This is all necessary context for our protagonist and the journey he has to go on, and it's fittingly brought up by the most socially adept character, who is so concerned with human ecosystems and the bigger picture of the dungeon. There is a reason why Kabru, as a character, is connected to large webs of people as he moves throughout the narrative: his own party, Toshiro's party, the Canaries, the denizens of the first floor of the dungeon.

Kabru is responsible for bringing Toshiro down to Laios's party. Toshiro is not a big mover and shaker in the story itself, but his confrontation with Laios is a huge part of Laios's character arc. His detour down to the lower levels also allows Izutsumi to escape and join Laios's party later.

We also have this very important moment:

It shows the first inkling- to the audience, to Kabru, and to Laios himself- that Laios is willing to do a painful, necessary thing to protect other people, that he won't just allow them to become collateral for his sister/monsters. That he can listen, and that he can assess a situation beyond his personal feelings. Again, fittingly, big-picture-thinker Kabru is the catalyst for this.

And then, not content to leave him as merely a device for Laios's character growth, the focus slingshots back up to the surface, and we follow Kabru.

The Canaries were going to go into the dungeon soon anyway, and they were always going to stir up the crowd in order to lure Thistle to them. Unless Thistle had given up right then and managed to slip away, the story could have very easily ended here:

Falin, immobilized and surrounded by Canaries, would have certainly been killed, and there would have been no way to ever resurrect her. Thistle would have been neutralized. The dungeon would have been taken by the elves, and anyone they could get their hands on would have been imprisoned at best. And maybe the dungeon would have been managed safely ... or maybe something would have gone wrong, and more lives would have been lost. Remember: the Canaries arrived in Utaya one year before the tragedy.

This is a huge moment that changes Laios's life forever, and he doesn't even know it. Kabru single-handedly keeps the story on course by sabotaging the Canaries, and he does it not just for Laios's sake, but for everyone's sake. For his friends and companions in the dungeon and everyone else outside it. Laios is a part of his motivation, a key player in Kabru's hopes, but Kabru has his own desires, his own agenda. He's trying to change the world. In a way, he succeeds. And while the Canaries might wish it were otherwise, as an entity in the narrative they are always anchored to Kabru's character. The two forces collide because of Kabru. The unsealing of the Winged Lion and Marcille's emergency ascension to Dungeon Lord happen indirectly because of Kabru.

While I have talked so much already that I don't want to give a detailed breakdown of it, I do want to mention Kabru's unique interiority as a character. That is to say: we see the inside of Kabru's head more than anyone else. Every character in the main ensemble gets their own moments of inner monologues or fifteen minutes in the limelight, but for Kabru, it's constant. He's always thinking, talking, narrating. His POV chapters always stand out for how first-person they feel compared to most others.

Notably, the only other character I could compare that to is Marcille, specifically during the dungeon rabbit debacle and her ascension afterward, which is when she really takes center stage as a character.

I hope I've explained my reasoning without becoming too insufferable.

To cap off my thoughts with a nod to my original post, I cannot stress enough how significant it is, thematically, that Kabru's relationship with food is the inverse of Laios's. It isn't just that Laios is the main character in a story about cooking monsters and Kabru happens to be his monster-hating foil. The artistic choice to deny the reader the visual of this character ever enjoying food, and only ever putting it in his mouth in situations where it hurts him, in a manga that gives so much attention to eating and the pleasures of meals, cannot be understated.

[army-of-bee-assassins]

it's been said before and i'll say it again: image descriptions are not meant to be added later by other people. they are meant to be written by op and included within the op.

[alebrijediscordico]

some practice on muscles, robots n general anatomies..

[originalaccountname]

Finally caved and did my perceived timeline of what happened to Chuuya, from being brought into the lab for project Arahabaki to being taken out of it.

I originally thought about mentioning it in my Chuuya's true original ability being to amplify others' abilities post, but it was way too long, and not as solid an argument to that specific topic.

Because this is about Chuuya being the original, not the clone, but more importantly the why and how that is the case.

Chuuya's humanity is the core question of SB, and the most important part is that in the end, Chuuya chose to accept himself despite it all, and that no matter what, he is himself and no one can take that away from him.

But once we have been given all the pieces of the puzzle, we can try connecting the dots and deduce the true story behind it all.

-

Project Arahabaki was built to create an ability weapon based on the recovered notes of Pan, a French researcher and Verlaine's creator. The technique uses the clone of a human with a "fake" psyche (persona model) who is fused with a singularity life-form. The clone's original should have an ability able to create a self-referencing singularity (to manifest gravity powers). Pan even had a special ability metal to brainwash that individual. Basically, this concept is supposed to create an overpowered flesh puppet.

So. Project Arahabaki. They needed an original with an ability that could produce a singularity on its own, which is super rare. Joy oh joy, there just so happen to be this boy, the son of a military doctor, who fits these needs! They just need his DNA/some cells to create a clone to use in their project. It's the middle of the war, ethics are disregarded, plus no "real child" should be harmed in the making of this weapon. No biggie, right? Lend us your son for the sake of the country!

Except we know that boy, officially at least, died during the war.

According to N's timeline, there once was this certain boy who managed to create a singularity with his ability while under the supervision of scientists, but got swallowed by the black hole it created, never to return.

He also had Chuuya's supposed "original" stuck in a tube full of mystery liquid, the same kind Chuuya once was in, but that one's flesh and organs melted when exposed to air (normal behaviour), changing it into a skeleton that can be ordered around like an overpowered puppet (literally on strings. The tubes in its back controlled it and kept it going, but would severely limit its range)

Back to our Chuuya:

All N does is lie, so we can't take his word as the simple truth. Chuuya was a miracle they never managed to reproduce. Why is that?

In Rimbaud's notes, he says how in their operation to retrieve the new ability weapon Japan was developing (based on Verlaine), they managed to identify the artificial being, aka the clone, A2-5-8. In the flashback, Rimbaud is absolutely positive it is him, so we have to assume this information was recorded as-is somewhere.

And yet, Dazai is the one to suggest later that, perhaps, the original and the clone had been swapped.

And wouldn't that make everything else make sense?

The clone(s) never managed to hold up to the quality standard necessary to be useful outside of their confines. The skeleton approach was the lab trying something different, like N admitted so to Verlaine. There ever only was one successful attempt, a "miracle", Chuuya. The original child is thought to be dead, yet N the liar supposedly had him in a tube, ready to turn him into a skeleton(???). Rimbaud and Verlaine thought for sure they had the artificial life-form, the clone, but they got Chuuya, who has a graphite scar from before he lost his memories, with a past that was able to be dug up by the Flags and Port Mafia.

My conclusion is this: N swapped out a clone for the original child. His research wasn't giving the proper results, but he had found a workaround, where he could use the original instead of his clone, for better/faster results.

Chuuya is the only one who could harness "Arahabaki" in any way that would remotely resemble "Guivre". Chuuya is the only one who could operate autonomously. That's why N wanted to remove "Arahabaki" and try to factory-reset Chuuya before putting it back in: because there really is only one of him, and he couldn't afford losing him if he wanted to continue his research.

[dont-offend-the-bees]

someone had to do it

[takethebodymarc]

helpp

richas is def not saying he's going to explode bbh's house<3

[slothzone]

[Gif Description: 6 gifs featuring Ethan Morgan and Benny Weir from My Babysitter's a Vampire. In Gif 1, an annoyed Ethan grabs Benny by the wrist and says, "Come on." In Gif 2, Benny grabs onto Ethan in a panic while Ethan slams his bedroom door. Gif 3 features Benny and Ethan hiding under a pool table. In Gif 4, the two cuddle while asleep. In Gif 5, both smile as they dance haphazardly. In Gif 6, Benny is shocked as he says "No way!" while Ethan turns to face him in surprise. End description.]

MBAV Challenge (1/8)

Favorite Ship: Bethan (Benny Weir/Ethan Morgan)

[minthare]

Okay, since I mentioned it in my previous post, I figured I should tat another of Anne Bruvold's Flying Minor Norwegian Dragons and share it with you.

I picked out a fun variegated Lizbeth thread in size 20 to use this time, though I did briefly debate on getting fancy and trying to make a mint dragon with black thread scattered here and there to make it look like mint chip ice cream. Perhaps I'll do that next time I tat this pattern.

One of the things I love about this pattern (other than it being a dragon) is its use of split rings. I really like making split rings— which, for any non-tatters out there, is a ring you make using two shuttles, which means you can have the shuttles be at a different position than their starting point when you close the ring. A regular ring is made using only one shuttle, and has the shuttle return to its starting point when you close the ring. Split rings are great for climbing out of one row in order to start another, or for when you want a row of rings without any chains or bare thread connecting them. You can see fourteen split rings making up the body of the dragon from the base of the trefoil at the end of the tail where the neck meets the head in this pattern, along with four split rings in each wing which were used to climb out of each row.

I'm not sure what I'll make to share next, but if anyone has any suggestions, I would be happy to hear them! So until then, I wish you the best with your crafting endeavors!

[still-breathing-au-p3r]

He’s walked through this door what feels like a million times already, but Akihiko finds himself hesitating outside of Shinji’s room today. He’s struck with the terrible, paralytic notion that yesterday was just a dream, and that when he walks into the room he’ll find Shinji unconscious and unresponsive again. 

It’s an absurd idea to even entertain, let alone be so afraid of, but– he really doesn’t know what he’d do if that ended up being the case. 

Akihiko’s wrestling match with his own irrationality is interrupted when he realizes he can hear voices coming from the other side of the door.

One of them belongs to the lead doctor for Shinji’s case, talking about– something. Akihiko can’t quite make out what he’s saying, but he definitely catches the response. 

“No, nothin’ like that.” Akihiko would be able to recognize Shinji’s voice absolutely anywhere, in less than a heartbeat. He knows it every bit as surely as he knows his own.

He leans against the wall and finally lets go of the breath he’d started holding. 

Shinji really is awake. Akihiko hadn’t imagined it out of pure desperation.

Now he has to actually work up the nerve to open the damn door. It’s been all he could think about from the moment he’d left the hospital last night until this exact moment, but now suddenly the idea of speaking to Shinji seems as daunting as a title match. It’s never felt that way before. 

Yet another thing Shinji would laugh at him for. He’s amassing a collection.

Well, since Shinji’s doctor is here, Akihiko figures he ought to be polite and knocks instead of letting himself right in. When he does, the muted conversation on the other side of the door grinds to a halt.

“Who in the world could that be this early?”

“‘S probably Aki. Dunno anyone else who wakes up at the a– the crack of dawn like he does.” 

He exhales, a small smile tugging at the corners of his mouth. Just hearing Shinji’s voice again smooths down some of the prickling edges of his nerves. This can still be salvaged. 

Hopefully. 

“You can come in, Sanada-kun.” 

Akihiko steels himself before he opens the door, and he still feels nearly bowled over when Shinji’s eyes meet his. Seeing them open yesterday was emotional enough when Shinji could barely keep them focused. Now his gaze is alert and aware, fixing on Akihiko with the keen scrutiny that he’s come to find so familiar– it’s almost overwhelming. He very nearly chokes, though at least this time the universe shows him a little mercy and he doesn’t make any embarrassing noises.

“Uh–” God. He needs to get a hold of himself. “Sorry for coming by so early.” Akihiko shuffles inside and closes the door behind him.

Shinji snorts quietly and looks away. 

“It’s no trouble,” The doctor replies mildly, though Akihiko has a feeling he’s a little annoyed at being interrupted. “We can continue this conversation later then, Aragaki-kun?”

“Sure,” Shinji shrugs lightly. Akihiko has no idea what they were talking about, and it’s really not any of his business to ask. He steps out of the way and takes a seat in a nearby chair, as the doctor takes his leave to give them some time alone. Akihiko appreciates it, even if it does feel a little awkward at first. 

“Never known you to be so sheepish.” Shinji’s voice cuts through the silence.

“Never known you to censor yourself like that,” Akihiko shoots back immediately. Despite the circumstances, all he’s been through these past two weeks, all his apprehension and hope and the nausea-inducing slurry they’ve blended into– despite everything, it’s still as easy as breathing to slip right back into their familiar, bickering rhythm. 

“Yeah well, the doc doesn’t appreciate ‘profanity’ in his hospital.”  Shinji rolls his eyes. “His words, not mine.” 

“When has that ever stopped you before?” 

“When he’s got the same glare as Sawashiro-san.” 

“He can’t be that bad,” Akihiko laughs. Out of all the matrons who’d been at the orphanage, Sawashiro-san had been the most intimidating by an oceanic margin. She’d practically been a boogeyman to the younger kids– and the older kids, however much they would have denied it. She had never been cruel, at least not in hindsight, just ruthlessly strict. And after all this time, even Shinji still can’t say her name without an honorific.

“Go ahead and try swearing around him then,” Shinji returns. “See for yourself.” 

Akihiko folds his arms and scoffs amiably. He will not be doing that.

He feels so much more relaxed now than he did when he first walked into the room. He wishes he could keep things like this, continue to bask in the simple camaraderie of nostalgia.

He knows he can’t.

[next =>]

[capricorn-0mnikorn]

Hey, I really like your disability pride flag design! I know /what/ each of the stripes mean but I'm confused about /why/ those are the meanings. Would you mind sharing how you decided on the mapping between the colours and the different kinds of disabilities?

Asking in part because I know cyan blue is the common colour of the Deaf community (e.g. the deaf flag) and it keeps messing me up that your flag has blue for emotional disabilities and green for sensory (and I associate emotional disabilities with warm colours because of the mad pride flag). I also find it unintuitive that physical disability is red. I think I'd have an easier time if I knew what your references/reasoning are! Thanks :)

Sure thing!

Overall: The colors I picked for the flag (Red, Gold, White, Blue, Green, and Black) are the six "standard" for all nation and state flags around the world. Most flags only pick two or three colors. But I chose all six for two reasons:

I needed to represent the wide variety of Disability, and

I borrowed symbolism from the Olympic Flag, which also uses all six colors, to represent a "Global community united by shared experiences."

Red: Traditionally, going back to heraldry in the Middle Ages (knights' shields, royal coats of arms, etc.), red has been the color representing blood, flesh, and the body. So that's the color I used for physical disabilities.

Gold: Most of all, I wanted a color that was not blue, to avoid any association with Autism Speaks. And the symbol for gold on the Periodic Table of Elements is "Au," so my reasoning for that is something of a visual pun.

White: Is often not recognized as a color, so I chose that for disabilities that are "invisible" (also not yet diagnosed, or misdiagnosed)

Blue: Again, going back to medieval heraldry, blue is a color often symbolizing the mind. And since around the 1700's it was said that someone afflicted by melancholy was set to be plagued by "Blue Devils" (which is why we say "I've got the blues" today).

Green: Frankly? That was the color that was left over.

The Black of the field, of course, represents grief and anger over the abuse Disabled people often face.

[alex-procrastinates]

just finished this drawing for a contest on deviantart:

[image: a digital drawing of two characters fighting at sunset in a grassy clearing with trees visible on both sides. the one on the left is asterix, a short white man with blonde hair, a moustache and wearing a winged helmet, black shirt and red pants. the one on the right is whosemoralsarelastix, a tall white man with longer blonde hair and moustache, a hooked nose and wearing a helmet with larger wings, a pink cloak, blue tunic and orange pants. whosemoralsarelastix is lunging forward with a maniacal grin, in the middle of swinging his sword downwards at asterix. the tip of the sword has cut asterix from his right cheek to right thigh, sending out a small spray of blood. asterix is stumbling backwards in shock and fear, his sword lying off to the side. end id]

there's a whole lot of context for it, so i'll put it under the cut

so this is an au of asterix and the cauldron. if you haven't read it, basically what happens is asterix is banished from the village because he fails to protect a cauldron of money entrusted to the village by another chief called whosemoralsarelastix. he and obelix have a bunch of misadventures trying to earn back the money, but eventually they give up and head to whosemoralsarelastix's village to return the cauldron. on the way there, though, they meet a passing tax collector, try to rob him and discover that the money he carries smells like onion soup - just like the money that was in the cauldron! so asterix realises that whosemoralsarelastix got his men to steal the cauldron in order to pay his taxes and stay in the romans' good books. he confronts him and they have a swordfight, which asterix loses, but then the cliff whosemoralsarelastix is standing on crumbles and his money falls into the sea, so he gives up and asterix and obelix go back to the village.

so my au stemmed from a little ficlet i wrote about asterix's thoughts while he was leaving the village, which then got me thinking about why he might be on his own. and i realised it would be very easy for the romans to have taken advantage of this situation if they had known about it.

so in my au a roman spy overhears asterix being banished and the romans decide to try and capture him while he's vulnerable. they stop obelix from following him by intercepting him at an inn, where they drug his food and transport him somewhere where he can't get away before he loses his strength because he's gone so long without eating. meanwhile, asterix has some pretty similar misadventures to the comic.

he finds out about what whosemoralsarelastix did, but doesn't just barge in and confront him where he's protected by his men. so he does some stealth missions and sows doubt in whosemoralsarelastix's mind by making it look like his men are trying to get on the romans' bad side, and then arranges a meeting in a forest clearing away from the village, which whosemoralsarelastix doesn't tell anyone about because he doesn't trust his men.

in the climax of the story, which is depicted in the drawing, asterix confronts him, and they fight, but this time whosemoralsarelastix isn't standing on a cliff, so he nearly succeeds in killing asterix.

by this point obelix has escaped and been looking everywhere for asterix, so he soon finds him and brings him back to the village, where getafix treats his injuries and they explain about the whole fiasco. it's a lesson to everyone not to take asterix for granted.

sorry for that long spiel, i did a LOT of thinking about this idea. it might even end up as a fic someday ;)

as for the actual art, it was a lot of fun trying to do the sunset lighting! what i did was i actually started with just the sky and drew everything else as silhouettes, which i then sketched and did lineart and coloured on, and then used the original silhouettes as the shading. i think it turned out pretty good! also i'm really proud of the motion smear on the sword :D

i think i messed up asterix's pose a little bit bc it's not at all clear where the sword is meant to have cut him, but at least it looks cool :D