#go off all might go off!!

[mettywiththenotes]

CAN WE TALK ABOUT HOW COOL HE LOOKS HERE

[egophiliac]

ENG PLAYERS I BESEECH YOU

I have been informed that you guys are getting part 4 of episode 7 tomorrow, which means we are FINALLY going to get the official romanization of Revaan's name, somebody please tell me because I need to know what it is.

like, yes, it's probably just Revan/Levan, but look, I'm sitting here with my finger over the button of all these Laverne and Shirley jokes and just waiting for the opportunity to deploy them --

[rolybug]

funny purple dog you get endless health issues

[moonlunee]

shhh, he's having the most fatherly dreams

( I lost the original post where this is based on ㅜㅜ )

DO NOT tag this as a ship

[cairafea]

On the idea of Theseus's Ship: in the end, it's still his, isn't it? It was known as Theseus's, and it will continue to be known as Theseus's.

Even after he has returned to the ground which grew the wood of the hammer used to nail the ship's frame, Even after generations of new wood have rotted and the sails are rags clinging to threads, Even after millennia,

it will still be Theseus's Ship.

Thank you for bringing us home.

Goodnight, Phosphophyllite.

[katabay]

desmond & friends modern day assassin sequences…..I miss you……..

[fremedon]

I'm not making this a reblog because there have been a lot of posts this applies to and I'm sure there will be more.

But if you ever do find that perfectly pure candidate that you feel can vote for without morally compromising yourself--that person with a completely stainless career and no blood on their hands--they will still step into the morass created by all their predecessors. They will have blood on their hands from the moment they take office. The blood comes with the office. There is no way to avoid that.

If they want to not execute the evil and unjust laws which they have just sworn to faithfully execute, they will have the choice of flouting the law or changing it. Both of these are difficult, take time, and cannot be done by one person's fiat.

Laws are made by Congress; changing a law--even the worst one on the books! even that one!--means getting a majority of both houses on board. This is drastically easier if the president's party has a majority in both houses, but still requires coordinating literally hundreds of people to do what you want; if the president's party does not have that trifecta, it may simply be impossible until after the next elections.

Flouting the law--just deciding to ignore it--sets a worrisome precedent: In general, we would like the executive branch to follow the laws of the country! But beyond that, it is also difficult and also requires coordinating with hundreds of other people. The administrative state is designed to run on rails. The administration can hand down guidance on the interpretation of laws--which often as not gets challenged legally and needs to be resolved by the courts, which is a whole other level of complication and, currently, a whole other level of fucked up--but ordering federal agencies to violate the law wholesale is usually going to be a non-starter. Even when the law is bad. Until the law is actually changed, which, see above, sometimes the most that can be done is harm reduction--delay implementation, narrow the scope, tie it up in red tape.

And. Look. I want you to find that perfect candidate. I long for the day that someone can make it all the way into the highest office without ever compromising their morals. But if they do, they will become complicit with all the horrors their predecessors left to us. There is no way to dismantle those horrors without taking on some degree of complicity.

When the machine is covered so thickly with blood, pulling the off switch still gets blood on your hands.

[poorly-drawn-mdzs]

Welcome to the Dungeons of Fear and Hunger.

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[puppetmaster13u]

Prompt 217

Babies can die if they don’t have enough physical contact. This is something that is known, but Talia does not have time to spend with her twins, and it’s not like she carried them thanks to the false Lazarus womb, so she didn’t even have that excuse to use. 

What she did have, was a near braindead teen who could be taught things through muscle memory. 

Which is how Jason ended up caring for a pair of toddlers between any training, even after his dip in the Pit. Well, he cared for them until he left for Gotham, to enact his plans, even if he continued to call them every week. 

But that wasn’t enough for little Damian and Danyal.

Where had their caretaker gone? Away from them? Where is Baba? Across the sea? Unacceptable. They will not stand for this! 

Which in turn, is how Jason discovers his the twins outside his safehouse window, having somehow made it to Gotham on their own- what the fuck, kids!?

[egophiliac]

so on the subject of the "Crowley is secretly Revaan/Laverne/Levin/please Twst give us his name" theory, I think my feelings are best summed up as "I don't really buy it, but it's funny". like, in all seriousness, I'm not opposed to it; I have enjoyed the writing in Twst so far and I'm willing to trust that whatever happens will, you know, make sense and not be terrible. but I'm just not really convinced by the current evidence! maybe that'll change once we learn more, we'll see!

with that said, may I propose a few alternate theories about the possible Crowley/Revaan connection:

[dailyloopdeloop]

DAY 71: shy

[plulp]

IM NOT A DOCTOR BUT I THINK I MIGHT BE ABLE TO HELP

[annabelle--cane]

say it with me everybody: personal health is completely immaterial to morality, including mental health. leading a mentally unhealthy lifestyle (or what you perceive as a mentally unhealthy lifestyle) does not a bad person make. no one has to socialize, exercise, have healthy coping mechanisms, or lead (what you perceive as) a fulfilling life with fulfilling hobbies in the same way that no one has to go to the doctor to get a broken bone reset. both of those types of management of personal health are likely to be beneficial to the individual, but they are in no way moral requirements or debts owed to society. they do not actually say anything about a person's principles, personality, or actions towards others. additionally, people know themselves and their own situations better than you do. maybe a person judges that the physical and financial toll of going to the doctor outweigh the benefit of getting their bone reset, maybe a person just does not have the capacity to develop healthy coping mechanisms at this point in their life, and yes, maybe a person feels like they are totally fulfilled by "media based" hobbies alone and would feel no difference in their life if they picked up a loom. just like. let people be sick without accusing them of being representative of the lazy, degenerated state of modern society.

[spllwys]

endless ghifs 7/? ⛧ source — "— to the ground!"

[trans-axolotl]

content note: discussion of suicide.

this next monday will be the six year anniversary of losing one of my friends to suicide.

when he died, my high school barely mentioned his death, even though for other students who died by things like car crashes or illness, there were so many public expressions of grief. they believed that having any memorials for a student who died by suicide would encourage other people to die the same way. in their rush to erase the circumstances of his death, they erased the memory of his life.

there are so many things i am angry at that high school about in terms of how they treated mental health (mandatory reporting and collaborating with cops, their refusal to recognize the ways in which that system led to peer-to-peer crisis support, their refusal to recognize the ways that trying to keep each other alive through trial and error was scary and exhausting, carceral disciplinary policies, etc etc etc). but i think one of the things i am still angriest about is the way they enforced shame around his death. it felt like they were retroactively blaming him for the constellation of circumstances that made suicide an option in his life. it felt like they were blaming those of us who missed him and cared about him and wanted to grieve him. it made those of us still there who were actively suicidal feel even more scared about the reaction if we did reach out for help from one of those mythical safe adults.

as an adult now involved in psych abolition/mad liberation work, it makes me so fucking mad to see the ways in which he was discarded by people in authority positions. and the older i get, the more options i have found in my life for making sense of the world and finding healing and community and support which were never available to him because he died when he was 16 and the only things offered to him were a carceral psychiatric system that blamed him for his own fucking death. it feels so incredibly unfair.

i miss him and i think i always will; i can't remember his laugh or the sound of his voice or his favorite color any more and that aches. this grief is so heavy and it feels harder in a new way each year, when i become older than he will ever be. sometimes meeting new comrades or seeing new anticarceral suicide support models hurts because i wish so fucking bad that we had that back then. i remember how close we came to losing even more people that year and i know it is simple fucking luck that i'm still here when he's not.

i remember another letter (never sent) that i wrote to a friend while they were in an ICU bed after a suicide attempt when i didn't know if they would live or not. i have spent so much time in the past 10 years begging for anything to keep me and my friends alive, but even in that letter i knew that there is so much fucking violence that is hidden beneath psychiatric logics of cure and safety that promise a "solution" to suicide. I knew that institutionalization, coercion, and shame would not have helped build a life more liveable for him or **** or any of the people i've loved and lost since.

there needs to be more fucking options for care and support that aren't so incredibly cruel to suicidal people. i know so many people doing incredible work in alternatives, peer respite, a million different frameworks for healing and liberation. but it makes me so mad every day i have to live in a world where there are still people restrained, locked up in psych wards, having all autonomy and personhood taken away from them. knowing there are dozens of people every day getting blamed for their deaths the same way he was blamed for his.

i miss him. i cared so fucking much for him. and he died by suicide, and all of those things are true. he has been dead for 6 years and he lived before that and the people who loved him want to remember all of him; our celebrations of his life should not require hiding the way that he died.

Image description: [1000 origami cranes in all different colors and patterns that are tied together in strings of 25]

(these were the 1000 cranes we made to give to his parents, in memorial and recognition of how much he meant to us.)