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stevebabey · 2 years

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no one asked but this is the post that inspired this! thank u immensely for the luv <3 number 1 comment was wondering what steve’s bids were & from his pov, so without further ado...enjoy — part one here!

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Begrudgingly, Eddie has to admit that Robin might be right.

It’s impossible not to be looking for the bids since he brought them up to her. Even though Eddie was fully expecting to tell Robin to suck it, maybe even wager what little money he had against this working out, Eddie can’t help but watch for them in every interaction. And fuck, she’s right.

They’re little, but they’re there.

The first one Eddie would’ve missed if he wasn’t looking for it. Actually, that’s a lie; Eddie does miss it, until Robin points it out, the nosy bitch. It’s minuscule and honestly, it just seems like Steve asking his opinion — which friends do all the time! It’s why Eddie brushes right over it.

“Okay, be honest,“ Steve had said, walking and talking as he entered the living room where Robin and Eddie were sprawled across the couches. They were both waiting on him, the three of them set on heading out to the drive-in to catch a film.

Eddie can’t fathom why Steve felt the need to change his outfit for it, but when he returns, he gets it. It’s not quite the usual polo Eddie had grown to like on Steve, this one hanging a little looser, the colour a bit darker than Steve’s usual choice, the sleeves a little shorter — almost midway to a muscle tee.

Steve’s fingers fiddle with the distressed collar of the shirt, smoothing invisible wrinkles and fussing over nothing. He swishes back his floppy hair with a flick of his head. “It’s a new shirt, I know it’s a little different - but what do we think?”

He says we but he’s looking at Eddie.

Eddie, who has taken to trying to reel in his gawp because what the fuck Steve? It’s like he’s well aware of what drives Eddie insane and has specifically leaned into it. Some evil goblin in Eddie’s brain whispers think how good he’d look in your shirt and he squashes it, giving a visible twitch to shut down that train of thought.

From the other couch, Robin clears her throat loudly and smiles sweetly at her best friend. “It looks great, Steve.”

It’s sincere and Steve’s mouth tugs up, nearly a smile but his gaze fast-tracks back to Eddie. Eddie nods in agreement, a bit sluggish from his distracting thoughts and god dammit, the extra exposed skin of Steve’s arms are so not helping. “Yeah, looks... looks good, man.”

Steve smiles, lips pressed together but his shoulders curl in just a bit, deflating just a tad. From where Steve can’t see her, Robin waves her hands wildly and catches Eddie’s attention. He watches as she gestures wildly and it takes a moment to realise what’s she mouthing — ‘A bid! That’s a bid, you idiot!’

Oh fuck, Eddie thinks. Cos it totally was; the question, the focus on Eddie. He doesn’t even think about the logistics of it, of the fact Robin was right, just jumps right into picking up the bid.

“You trying a new style?” Eddie asks and then thanks whatever god invented the whole fake-it-to-you-make-it schtick because he’s feeling so far from casual or confident. “Going metal on me, big boy?”

Eddie just manages to catch the grin that breaks across Steve’s face as he turns away, giving a scoff — it comes out too soft though, giving away his complete lack of annoyance. He pulls that usual Steve Harrington pose, hands sliding onto his hips, and screws his face into some melted smiley-grimace. “Shut up, Munson.”

Eddie grins and goads on the blush that’s beginning on Steve’s neck, a glorious tinged pink colour. “If this shirt is any indication, you’d pull it off just fine.”

Eddie watches the blush climb higher as Steve ignores the comment, his smile still giving him away. He grabs his coat and pats down his jeans — ridiculous tight acid wash jeans that Eddie hates he’s somehow become attracted to — ensuring he has his keys and wallet. Once assured, he looks up at his two friends again, brows raised, and says, “Ready to rock and roll?”

That comment alone has Eddie seriously reconsidering his type in men.

There’s only a brief moment to talk about it when Eddie and Robin cajole Steve into going and getting them both popcorn to get a moment alone. Steve had scoffed, face twitching in the way it did whenever he tried to hold back a bitchy comment, but he still stomped off in the direction of the snack stand.

The moment he’s out of earshot, both voices explode in the back of Eddie’s van.

“What did I say—”

“Jesus H Christ, you were right—”

“Literally how many times do I have—”

“Oh my god, you were right—”

“ —before you realise I’m always—”

“Robin.” He cuts her off, hands landing on her shoulders. Robin eyes them warily, lips still parted from how her rant had been cut off. “Robin, I’m gonna kill you.”

“What?” Robin’s nose scrunches up. “What the hell are you—”

“Oh Christ, I can’t believe- how long have you noticed those bids?” Eddie’s aware he sounds a bit estranged, eyes probably wide and it doesn’t help when he softly shakes Robin back and forth. She lets herself be shaken, hair flying back in forth. “I can’t believe you didn’t tell me! You are such a bad gay friend!”

Robin smacks his hands off her shoulders with a frown, her freckly face perturbed at Eddie’s outburst. “Dude, it’s not my fault! May I remind you that until very very recently you were seeing someone else? What difference would it have made?”

Eddie waves his hand, disregarding the point with a shake of his head. His unkempt curls cover his face and Eddie sweeps them back in one motion, “What difference would it have made? Oh my, Jesus—“

Whatever long-winded sentence Eddie was about to spit out is lost by the sound of Steve’s approaching footsteps, effectively shutting both of them up.

Eddie flings himself to the other side of the van, putting an unusual amount of distance between Robin and him like they were being caught doing something they shouldn’t.

Robin frowns at him and gestures wildly with her hands in a way that means what the fuck man? Eddie gestures back, though he’s not entirely sure what his fast hand motions are supposed to mean when Steve rounds the door.

He’s got two buckets of popcorn tucked under each arm and Eddie quickly crosses his arms, tucking his hands into his armpits like his stupid hand motions will somehow give him away.

Steve looks up, stopping just a way from the edge of the van, and looks at the pair of them. His eyes track from Robin still sitting on one of the old cushions and looking two seconds from burying her face in her hands, across to Eddie. He huffs a laugh and kneels on the edge of the van.

“I know he’s gross Robin,” He begins, tone light, as he holds out one of the buckets for Robin to take. “But c’mon, is the distance really necessary?”

Robin snickers as Eddie makes an appalled noise, both of which make Steve smirk. He holds out the other for Eddie to take and Eddie snatches it, glaring at him over the buttery rim for his comment. Then takes a handful and shovels it in because he can’t think of a witty comment to retaliate. Steve crawls into the van and plops himself between them with a content sigh.

“See? Gross.” He teases, shoving his hand into Eddie’s popcorn bucket to grab a handful. Eddie scowls and chews a little faster when the flavour on his tongue seems to register in his brain.

His eyes stare at the popcorn bucket as he chews, then swallows — up the front of the van, the radio that’s tuned into the correct frequency begins playing the opening credits song as the screen changes. Silence sweeps across the drive-in but despite the sudden hush, Eddie has no qualms about breaking it.

“Sweet n’ salty flavour?” He asks Steve, only half attempting a whisper. Robin shushes him instantly, her focus already on the movie that’s beginning. Steve smiles, looking a bit sheepish beneath the glow of the drive-in screen, but he nods.

“I know you like it.” He whispers with a small shrug of his shoulders. Like it wasn’t a big deal. Fuck, Eddie thinks again and hastily feeds himself another handful of popcorn before he says anything majorly stupid in response to that, like: Oh, amazing- have you noticed the big fat crush I have on you as well?

He doesn’t even need to look at Robin to know she’s smiling, smug as ever.

—

Steve, God bless his oblivious little heart, doesn’t even realise he’s doing it.

Steve likes Eddie. Eddie is— god, Eddie is different but he’s good.

He’s this strange amalgamation of traits that Steve can’t comprehend how they fit together in one body or how Eddie manages to pull it all off completely charmingly.

He’s loud, he says rude things, he’s fucking dorky, and far too sweet on the kids — he likes to tease Steve, and yet somehow, when Eddie calls him ‘pretty boy’, Steve knows he’s not actually making fun of him.

Steve likes Eddie, likes his boyishly endearing charm, likes his touchiness towards Steve that no other boy his age is like, likes his messy curls and his ‘holier than thou’ attitude about metal music even though Steve doesn’t get it, like at all. And fuck, Steve really wants Eddie to like him.

It reminds him faintly of when he first started working alongside Robin at Scoops. That thought tickles in the back of his mind, something along the lines of how he had wanted Robin to like him for other reasons, but he doesn’t delve into it.

To Steve, it’s simple: he just wants Eddie to like him.

After the night at the drive-in, between Eddie acting strangely skittish and Robin giving more amused snorts than usual, Steve knows something is up.

He knows they must have discussed something when they sent him on popcorn duty, the bastards. He tries his best to not feel left out; god knows Robin and he have more than a dozen secrets they’ve sworn not to tell anyone but each other.

Besides, Steve trusts Robin to come and tell him if he really needs to know, even if it does worry him a bit. He bites down his anxious thoughts, even trying for a moment to see if there’s a pattern he’s been missing.

That train of thought gets derailed when Steve recalls instead Eddie’s delightful reaction to his new shirt — that Steve definitely hadn’t bought for that specific reason.

Even though Robin had given him that look when he’d first shown it to her — her bright eyes had narrowed, her smile turning a little more coy, and Steve had felt his ears get a little hotter. She hadn’t said anything though, just suggested that he should wear it tomorrow night when they were going out with Eddie.

God, he was glad she suggested it.

Rewinding over Eddie’s parted lips, the way his brown eyes had drank in the details as they trailed up his body and lingered on his arms— Steve had the sudden thought to flex the muscle, just to elicit some reaction, but it had gone out the window at Eddie’s original dismal reaction.

‘Yeah, looks... looks good, man’. Said all aloof, like he hadn’t really thought it. It was like bursting a balloon hidden behind Steve’s ribs, one he wasn’t even aware was there until it was deflating pathetically, making his shoulders sag.

Then— ‘You trying a new style? Going metal on me, big boy?’ And dammit, it’s like Eddie had clocked exactly what calling him ‘big boy’ had done the first time in the Winnebago.

Eddie had then grinned, done another once over of the new shirt, even as Steve pretended to search for his keys and wallet while saying something snarky to try to cover up the heat crawling up his neck. Yet, Steve found himself smiling too because, fuck yes, Eddie liked it too.

But, apparently, whatever Eddie and Robin had discussed wasn’t considered important enough because Robin never brought it up.

The thought and worry about it melt away in Steve’s mind until the memory of that night is about Eddie’s compliment, about his cat-like grin over the popcorn bucket, and how he had leaned over to whisper every bad joke into Steve’s ear all through the movie.

Some of them had been down-right filthy jokes which Eddie only seemed to enjoy more when Steve screwed his face up and nudged Eddie in the ribs, yet unable to hide his smile.

After the third vulgar joke and subsequent nudge, Steve had chided ‘dude’ with a poorly hidden grin. Eddie, smile all cheeky, had nudged him back with a ‘dude’ of his own.

Which, of course, ensued a nudge competition til Robin had given a shush that librarians all over the world would be jealous of. But Steve didn’t even care because he and Eddie were arm to arm, pressed close together and Eddie…didn’t move. Stayed close, like he wanted the closeness the same way Steve did.

Steve only remembers the strange drive-in moment when Robin brings it up finally, on one interesting Saturday night.

It’s not the usual routine; it’s not very often that the whole group gets together to share drinks and get rowdy.

But it was for Robin’s birthday and she’d been persuasive enough to get even the introverts, like Jonathan, to come along. Though, she was aware he’d probably spend the night on a pool lounger, stoned to high heaven. Whatever floats your boat, she’d said, happy for the company in any form.

There’s enough of them there that it almost resembles some sort of party— and makes Steve try not to think about the last small party he threw here. He can tell Nancy notices it too, eyeing the pool a bit too long in a way he’s very familiar with, then taking a swig of beer.

So, Steve heckles them inside — doing a fantastic mothering impression as he waves the group indoors with a promise of pizza, and that has both Jonathan and Argyle perking up and beginning a fast discussion on the best pizza toppings.

Eddie makes a fuss, because of course he does, and moans terribly when Steve tries to roll him off the pool lounger he’s on. He’s had a bit of a joint and some beer, and Steve’s learned that he gets adorably stubborn after some substances.

“Stevie, this is mean,” he had pouted, gripping the edges of the lounger and staring up at Steve with those big brown eyes. “You telling me I did all that bonding with you for nothing? Can’t even lounge by the pool! I’ve got a couch at homeeeee.”

Steve had sent him an amused look of disbelief, hands on his hips after his first round of flicks against Eddie’s arm were apparently fruitless to get him to move. “Really? Didn’t peg you for a gold-digger, Eds.”

Eddie had snorted at that, one hand coming to slap over his mouth. Steve couldn’t quite hear what he had said but the words pegging and anytime slipped through and Steve thinks he could get the gist of that.

“Oh for Christ’s sake,” Steve muttered, feeling the tips of his ears turn warm. He didn’t know how Eddie could be such a menace— or why he enjoyed it so much when he was. Steve waved a hand in the direction of the doors, ignoring Eddie’s delighted snickering. “If you go inside now, you can be on music, alright?”

And that had finally got them all indoors, Eddie whooping and skedaddling through the doors in an instant, with a call of ‘no take backsies!’ echoing behind him.

Inside was much cozier, the whole group a little more connected when squished up on the couches together. Eddie had taken Steve’s word and was jamming a cassette into one of the speakers when Steve made it back inside after scouting around the pool for leftover cans and butts to throw out.

He’s just been thinking about what playful jab he could make at Eddie’s music, like Eddie always did to him when Robin hollered at him from the kitchen.

“Steve!” She’d yelled excitedly and he come to find her quick, brows raised as he entered the kitchen. She was grinning, already a bit jumpy as she got when she had a bit of liquor — but apparently not enough because when Steve saw what she’d called him in for, she’d announced, “Tequila shots!”

Which lead to now. A hazy combination of beer, tequila, and a bit of weed, and Steve is feeling good. Robin had managed to hijack the music not too long ago, with a hiccup of ‘it’s my birthday’ that had Eddie surrendering with a pout.

She’d since put on a bit of everything: some Blondie for Nance, Talking Heads for Jonathan, and some Bowie, just so she and Steve could dance along to ‘Magic Dance’ and she could do all the silly little goblin voices that made them both cackle.

Steve realised at some point that Robin was playing their mixtape, the one she’d made for driving in the morning, and nearly tripped stumbling over to her in his excitement. He grabbed her shoulders, not too hard, and squeezed.

“Is it- is this our mixtape?” Steve asked, words slurring only a bit. Robin gleamed, hair bouncing with her excited nod.

“Yes!” She was already dancing, even though the tape was between songs — because she knew what song was coming. “It’s Springsteen time, Steve!”

Right as the drums to Born to Run filtered out the speaker.

And oh, Steve loves Robin so much. He loves having a best friend that knows his favourite song and gets jittery and excited because she knows it’s about to play— that she put it on this mix for him.

“You’re my best friend!” Steve says, the words bursting out like he can’t control them. He doesn’t even feel embarrassed, just happy, just drunk, and overwhelming happy to be able to have this.

And even though Robin knows this, she still beams, feet dancing along and just begins to sing along with the song, “In the days, we sweat it out on the streets of a runaway American dream…”

It’s a brazen drunken performance from the both of them. Steve’s chest is heaving after just one chorus that he’s pretty sure he put his whole soul into and he’s so fucking happy —and it feels like pure instinct to seek out Eddie, his eyes scouring the room for him.

Eddie’s leaned up against the wall, hiding his smile behind a can and Steve doesn’t think twice about it— doesn’t think about why he’s so drawn to Eddie, why he wants to include him in this happiness — just extends his hand out and grins.

Eddie sees the bid coming this time.

Part Three.

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yes i saw all ur lovely tags and MAYBE cried about it. but thats none of ur business.

@orangeandthefairroadkill @swimmingbirdrunningrock @sadcanadianwinter @phantypurple @omg-elledubs-things @henderdads @farfaras @mixsethaddams @prismandblue @kerlypride @bushbees @legitcookie @temporalcoffin @callmesirkay @beautifully-useless @millyditty @cinnamon-mushroomabomination @ninjapirateunicorns @darkwitchoferie @vi-the-best-you-can @psychosnowfox @desert-fern @scarletzgo @cr0w-culture @softpink-candlelight @livingforfictionalcharacters @makewavesandwar @kozuuji @rhapsodyinalto @eddiethesexy @cassaloopa @lightwoodbanethings @qu33rcommunist @moonlitkilljoy @starkdusk @theysherobinbuckley @sanguineterrain @loganwright @sillysparrow @hotcocoaharrington @eddie-munson-is-my-wife @she-is-tim @steddiehearts @sideblogofthcentury @sidebarre @corrodedcoughin @stevieclaus

#OBLIVIOUS STEVE IS MY FAVOURITE!!!!#idiots in love #they're so important to me ur honour #on god am i gonna make them KISS #but steve's gotta figure it out first lol #ruby writes steddie #steddie #steddie ficlet #i think i can call it a fic now lol each part is 3k+ i think #steddie fic #IF U WANTED TO BE TAGGED AND I DIDNT IM SORRY #lest i come off terribly egotistical i need direct instructions to tag lmao #even then i tagged sum people that just said 'can't wait for part 2!' which? isn't?#I DUNNO #i went off vibes someone said they were vibrating so i was like get over here the next part is here #one of these tags is just a steddie blog i love.... and they reblogged part 1 #corrodedcoughin <3 i love u hehe #the stobin bestie love SHINES in this #i love them so much they are BEST FRIENDS!!!#if u have any ideas... i do love reading the tags and seeing what people want to see next ! im fuckin making it up as i go lol

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eyrieofsynapses · 9 months

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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.

#aurora comic #aurora webcomic #comicaurora #art analysis #...I hope those are the right tags???#new fandom new tagging practices to learn ig #much thanks for something to read while I try to rest my wrists. carpal tunnel BAD. (ignore that I wrote this I've got braces ok it's fine)#anyway! I HAVE. MANY MORE THOUGHTS. ON THE STORY ITSELF. THIS LOVELY STORY #also a collection of reactions to a chunk of the comic before I hit the point where I was too busy reading to write anything down #idk how to format those tho #...yeet them into one post...???#eh I usually don't go off this much these days but this seems like a smaller tight-knit fandom so... might as well help build it?#and I have a little more time thanks to break so #oh yes also shoutout to my insanely awesome professor for teaching me all the technical stuff from this he is LOVELY #made an incredibly complex program into something comprehensible <3 #synapse talks

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