#guessing tips

[potato-lord-but-not]

Hello Mr potato lord god man, can you please make a compilation of all your kissing drawings? I would very much like to use them as a way to learn how to draw kisses, even if it is in a less realistic sense.

here’s a compilation of some of the most embarrassing shit I’ve ever drawn. you’re welcome.

[rjalker]

Dear people who aren't physically disabled who plan to write fantasy settings:

[ID: Several images taken from the Geordi La Forge yes and no meme format, with Geordi holding out a hand disapprovingly for the no section, then pointing in approval for the yes section.

The first image is the meme:

No: "Saying the existance of magic in your setting means there are no disabled people (this literally just means disabled people are killed. AKA eugenics)"

Yes: "Having disabled people who use magical mobility aids and other assistive devices. Realizing that someone is still disabled even if their prosthetic arm is made of magic instead of plastic."

This is followed by four more panels of yes section:

"Geordi la Forge is still literally disabled. His visor helping him does not erase his disability and make him magically abled."

"Toph from Avatar: The Last Airbender is still literally disabled even though her Earthbending helps her. It does not make her disability ~magically~ go away."

"Having your disability be accomodated does not mean the disability goes away. Having a prosthetic hand, even one that's made of magic, does not mean you're not disabled."

"Magical mobility aids do not mean disabled people don't exist. It just means they use magical mobility aids instead of plastic or metal ones. A limb made of magic is still a prosthetic even if it's made of the soul of the universe instead of plastic and metal."

Then another no panel: "'There's no disabled people beacuse magic'".

Then one last yes panel: "'Magic helps disabled people in a variety of ways'".

End ID.]

This also applies to science fiction; just because Luke Skywalker's prosthetic hand is super advanced doesn't mean it's no longer a prosthetic, or that he's not disabled. Same with Darth Vader - just because he has a suit that lets him breathe and walk around doesn't mean he's not disabled. (And Star Wars' propensity for making the villains visibly disabled while the heroes disabilities get covered up by super advanced prosthetics is a topic that deserves its own post, especially with how ableist some of the authors of the books are. Troy Denning is especially ableist)

Edit:

Because people keep being fucking obnoxious and ableist in the tags, yes,,, motherfuckers, if you refuse to have disabled people in your setting, that does make you fucking ableist. If you say that the magic is used to cure all disabled people and that's why they don't exist, that's fucking eugenics.

You cannot ""cure"", more like remove all disabilities without fucking eugenics. Magically automatically destroying disabled fetuses (a very fucking popular trope!) is eugenics.

The only way to fucking "cure" autism is to fucking kill all autistic people, also known as eugenics!

What about people with PTSD? Do you just fucking brainwash them so they aren't traumatized anymore?

Do you force all Deaf people to be able to hear? Do you force all blind people to be able to see? Do you force all anosmics to be able to smell?

Do you magically force everyone with a speech impediment to speak to your standards?

Do you force everyone born with bodily or facial differences to live up to your fucking standard of beauty?

You cannot fucking say "disablities don't exist in this universe because magic cures everything" without inherently saying that eugenics exists in your fucking universe.

Not all fucking disabilities need a cure. If you ""cured"" my autism I'd just be fucking dead. You'd literally just be changing me into what you think is fucking acceptable.

Stop fucking arguing in defence of ableists on my fucking post so you can pretend that eugenics has never been written about in magical settings when it is extremely fucking prevalent.

And while we're fucking at it, let your gods damned characters become disabled over the course of their story, and call them disabled within the fucking story. I don't care if they're a robot. I don't care if they have magic. Not all fucking damage can be fixed. Curses exist. Hardware can go out of fucking date and no longer be manufactured anywhere.

Let your characters become disabled and do not magically fucking cure them back to brand new every single time they get hurt. The only thing you accomplish by doing that is destroying any chance of ever having stakes.

No, "magical healing leaves scars on the mind from the memory of the injuries though!!!!" is not fucking good enough. Let your characters have scars. Let them become disabled. Stop being fucking ableist cowards.

Edit number fucking 2:

No, motherfuckers, you do not get to comment "if the disability was caused by magic it's not ableist to cure it with magic". You are the ableist this post is about. Shut the absolute fuck up, stop treating being disabled as the worst possible outcome, and just admit you're a fucking ableist. If you don't want your characters to become disabled, then don't fucking make them disabled.

[ID: The Garfield "you are not immune to propaganda" meme, now edited to read:

"If your first thought upon reading this post is, 'Oh, but it's okay to magically cure disabilities caused by magic!' Congrats…you are the exact sort of ableist jackass this post is about."

End ID.]

Edit number fucking 3:

Autistic people exist! People who are born with disabilities exist! You cannot create a setting where disabled people do not exist because we're all "cured" or "fixed" and not inherently say that you are killing disabled people as soon as they're born, or fucking aborting us as soon as you figure out we'd be born disabled! That's fucking eugenics!

There is no way to "cure" autism without eugenics! There is no way to "cure" people with body differences without eugenics! There is no way to make disabled people nonexistant in your setting without eugenics! Thinking you can and should "cure" and "fix" all disabilities IS EUGENICS!

Also:

[ID: A character shouting at the camera, now edited to read: "Shut up about Dungeons and Dragons! Shut up about Dungeons and Dragons! If the rules of Dungeons and Dragons are ableist, then fucking change them! It is your fucking personal responsability to be a better person than your bigoted society wants you to be!". End ID.]

[ID: White text on a dark brown background with white and black borders around the edges, that reads:

"I don't fucking know or care about Dungeons and Dragons.

This post is not about Dungeons and Dragons.

Do not fucking throw the rulebook of Dungeons and Dragons at me like it's some sort of 'Gotcha!'.

You will literally just be blocked like the rest of the ableist assholes who've already tried it.

If you play dungeons and dragons, it's your responsability to make your games not be ableist, even if it means breaking the rules.".

End ID.]

I do not fucking care what the ableist rules are in Dungeons of Dragons. Do not fucking throw ableist rules for a game I have never and will never play at me on a post I made so that people could learn how to make their settings less ableist. If the rules in Dungeons and Dragons are ableist, then fucking change them. If you don't want to change them, then stop fucking playing an ableist game.

Disabled people deserve to see ourselves represented in fiction just like everyone else, without any fucking requirements that we be "cured" or "fixed" before the story ends.

How the fuck would you feel if a trans and gay character's whole story revolved around going on a quest to become straight and cis, did so, and only then was allowed to live happily ever after?

Why do you fucking think suggesting people write stories about disabled people going on a quest to be cured because it's the only way they'll ever be happy is any less fucking offensive?

Also:

This post is NOT a place for you to talk about how disabled people in fiction should have the option of curing their disabilities. It's just not. That's the fucking default for this society. That is not a revolutionary concept. It's not novel. We fucking know this society wants us gone. A post about how disabled people deserve representation is not the place to talk about how "Well, actually, in fiction disabled people should be cured!" Like that's not the fucking universal default???????????

Edit #4:

Everyone needs to stop tagging this singing praise for Fullmetal Alchemist. A story that uses disability as a punishment and the characters are on a quest to cure their disabilities is not the amazing representation you're all claiming it is just because the character who is only disabled because of DIVINE PUNISHMENT uses prosthetics.

Read this post, and this one. Fullmetal Alchemist is a hell of a lot more ableist than you people are letting on.

guess what you can now find a PDF version of this post on the web archive.

Edit #5! August 23rd, 2023!

A) Everyone. Disabilities that can only exist in the magical setting are still disabilities.

Trying to cure the younger brother's magical disability of being a soul floating around in a magical suit of armour is, in fact, going on a quest to heal a disability!

It doesn't matter if the older brother doesn't want to get his limbs back when they're going on a quest to heal the younger brother's disability! Especially when they BOTH get magically healed at the end!

Magical disabilities that can only exist in that setting, but not real life, are still disabilities, and it's not okay to magically heal them either! What part of the Garfield meme on this post did you all choose to ignore?!

B) When you leave tags on a post you are reblogging, the original poster can see them! When you leave tags on this post, I can see them!

If you think this post is ""too aggressive"" then simply do not reblog it! Don't fucking tone police me on a post I've had to edit five times now due to the constant ableism people have been commenting since I made it!

I have been called the R slur by multiple people in response to this post! People have literally reblogged this post to defend eugenics abortions! You can't see these comments or replies anymore because I blocked the poster!

If you think minorities are being too aggressive by responding appropriately to bigotry, you're a bigot! And you should either not reblog the post at all, or at the very least, shut the fuck up and not tone police us!

Do not fucking put tags on this post complaining I'm being too aggressive! That's called tone policing and you're a bigot if you do it! Don't fucking do it on anyone else's posts either! They can see your tags too!

C) When I fucking say Harry Potter fans are banned from this post, yes, this means YOU!

Either stop supporting a billionaire who's literally using the profits from her bigoted shittily written books to fund REAL FUCKING GENOCIDE, or fuck off!

By continuing to support the Harry Potter series, you are literally giving JK Rowling free fucking advertising! You are encouraging more people to read the series and watch the movies, spending more money and giving her more fucking money with which to LITERALLY SHAPE A COUNTRY'S LAWS TO COMMIT GENOCIDE. She is literally fucking fighting to make being trans illegal! She is literally fucking fighting to have even more of autistic people's rights taken away!

You cannot fucking be a fan of the Harry Potter series in 2023 and call yourself an ally to all the minorities harmed by JK Rowling and the bigotry baked into her shitty series!

Read another book! The Web Archive has tons you can read for free! Literally every single book on gutenberg.org/ is free! Including audiobooks for some of them!

If you write Harry Potter fanfiction, simply fucking get rid of the names and identifiable features and start writing original fiction instead! It's literally free!

Not supporting a literal fucking genocidal billionaire costs LITERALLY NOTHING! And if you refuse to fucking stop supporting JK Rowling, which is what you are doing when you support the Harry Potter series and squeal over her OCs, you are not an ally to any fucking minority! No! Not even if you're trans yourself!

= = =

Edit again Nobember 28th 2023 because this comment is just. such a perfect example for all of you that think this doesn't happen.

butter-whore2 said, two hours before this edit:

kind of a fan of tumblr's slightly more algorithmically elements for reminding me of the hell's other people construct for themselves but this one hits like five of the boxes. How do people do this to themselves? it's such a bizarre way to act over media I genuinely do not believe is capable of stirring an emotional response the metaphysics of disability here are unintentionally really funny but disability is not a coherent ontological framework, it's a vague descriptor for literally thousands of different things none of which lend themselves to categorizing Moralizing over fiction is incredibly lame.

Liking harry potter is also incredibly lame, it's not morally wrong nor transphobic and you do not get to decide that lol. people literally do get "cured" of their disabilities all the time, many of them have a positive experience in doing so. this is not what eugenics is.

the anti abortion stuff lol

Literally how do you live like this? you guys don't even read real books I don't get it.

Archived version of the comment for posterity.

So yeah, lofl, block this fucker.

[bonchobrick]

DCxDP Fic where the Batfam gets an item/ability which allows them for just that day, to temporarily be able to what someone best accomplishment(s) were in their lives. Little do they know Danny has just settled into their city (and that they were about to get the shock of their lives)

---

At first the Batfam decides to have fun with it--theres not much titles can do to help them with cases unless theyre particularly lucky. So they take a walk together in disguises to observe the passerbyers, curious of what civillains of gotham have done in their lives.

One gruff guy who grumbles shoving Bruce's shoulder as he walks by has the title 'KITTY SAVIOR' adorned above him and the batfam are greeted by the knowledge he had saved a cat from getting hit by a car

A kid in his pteens whose been shoving pamphlets into peoples hands has 'ADVERTISEMENT SUPERSTAR' above his head as he apparently managed to save his family's resturant with his intense marketing prowess (remind Bruce to try hiring him in the future.)

And lastly they faux browse a store trying to scope out someone else interesting and are greeted by the title... 'OPENER OF PICKLE JAR' and they decide to head home as Jason nearly crying trying to muffle his laughter.

At the manor they all cant help but agree, walking has made them hungry, and theres no harm ordering a pizza or two. It's been a long, mildly interesting day, though they weren't expecting much from thing ability.

Imagine their surprise when they open the door to see a black haired blue eyed child, pizza boxes in one hand, the other hand out awaiting a drop of money–completely missing the fact the title 'DEFEATED THE MAD KING WHO HAS TORMENTED THE AFTERLIFE FOR EONS' was placed innocently above his head

"Your total is 23.11!" The fucking 'Ghost King' kid (APPARENTLY) cheerily states????

"Uh," Bruce says blankly staring at this kid's title as his mouth blurts out, "Could you give us a second?"

[smiggles]

Tiny trick I use when I draw "growly" expressions is starting the lines at the tear duct It doesnt always start there but when simplifying art that's the method I do!

[witherroze]

Truly so obsessed with Scar lending Mumbo his silk touch pick, responding to "what's going to happen if i lose it?" with "you'll just have to wait and see >:3 /menacing", and then when Mumbo decides to prank him into thinking he DID accidentally lose it he just gives HIM a whole diamond block and goes "Make me a new one? :("

[thatonebirdwrites]

Cheating Death Part 2

Part 1 here.

Only seconds after Lena vanished in the portal, the Kryptonite cage melted into the floor. A yellow light pulsed so brightly, Kara had to close her eyes. Light infused her cells and pushed the pain of the Kryptonite away.

Lena's words echoed in Kara's head. How she'd stomped and shouted, the tears on her face, the desperation in her voice. How heartbroken she'd been when she'd said, "No, no you don't get to tell me who I am anymore."

She didn't know what to do. Lena had been hurting and grieving this entire time, and what had she and her friends done? Celebrated her brother's death, ignored Lena's increasingly isolating behaviors, and pretended everything was fine.

It wasn't fine.

Yet, the yellow light. Why had that activated? Was it Lena or the Fortress?

Kara ran through the Fortress to the control panel. She dug into the log and swiftly found Lena's code. It had been programmed to create the cage if Kara asked about Myriad, but then the yellow light was also programmed to heal Kara after Lena escaped. A note was annotated on that section of the code, and Kara's breath caught in her throat.

"I wish I could stop loving you. This hurts worse than death."

Tears dampened her cheeks and she wiped them away. What would she tell Alex? How can she explain any of this?

She didn't want her friends to turn on Lena, and Alex definitely would go after Lena if she knew about the cage. It'd been temporary, and Lena had programed a healing sun-bed equivalent burst for after. That alone gave her hope that she could still reach Lena.

Because even in her heartbreak, Lena did not want Kara dead.

She grabbed the weapon she needed, the same one Lena had used to stop Leviathan from killing Kara, and re-calibrated security. Her tears froze on her cheeks by the time she finished.

Kara flew out of the Fortress and high into the stratosphere. She listened for Lena's heartbeat, but heard nothing at first. Fear clenched her heart. Either Lena hid behind lead, or something terrible had gone wrong since she'd left. She hoped it was the former.

With a heavy heart, she flew to the DEO. Alex waited on a balcony.

"Kara?" Alex said, alarmed. "What the hell happened? Where's Lena?"

Kara held out the weapon. "It works as hoped. Sustained blast will keep Rama Khan down, and then attach the power dampeners."

Alex took the weapon with a frown. "Kara, what happened to Lena? Where is she?"

Kara shook her head. She couldn't voice it. She refused to believe Lena was lost to them. There had to be a way to save her, to bring her back, to repair what Kara had fucked up.

She pressed her hands against her face and flinched when Alex tried to touch her shoulder. "I got to find her," she whispered. "I got to make things right. I got to."

"Kara, I can't help if you don't tell me." Alex's voice held kindness, but Kara knew how quickly Alex could turn to anger. When it came to Kara's safety, Alex might cross a line she'd regret. Kara had done it for Alex a few times.

But with Lena? Kara had no boundaries. Lena held her heart in a way no one else did. She'd talked herself into settling for Mon-el, but it'd never been who she needed.

She needed Lena.

"Kara?" Alex tried again. "Kara, talk to me."

"She's the one who shot Lex." The words felt unreal.

Alex's brow wrinkled. "I thought he died when he fell."

Kara shook her head. "We never found a body or even parts from his suit, remember? If he had a portal watch, he could have gone anywhere."

Alex sucked in a breath. "And Lena was waiting for him?"

Kara nodded. "She shot him to protect us. She's been grieving and hurting all this time, and what have we done? Ignored her grief! Where were we for her pain?" She paced the balcony as fury at herself and everyone around her built up in her sternum. "I hurt her! I hurt her with my lies, and I have to fix this."

"Kara," Alex hefted the weapon. "Maybe let Lena have her space. We still have to deal with--"

"Alex, you didn't hear her!" Her pacing quickened and a groove appeared in the concrete from her superspeed.

Kara should tell Alex, and yet she couldn't. She needed to save Lena from Myriad herself, but to do that, she needed to find Lena. And she still couldn't hear her heartbeat.

She let out a shout of rage, her fist colliding with the wall and shattering the concrete. "I hurt the person I love! I have to fix this. I have to bring her back."

Her rage petered into sobs, and she fell to her knees.

Her, the strongest and fastest on the planet, brought to her knees by a Luthor.

She thinks of all the times she could have told Lena, and how she'd chickened out, afraid of losing her. Afraid of living a life without Lena's presence. Now a Lena-shaped hole had been carved in her chest, and she hurt.

It felt like Kryptonite all over again.

Was this how Lena had felt the past few months? This agony?

And yet, Lena had still helped. She'd still saved Kara's life. Still built devices that helped others. Why Myriad? Why use that monstrous device? Kara couldn't make sense of it. The months of pretending to be Kara's friend.

She should be angry at Lena. Furious at the betrayal, but she felt only grief. She'd started this with her lies, with leaving Lena in the dark. Lena could have helped so much more if she'd been in on it from the start. Then this never would have happened.

Kara sat there, silent, head-bowed long enough for Alex to leave and return with a cup of herbal tea. Rooibos since most other teas were too intense thanks to Kara's supertaste. Her fingers curled around the warm cup.

"I tasked Brainy and J'onn with the weapons. We'll deal with Leviathan." Alex smiled and squeezed Kara's shoulder. "You do what you need to do, Kara. I'm with you, okay?"

Kara nodded numbly. She sipped the tea and slowly became aware of a high-pitched beeping. "Wait, that's the signal watch," she murmured. She put down the cup and listened. It came from downtown. "Lena," she whispered.

Before Alex could respond, Kara blasted into the sky and broke the sound barrier. The crack whipped across the city and shook windows. She landed on Lena's balcony at L-Corp, ripped open the door, and dashed into a dark room. The beeping came from the stairwell.

Horror twisted her gut. She supersped down the stairs, all forty-three flights, until she reached the stairs just below ground level near the door to security.

She threw open the door and the thick scent of iron assaulted her nose.

Eve lay in a pool of blood, no heartbeat. Someone dressed in black lay crumbled near Eve, again no heartbeat. Blood coated the stairs from where Lena must have crawled.

Lena, her Lena, lay motionless, one hand on the top step. For a horrifyingly long second, Kara couldn't hear a heartbeat. She dropped next to Lena and pressed her fingers against Lena's pulse point.

No, there it was.

A faint badum-badum, the most precious sound in the universe.

She could do nothing for the others, but she still had a chance to save Lena. A scan of her body revealed the bullet in her side, how it pierced a lung.

Kara gathered Lena into her arms, and ran through the security sector, hitting each door with her shoulder to wrench it open, until she finally made her way outside.

Lena's blood soaked into her suit, her head rolling in Kara's arms. She held her close and flew as fast as she dared toward the DEO. "Lena, please," she whispered, "please hold on. Don't you dare die on me. Not now. Not like this."

When her feet touched down, she heard Alex's voice shouting about a Rama Khan sighting. Agents poured into vehicles, and the team prepared to leave.

Kara ignored them. She walked through the bustle, and people parted for her.

Alex turned from where she studied Brainy's screens. Her eyes widened. "What the hell...?"

"Please. Help her." Tears clouded her vision.

"Medical now. Brainy J'onn's in charge." Alex grasped Kara's arm and maneuvered her through the mess of the control center. Technicians worked on last minute fine-tuning of weapons, and others manned screens plotting possible vectors. Activity that meant nothing to Kara, not if Lena died.

Not if she couldn't speak her last truth to Lena.

She laid Lena on the medical bed, and Alex ordered her nurses to get an IV in immediately. Kara began to pace, the blood drying on her suit. Alex cut away Lena's shirt and examined the wound.

"She needs surgery now."

"What do I do?" she asked Alex, anguished. "What do I do?"

Alex shook her head. "You can't help with this. Go help J'onn, and wear Lena's anti-kryptonite suit. I'm not sure how long I'll be in surgery."

"Can you save her?"

"I will try my best," Alex said. She refused to look at Kara, and that told her far too much.

Alex didn't think Lena would make it.

"Promise?" the words came out small, plaintive.

"Promise. Now get out of my way." Alex hooked the IV bag to the pole on one end of the bed, and rolled it toward an interior suite. Two nurses followed along with a second doctor.

Kara closed her eyes and listened to the most beautiful heartbeat in the universe -- it faintly hung on, slower and slower with each passing minute.

She couldn't stay and watch the medical team open up Lena. She couldn't.

Instead, she grabbed the anti-kryptonite suit. As it flowed over her, she almost wept again. It felt like Lena hugged her, the suit entirely her design and her nanites.

She flew outside and listened for J'onn. The fight was to the southeast by the docks.

Hadn't Leviathan been targeting Lena? She'd saved her once from them already. Maybe twice if she counted the break-in that had knocked Lena unconscious.

Now Lena was dying, and Kara didn't just want justice for Lena.

She wanted to tear apart whoever ordered that assassin.

The windows shook at the sonic boom, and the ground cratered when she landed.

Rama Khan and another Leviathan member battled J'onn and Dreamer, who had the weapon from the Fortress. Agents, with adjusted weaponry to match the power-disrupting frequency, scattered around the docks.

Kara didn't care about the risk. She didn't care about the Kryptonite weapons the assholes carried.

She crashed into Rama Khan and threw him into a dock building. The wall crumpled. "Did you hire Lena Luthor's killer?" she growled.

Rama Khan laughed and stood with hardly a mark on him and his ridiculous earth-toned suit. "Those who cross Leviathan do not live to tell the tale. Let you now join her, Supergirl." He extended his hand and the ground shook violently.

A blast from Dreamer's gun sent Rama Khan sprawling. Kara sped over and grabbed him by the throat. Her feet she stomped on his arms. "No one hurts Lena and survives," she growled. Her eyes glowed, and she let out a scream of grief and fury.

She blasted him and punched him again and again. Blood gushed from his face, but then he melted into the earth and stumbled into being a few feet away.

Only for Dreamer to blast him again. Kara pummeled him with the rage of a thousand suns. Her vision red, and the land ripped and shredded in their fight. Part of the pier demolished when Kara threw Rama Khan's accomplice into it. Another building fell when Rama blasted Kara into its walls.

Rama Khan slowed, each blast from the gun scrambled his powers long enough for Kara to rip into him until he bled from multiple places. She lost track of the others, so intent on eliminating the one who ordered Lena's hit.

"Kara!" J'onn clamped the power dampeners on the alien. "Kara, we got him."

Kara clenched Rama's neck and looked down to see the cuffs clasped to his wrists.

How much loss could a heart handle? Why did the universe seek to torture her so? Her entire planet, nearly all her friends, and now the woman she loves most -- loss melted through her crevices, filled her with a blinding fury.

She'd fought to keep everyone alive. It's why she needed to be in control, but that obsession of controlling everything, to make sure she never lost, had poisoned her. She couldn't control everything.

She couldn't even save Lena. The thought of Lena dying in surgery, of never hearing her voice again -- even Lena shouting in anger?

Her fingers crunched bone. Rama Khan tumbled from her grasp and hit the ground with a thump, motionless.

Dreamer and J'onn looked at her, but she didn't respond to their words or looks. Agents swarmed around them to secure the site, while Brainy set up the containment unit for Rama Khan and his accomplices. The ruckus roared like the sea in her ears.

She turned without a word and shot into the sky. She flew as high as she could, to where little to no oxygen existed. The fury burned in her, and she wanted to rip herself apart. She deactivated her helmet, turned off its life support systems, and let the lack of air suffocate her and her emotions.

She'd live. She'd always live, wouldn't she? While all she loved died.

She closed her eyes and let herself fall. Air whooshed around her body, screamed in her ears as she hit terminal velocity. For those brief moments, she heard nothing but the shrill wind, the rest of the Earth drowned out in her fall. A moment of release from the endless soundscape.

Halfway to the ground, she righted herself and flew to the edge of Earth's atmosphere. Again she let herself fall. For a third time, she soared high and fell.

Each time she let herself get closer and closer to hitting the ocean. No matter how hard she tried, she couldn't outpace her fury at her own actions. At her failure.

This time she hit the water. She sunk into its depths.

Sea life swam around her, the distant calls of whales rippled through the water. What should delight her brought her sorrow.

No, she couldn't die. Her wretched powers, her curse, kept her alive. Kept her isolated from those she loved. Her careful, practiced control meant even in moments of extreme emotion, she still had to make sure not to hug too tightly. And kissing? How many noses had she broken?

All she wanted was Lena. Even if she could never be with Lena, she needed Lena to be alive. To be healthy and happy. Kara could live with just being on the sidelines, right? As long as Lena was alive.

She burst out of the ocean in a shower of sea water. She hung in the air and watched the waves below her. Her ears tuned to her favorite heartbeat, and there it was, faint, far too faint, but still pulsing.

A slither of hope wove into Kara's wretched spirit. She flew back to the DEO, the wind drying the moisture from the sea.

When she landed, Nia met her at the balcony's doors. "Kara," she breathed out as if she'd been running. "Been looking everywhere."

Kara crossed her arms over her chest. "What do you want?"

"It's Lena. Alex said to let you know the surgery is ongoing and Lena's handling it like a pro." Nia met her gaze, but worry painted across her face. "Don't lose hope yet. She may still live."

Kara said nothing. She heard the rebuke in Nia's words, but she didn't regret her actions. For Lena, there was no boundaries. She'd destroy a thousand Rama Khans if it meant saving Lena.

She followed Nia down the hall, through two intersections, and into the medical bay. Most of the beds were occupied by injured agents from the Leviathan battle. It was the surgery room that occupied all of Kara's attention.

Lena's heart beat still in those glass walls.

Kara walked up to them and pressed a hand against the cool glass. Lena looked so pale. So fragile.

The tears returned. Her chest constricted with a Lena-shaped hole that ached with each beat of her heart.

She didn't move from that spot for the rest of the surgery. Kara held vigil in silence, unmoving. She'd given Lena revenge on those who tried to kill her, and now Kara waited.

Waited for hope to dawn once more.

/end part 2

[habken]

How do you draw big scene pieces?? I’m having issues with like, composition, I think is the word? Like coming up with the idea and the poses (specifically the poses I’m struggling with that), and I see so much great art with beautiful scenes but it feels like I’m missing something, it never feels like the characters are actually there together interacting in a scene how do you obtain that

And comicsss how do you make them flow??? And backgrounds they are so hard???

Sorry this probably sounds very all over the place and weird haha, eurgh

I always do thumbnails!! Instead of going for a big composition right away, just do itty bitty things and build on it! I think have a good example for a background heavy piece but for comics here's a little step by step of initial sketch to final piece:

it took awhile to figure out composition but I moved things around until I was happy. I started with a super basic sketch so I didn't feel bad about messing with it and it slowly came together the more I rearranged things.

Also, look at other artists work!! For the comic above specifically, I was really inspired by shirahama sensei's panelling in witch hat atelier and wanted to try out some more "out of the box" stuff that didn't fully rely on tradition panels

]unfortunately with backgrounds, you just gotta practice </3 I recommend trying to draw rooms from observation in perspective like on pencil and paper with a ryle and vanishing points and a horizon line the whole nine yards. Or try and recreate movie sets, anything to get you thinking about background and prop design

[amphibianaday]

day 1522

[dragongirltongue]

Once again seeing people who talked very openly a6out how Rita deserved 6etter jumping onto new lolcows and callout targets. Like damn, y'all literally causing the shit that gets people treated the way Rita was and don't have a shred of self awareness a6out it.

Yes this does include your favorite lolcows that are definitely guilty of everything they're accused of even though you won't specify any of that off the posts.

Also yes this post is a6out the person you think it's a6out, it's also a6out ever other person who y'all think of as accepta6le targets.

It's also worth noting that the ones y'all are the most insistent a6out generally turn out to 6e trans people of color, y'all are usually aware of this fact 6ut either try to claim they're lying a6out their heritage or that you're definitely definitely not taking it into account.

Also worth noting y'all will go on for days a6out how it's accounta6ility for dangerous people 6ut then laser focus on things they create or talk a6out that have nothing to do with the accusations with the same weight as those accusations.

Y'all also fucking love to deadname your targets. "Oh it's for accounta6ility cos they were going 6y that at the time" is it? Is it really? That makes it okay to plaster it all over something you are 6egging people to share, that you want as many eyes on as possi6le???

Tl;dr so many of y'all assholes are cop6rained as fuck and would totally have run rita predstrogen off this we6site too under only slightly different circumstances

[Tip]

[potato-lord-but-not]

HOW DO YOU DRAW WOMEN PLEASEPLEASE0LEAXE IM SUFFERING SO MUCH. HOW AM I SUPPOSED TO DRAW MY BEAUTIFUL WIFE IRENE ADLER IF I CANT DRAW WOMEN ASJUIDJDJID

im so jealous of your ability to womanize sillies like gimme that ability NOW 😞😞 /silly

literally just add eyelashes that’s literally the only difference I have when drawing men vs women

you could even add some lips…

wait hold on is that….

ADORA BELLE DEARHEART !?

[smovs]

CSP Buckle Tip

My standard approach to those wee lil buckles on Sora's KH2 costume. I been drawing the little shits for 15 years and this way's by far the best looking for the least effort.

As usual this is drawn in Clip Studio Paint, but oughta work in any software that can add outlines to a layer (or hey, maybe you paint without lines).

Long live the KH2 outfit!

[thatsbelievable]

[blumineck]

"Go for the eyes," they said.

"It'll be fun," they said.

[livums]

Liv’s {Totally Optional Non-Mandatory Completely Voluntary} Pointers for Fleshing Out Character Relationships

Hi I’m liv e. and by middling demand I am going to blab a liiittle* bit about relationships.

So I will start by saying that I’m trained & licensed as a marriage and family therapist. So this is kind of what I do all fucking week. And I like this whole writeblr thing so why not make it fun and about fiction instead. LOL.

The purpose of this liiiiittle** post is to offer some ways in which you, a writer (great job btw!), might deepen your own understanding of the relationships between two or more characters in your writing. More specifically, by thinking a little deeper about how relationships function in real life.

These are ways in which I might conceptualize a relationship between people who seek my services as a clinician.

A small disclaimer: the VAST majority of my work is with couples (because I. prefer to see couples over families, lol), so this advice is coming from that perspective. Please keep in mind also that there are certainly infinite other ways to think about relationships. This is just the way I was trained. Or at least, the parts of my training that resonated with me the most, especially as I began writing more seriously.

My hope is that reading and practicing/toying around with these tips will help add another dimension to how relationships play out in your writing. So um. Cheers! Let’s chat.

*it’s not a little. it’s a lot.

**it’s a long post.

i. What I Say vs. What I Mean

When was the last time your partner or good friend pissed you off?

Maybe they were flippant about your feelings. Maybe they blew you off to hang out with someone else. Maybe they keep loading the dishwasher like a neanderthal.

And did you say to them, “Baby/honey/sweetums/bestie, it really upsets me when you load the dishwasher like that. I’ve asked you to do it X way several times, and it feels like you’re not listening to me, or that you don’t care about how I feel” ?

Probably not? Because, hello? (If you did, first try, then, wow! you’re a better person than i’ll ever be.)

You might’ve said “Dude, stop cramming shit in the dishwasher like it’s a fucking suitcase,” or “Haha, wow, again with the dishwasher. Awesome. No, it’s like, whatever.“ Or you might not’ve said anything at all, on purpose.

There is a tension that exists, there, in the CONTRAST between what we are thinking/feeling/meaning (e.g., I love you/I miss you/You hurt me) and what we are communicating via our words and actions (e.g., You never make time for me/You’re so lazy/You’re such a(n) [expletive of choice]).

That tension is ... really fucking interesting to read, huh!

Personally, I have a lot of fun watching the needs/wants/feelings of a character (that we might be privy to, as readers) get filtered through their unique... voice.

So say you write a character who is quite rough around the edges, and not very skilled in affection. They have a deep yearning to be close to [love interest], but they just aren’t accustomed to languaging their true feelings. Maybe we see how scared they are of putting their feelings out there. It’s vulnerable. It’s terrifying.

So instead of “I really care about you, [love interest]”, maybe it comes out something more like “Don’t you have anything better to do with your time than follow me around all fucking day?”

And we, the readers, are like, wow! That’s not what you were thinking at all man! You’re so bad at this, that’s awesome.

So the point of all this is that it’s very helpful to clarify for yourself, in any meaningful interaction between characters in or soon-to-be-in a relationship:

What are the characters individually thinking during this interaction? What are the emotions that are present? How does it show in their body or their movements? Are they careful not to let these things show, or do they not notice at all?

How are they expecting this interaction to go? (Are they afraid something might go wrong? Are they looking for a certain reaction from each other?)

What DON’T they know about what the other person is thinking? What are their assumptions about how the other person perceives them--in general, and in this moment?

What is the GAP or the CONTRAST between all of the above and what actually ends up coming out of their mouth? Or what actions they end up physically taking (or not taking)?

Are the characters aware of their own contrast, here? How do they feel about it? Or, do they think they are being perfectly congruent?

In this way, you have the ability, as a writer, to create some devastatingly (or delightfully) poignant moments between characters. These are the moments that can really sell the reader on the relationship--its importance (why are you showing us this?) and its appeal (thank you for showing us this, this blew our tits off, etc).

ii. Tender Spots and How to Attack Them for Fun and Profit

So we’ve got issues.

What are the things that really fuckin get at you? Those topics that, when brought up, make you really upset and really defensive at like, mach speed. Maybe you’re insecure about your skills. Maybe it really bothers you when people see you as weak/unintelligent/a burden/unattractive. Maybe you have a rough and complicated relationship with a family member.

So these can be thought of as, like, tender spots (lol). You can also think of them as “raw” spots, sensitive spots, or triggers.

Figure out what your characters’ are!

This is another key way in which you can create deep and believable interpersonal drama--Character A (accidentally or intentionally) stomps all over Character B’s sensitive spots. So to speak.

A very cursory and relatively uncomplicated example of this in action:

Tasha and Mimi are two adults in a committed partnership.

Mimi’s got a real fucking chip on her shoulder about being seen as a burden--her father always went to great lengths to make sure she knew just how much he did for her, just how many opportunities he passed up in order to raise her, just how great his life would have been if she’d never been born.

Tasha is the oldest of five siblings. She was frequently tasked with their care, growing up. She did her best not to complain, as her parents were always very busy working to keep a roof over their head. So, Tasha did her part. She would’ve loved to rest and play and goof off like other kids and teens, sure, but it never felt possible with all of her responsibilities.

Mimi is suddenly injured and is unable to do certain things on her own that she had been doing before. Tasha goes about taking care of these things as well as taking on certain other tasks on her own that the pair of them may have tackled as a team before. Tasha feels stretched very thin by the workload, but is deeply concerned about how Mimi feels. There’s nothing to be done about the situation, she reasons, so there’s no point in complaining about how stressed out she is.

Mimi offers to help to the best of her ability, but Tasha is very concerned about her, and insists that Mimi rest and not exert herself. Mimi insists back. Tasha insists back back.

Mimi points out how stressed Tasha must be. Tasha agrees that she is stressed, but does not elaborate on her feelings. Mimi assumes that Tasha must think that she is a burden.

Mimi then becomes very emotionally activated--she is reminded, consciously or unconsciously, of how shitty it felt to have her father tell her over and over again what a burden she is, and how better off he would be without her. So this must be how Tasha really feels about her, Mimi accuses.

Tasha, who is very stressed but who cares very deeply for Mimi and her well-being, and who does not see Mimi as just a burden, becomes very activated in turn--she feels maligned and misunderstood. And now she certainly can’t talk about how stressed out she is, because it will only convince Mimi that she is right.

So Tasha is now convinced that she must continue to hold her feelings in in order to keep the peace--she’s reminded of her childhood spent taking care of others, and how she never felt allowed to express herself.

This example is obviously from a very zoomed-out view, chronologically, and is not exactly the way we would see it written in fiction (fiction is much more moment-by-moment and, well, exciting, usually). BUT we can see where Tasha and Mimi’s sensitivities lie, and how they specifically hurt each other with their behavior (unintentionally, in this case) by stomping RIGHT ON those sensitivities.

Readers love drama. And drama makes the plot go ‘round! So don’t be afraid to lay it on them!

In your (very good and compelling) writing, ESPECIALLY if you want to write engaging relational conflict, you would do well to clarify what your characters’ deepest sensitivities are. Consider the following:

What needs went unmet for them, growing up? A very cliche therapist-y question, but for good reason--our upbringing is where many of our deepest insecurities originate.

Additionally/alternatively, what do your characters understand to be their role in relation to other people? E.g., are they always the caretaker, the burden, the comic relief, the heartbreaker, the lonely hero, the boss? How did they first get this idea of who they’re ‘supposed’ to be towards others, and how was this reinforced throughout their life? Are they satisfied or dissatisfied with their ‘lot in life’? What do they hate about their ‘role’, if anything?

What sorts of situations might remind them of what they hate most about this role? E.g. ‘I enjoy taking care of others, and I’m good at it, but my partner gets upset if I discuss how stressed I get sometimes--I’m never allowed to express myself.’ How can you incorporate these situations into your story to create conflict?

How does your character respond when these sensitivities are triggered? Do they lash out? Do they retreat and get quiet? Do they ghost people altogether?

What do they think will happen if they are unwilling or unable to fulfill this role in their relationships with others? E.g., ‘My partner will leave me if I am not a good caretaker’, ‘Nothing will get done right if I’m not the one taking charge’, ‘If I don’t keep others at arms’ length, even if they say they love me, I’ll end up hurt.’

This is another way in which you can help your relationships really come to life! Anyways. Read on for more cheer and relational joy!

iii. We’re Attracted to What Hurts Us Sometimes, AKA Oops! I Ran into the Knife, Ten Times,

(less of a part 3 and more a part 2.5, but it was simply too long. so,)

So maybe you have a good idea of what your ideal partner/bestie looks like. It’s probably any number of positive traits: kind, considerate, good sense of humor, shapely posterior, ambitious, active, fun-loving, studious, etc.

What probably don’t make the list are things like: emotionally distant like my mother with whom I long to have a reparative experience.

Maybe you’ve witnessed (or been in) a relationship wherein all parties can be described as ‘just so bad for each other’. And maybe this relationship should not have lasted as long as it did (or shouldn’t be lasting as long as it is). And maybe you’re like--’Why are these assholes still together?’ Or, importantly: ‘Why did these assholes get together at all?’ The answer may surprise you! But more likely, it won’t.

Sometimes, we pick people on purpose specifically because they stab us right in the sensitive spot (again. so to speak).

(i should clarify before moving on: I am specifically NOT talking about relational abuse, here. That’s kind of an entirely different subject that is like. the cousin of this subject. In this discussion, I specifically mean relationships in which there is no major power differential--you’re just bad for each other. These relationships can be what we might call ‘toxic’, sure, and painful, but not abusive. The distinction is important, moving forward. ok ty)

[Author’s Note: I need everyone to know that I wrote and subsequently deleted 700 words here because I realized they didn’t make any fucking sense ok. let’s try this one more time.]

Essentially, it’s a known phenomenon among humans that, when we have experience with relational distress in the past (e.g. a partner who neglected you emotionally, or parents who disregarded boundaries you tried to set), we like to seek out similar people with whom to form relationships. Weird! But not really.

The human brain seeks closure and resolution--where we couldn’t get things to work out with our parents, or our exes, we try to get the same situations to work out next time, with someone new.

Let’s look at another example, together. Take my hand,

Suppose you write a character (Character A) whose mother was in and out of their life from a young age, and never seemed to prioritize them. Now suppose you are looking to craft a fraught or tragic or dramatic romance (or other relationship) with this character. Using what you’ve written of your first character’s backstory, you can do just that!

It’s perfectly believable, you know now, for your Character A to pursue a love interest (Character B) who has a tendency to... not want to stick around. Maybe this love interest seems to fear commitment and intimacy.

Now, maybe Character B in actuality has a very dangerous profession that requires that they maintain the utmost discretion, and be ready to flee anywhere at a moment’s notice. Maybe the fate of the city/kingdom/nation/world relies on B’s profession.

It probably doesn’t make them leaving all the time hurt A any less, though.

Character A, unconsciously or not, is determined to make things work this time around. As the relationship deepens, B is faced again and again with the choice--stay, for your love, or go, as duty commands. Maybe they’ve taken a vow for their profession that is no light thing. They leave, time and time again.

Character A, unconsciously or not, remembers this feeling--it’s an old one. Mother, time and time again, chose something else over them. It would be understandable for A to feel a deep anger towards Mom and B both. Maybe A takes drastic action to get back at B (action that is also, symbolically, retaliatory towards Mom)--maybe they cheat on B, or do something that endangers their own safety.

When all they really want is just to get B to stay.

It’s probably very clear now why it’s not so simple a thing for A to choose to date someone more consistent--this is something that goes beyond B alone.

In this way, you can very easily weave themes into the relationship(s) of your main characters. Maybe the story of A explores the pain of abandonment, or loneliness. If B is the protagonist, maybe the story explores the way we excuse our shitty behavior in relationships (maybe the job is a pretext--maybe they really are scared of commitment), or maybe it’s about the dilemma of duty over love.

Relationships don’t always make sense. Or rather, they do make sense, just in a different way than we might expect. You can use this understanding now to intentionally explore a number of complex relationship dynamics, and to create nuanced (but sympathetic) characters. As you do, consider:

In your existing characters’ relationships--what keeps these assholes together? Why do they have to be with each other, as opposed to anyone else? This is important, again, for selling the reader on the relationship, especially if it’s your work’s main relationship.

What initially attracted your characters to each other? Consider again from the previous section (what is this, a fucking textbook?) the historically unmet needs of your character(s).

How do your characters go about expressing their needs? Think again about CONTRAST here--what is the discrepancy between what the actual need is, and how the character seeks to fulfill it? E.g. ‘I need to keep B from leaving me, because it really hurts me when they go, so I’ll go risk my life just to keep their attention (rather than express this pain to them).’

What similarities, if any, exist between your MC’s relationships with the people in their present lives, and your MC’s childhood relationship(s) with their caregiver(s)? Could you expand on/deepen any similarities in your writing? What themes might emerge if you did?

iv. Change / The Arc

So you’ve got your work’s central relationship. It’s believable, it’s just the right amount of dramatic, it’s suitably tragic, and just all-around devastating. People will cry. Great job!

Now what?

Well, that depends--what ending do you envision for your relationship?

If they remain together, do they get the happily ever after? The happy-for-now? Is the reader left to wonder about whether or not their relationship will survive?

Do they not make it at all? Are they separated by tragedy? Do they crash and burn? Or maybe they try their best, but despite how badly they love each other, it’s just not enough?

Whatever the Point B of the relationship is, if it’s central to the work, you’re gonna want to have a clear arc in there. Or not, idk, I’m not your mom.

You might already know, if you inhale every piece of writing advice you come across (like me), what makes a compelling character arc. The good news is that it’s much the same with relationships! Kind of.

Systems (relationships) tend towards homeostasis. Without deliberate intervention, relationships want to remain the way they’ve always been. Just like people!

And just like characters, relationships need a reason to change. Like a catalyst, or a motivation. Whatever the hell you wanna call it.

It’s not always, like, complicated to figure out the driving force behind change in your central relationships. Sometimes the pieces fall together!

Pay attention to the characters within the relationship--as your characters progress through their arcs, their relationship will naturally shift. It will probably not look exactly the same as it did when it began--there might be similarities, of course (they’re not entirely different people.. usually. And there’s a beauty to bookending a story with the familiar, certainly). But in this case, the relationship can be thought of as an extra character, almost. It’s unsatisfying to read a whole story wherein a central character stays exactly the same. It’s further strange and incongruent for a relationship to stay exactly the same while the characters have like, achieved actualization or whatever.

Outside events can force change on a relationship, just as they do individual characters. A couple that’s close to Characters A and B get married--and A & B start to wonder what their future together even looks like. B’s company hires a fiiiine honey, who’s exactly B’s type, and A starts steaming about it. A pandemic ravages the nation, and to prevent the spread of the virus, A and B have to stay inside togeth

YOU GET IT ok anyways I’m fucking tired of writing. If you’re wanting to develop the arc of your MCs’ relationship(s), think on some of this:

Do your characters see any problem(s) present in their relationship? Are they all equally aware of the problem(s)? Do they agree on what the problem(s) are?

How secure are your characters in their relationship? If anything could possibly cause doubt and conflict to arise, what is it?

Where do your characters see their relationship going in the near future? In the far future? Do their visions align? If not, how do they differ? Do they even want the same thing?

Is the arc of the central relationship congruent with the arcs of the characters who comprise it? I.e. does the relationship remain exactly the same as it was when it started, despite the characters undergoing wild metamorphoses? Is the reverse true?

When you think about their relationship, INDEPENDENT of any ending you may already have decided, where do you see it going? Like, where do these people feel like they’re headed, realistically? Does this align with the ending you’ve decided on for them? If not, this doesn’t mean you’ve written a bad relationship or anything, it’s just a possible sign that some really intense shit might have to happen in order to shift their course, y’know? Or not--the world is your oyster and you are the God of your own creation!

What are you trying to say with your story, and do the arcs of the central relationships reflect that message?

final thots

If you read all that shit, thank you. I wrote it all in one sitting and posted it without proofreading 💜

In all seriousness, I want to emphasize that, although some of these aspects of relationships are most visible in rels with a lot of anguish and maybe even some toxicity, you by no means have to write this kind of relationship in order to make use of these tips. You could write a very Normal couple!

The idea is to offer you some avenues through which to consider aspects of your characters’ psychology and personalities, and how they mesh or clash with their partners’ or besties’.

Anyways I hope this was helpful. I love talking about relationships I could literally go on and on all day. Which I kind of just did so. lol.

I’ve been liv and I’ve got two main WIPs I’m working on right now: The Romance of the Demigods and The Marking Blood and they’re full of really really super normal relationships and examples of me definitely taking my own fucking advice.

Cheers and happy writing! 💖💖💖

[satans-knitwear]

Touch me, tease me ✨🥺

Treat me ~ Tip Me ~ More of me

[littlestormofmess]

hello ! i know it's been more than a week since wad but i wanted to do a little something for: @danrifics (who started all this !!), @dnphobe @manchesterau @phan-tasia @less-amazing @phulge @hmfakeaccount and @oriharakaoru who bought tickets for 150 people (!!!!) to watch the show + the afterparty !!

as it was probably the case for everyone else that entered the giveaway, it wouldve been hard to buy a ticket myself, living on the other side of the world where the economy is very much fucked up kdhdk so thank you guys so much for this opportunity !! its also the first time i get to see one of these guys' live shows, well, live; and it was very exciting to get to experience it alongside so many people, i had lots of fun !!

anyways, all of you guys are more than welcome to request doodles in my asks/dms, if you so wish😌 could be dnp, could be anything ! (mostly) if not, *pushes this little guy toward you* there ya go. have a lovely day !! 🧡