#i think it might be better this way

[longelk]

bonus JAMES as i do not have the capacity to make him a big post right now

[alicenpai]

princess tutu: die jahreszeiten 🌸

kind of a companion piece to my 2022 ptutu drawing | it's on inprnt

this print was at anime north; next con is otakuthon!

oops so my hand slipped and i made another princess tutu drawing. i admittedly don't watch that much anime so my catalogue of work is gonna be the same 5 animes LMAO. what can i say, i love "dark" fairy tales, and i've been really enjoying the more fine art approach to a lot of my drawings as of late (and the watercolour brush i've been using has been so perfect for that...!)

as my first princess tutu drawing is now 2 years old, there are some areas i've grown to have ... qualms with... although both drawings as a whole are pretty much exactly what i envisioned, and that's always satisfying!

both of these were drawn in roughly a week's time (yes really...) for con crunch period (and i went back to this drawing after the con to touch up some areas that were a bit rough!). i wanted a different approach to this new pt drawing, with the focus on the line work, rather than on colours and lighting in the 2022 drawing.

this drawing had 2 goals: to continue the style i adopted in my witch hat atelier "lantern bearers" drawing (which i promise i'll post in full soon as soon as all of the zine artists get their go-ahead to post their pieces!), and to emulate the art nouveau movement's heavy emphasis on line work, albeit not a 1:1 style replication of course.

the seasons also aren't a 1:1 representation, as i didn't necessarily pick flowers or colours that are most strongly associated with the season (e.g. summer being a dark tone is a bold choice?). but it's kinda whatever, as i said before i drew this in a week, there may be more appropriate flowers with better meanings. i couldn't spend too too much time drafting and researching.

FLOWER SYMBOLISM:

- spring: apple blossoms, tulips - the apple blossom is a quintessential spring flower, and thus symbolize the arrival of spring. spring is a season of change, which ahiru/princess tutu is a force of, instigating change in her friends and unravelling the story around her. the flowers below her are tulips, and there are many meanings to tulips depending on the colour, due to their ubiquitous nature. i narrowed on one, and intended for them to symbolize happiness. princess tutu's pose is one in which that is open, inviting, and warm - reflecting her nurturing nature in the series, and her willingness to help others achieve happiness.

- summer: deadly nightshade flower, yellow rose - i chose for rue/princess kraehe to symbolize a fiery summer's night instead of the typical dazzling heat of a summer's day, a rather bold and unusual choice. the warmth of sunshine didn't quite fit, as the character is quite dramatic and passionate, with her intentions often hidden in shadow. next, the deadly nightshade - atropa belladonna - has a lot of mythological associations, a lot to do with poisoning, as the flower is toxic. the flowers bloom at night (another reason why i picked a nighttime backdrop for "summer") and also outwardly match rue's dark design scheme, as the cherry on top. yellow roses, at the bottom of her frame, are the archetypal flower depicting jealousy (as with many yellow flowers are), and at one point in the story, rue only wished for her own happiness at the misfortune of others.

- autumn: douglas fir needles, orange calla lily - autumn is another season of change - although much more tumultuous, as this season is traditionally taken to prepare for a long winter ahead - fitting for fakir as the role of the storyteller. the douglas fir is not a flower of course, but is a tree - with many different parts of this tree offering many benefits in advance of the winter season. i wanted the versatile nature of the douglas fir to reflect on fakir's dependable personality. next up, the calla lily is a flower with a dual meaning - on one hand you have life, on the other you have death. a storyteller quite literally can grant both at the tip of their fingers.

- winter: birch tree, snowdrop - winter is a rather still and unchanging season, a lull in the passage of time. this symbolizes mytho's passive nature at the start of the series, especially with his doleful pose here, as if almost in hibernation. to contrast, mytho is perched on the branches of a birch tree, which means new beginnings and renewal - as mytho is one of the characters that undergo the most change throughout the series (i'd argue the most?), regaining pieces of his heart. under mytho's frame is the snowdrop flower - and if you've read my witch hat atelier: seasons piece symbolisms, one of the snowdrop's meanings is rebirth, with connotations to the bible, bringing hope, when all had forsaken eve. the snowdrop is one of the first flowers to bloom even when the snow has not yet fully melted, further echoing mytho as an analogy for rebirth.

[floccinaucinihilipilificationa]

[canisalbus]

What if I told you that RoobrickMarine went and wrote an entire novella starring my 16th century dog couple? It's very canon-adjacent, well researched and thoughtfully put together, has inspired me a ton during these past months and it's now publicly available at AO3. I highly recommend it.

✦ Separation ✦

[the-woman-upstairs]

Really fucked up that, when they’re young, Patrick and Art are SO tactile with each other, so comfortable sharing the same space. Art lets Patrick touch him and move him and physically overwhelm him and easily acquiesces to it, if not outright enjoys it.

Then in the present, they’ve been so far out of each other’s orbit for so long, held such animosity that when they have their moment alone in the sauna, Art physically recoils from Patrick’s close proximity! It’s so painful to watch because even as Patrick’s goading him, it’s so obvious he wants to be able to get back into Art’s space. But Art has erected all these walls around himself, he refuses to give Patrick an inch or even admit to missing how close they used to be!

AND THEN we see Art and Tashi later and he wants her to hold him, to be gentle with him, and just TOUCH him. Like, he does miss that kind of close physical contact! He either doesn’t know how to ask for it or is uncomfortable being that openly vulnerable. Worth noting that he pretty much always defers to Tashi in regard to initiating physical intimacy (with their first kiss, though he does state his desire, SHE has to be the one to make the first move). And it seems pretty obvious that Tashi herself isn’t comfortable providing that intimacy, whereas Patrick actively seeks to provide it (the hug/forehead kiss after their win together in the early years, dragging the stool closer to him).

Art has tried very hard to act like he doesn’t need physical affection and even though his discipline and devotion to Tashi has made him a stronger tennis player, it’s made him a hollow person, which, in turn, has kept him from becoming a GREAT tennis player.

All of this, of course, is why the ending hits so damn hard.

[ruporas]

green haired guy that has haunted my character types for 10+ years

[heartorbit]

heartbeat

[ranna-alga]

"Do the Evolution" - Pearl Jam

[arielluva]

tried my best to draw in the official art style :33

little progress gif under the cut

[dearsaintavangeline]

tim drake explaining why he should be robin:

[suja-janee]

I don’t really take them too seriously but here’s (almost) all my kny ocs that aren’t fan children of the hashira or any of the main cast.

I know kny takes place during the taisho period in Japan so most of my characters being of mixed race makes little sense but the way I see it, if Mitsuri can have pink and green hair or practically half of the hashira have blue/ purple highlights in their hair- then there’s no issue making them mixed 🤷‍♀️

I dunno, I think some folks on insta take this too seriously

[antennatoheaven]

i don't care that there's a murderbot tv show in the works. it should have been animated instead

[stealingyourbones]

Submitted Prompts #144

*shakes a bag of bird skulls I found in the woodsI and places it on your desk like it's a bag of gold*

I had an idea:

What if the Fenton parents are, in fact very competent Hunters, but they love their children more than their work?

Say the first shot Maddie ever fired at Phanton actually lands, and the scream he makes sounds too much like Danny's voice, to a point even with any ghostly distortion, his own still recognizes the voice.

I can see her pulling Jack to the side, making a ruckus about how the "darn ghost got away just as her blaster ran out of juice". Mostly as a way to get Danny her darling son to leave and go somewhere safe, while his parents have a whole breakdown in the GAV about their dead son.

And so begins the stealthy studies on how Phantom's "human disguise" works, the Revelation of Horrible Truth, keeping tabs on Danny's growth and revising their whole attitude on Ghosts to account for the fact that Danny himself is, at least in some part, a Ghost himself, but all he's done is live his life (and be the little hero Mom always said he'd grow up to be).

Jazz stumbles across his secret and is immediately pulled aside to join the secret "Protect the Baby Ghost" family group chat.

"And what about all the times they shot at him in canon" I hear you ask?

They're damn good shots, but while Maddie can train herself to aim just so that the shot misses just enough it looks like Phantom dodged it, Jack has the Fenton Bazooka outfitted with a tracking HUD that purposely fails to hit everyone's favorite Ghost Boy.

Danny picks up on that, but not on the fact that They Know.

And so begins the single most convoluted training arc ever.

Next time Skulker's in town, Phantom has become untouchable. Not a single shot or electrified net reaches it's target.

(The electrified weapons in particular send the Fentons into a rage when Sam and Tucker finally can't keep hiding it, and come clean about what happened, since the Fentons have proven themselves to be trustworthy)

When Red Huntress comes about, and Valerie Grey becomes barely a distant acquaintance after having only just now started becoming more than a friend, and with the GIW sniffing about, Maddie and Jack pull Danny to sit between them and finally tell him they know, and they want to prove that they'll love him just as much as before, whether Human or Ghost.

Danny breaks down in the safety of his family's love, and takes some time off as Phantom to help his parents establish a proper line of communication with the Ancients, considering they've kinda adopted themselves into the roles of Aunts and Uncles towards their little Ghostling.

Which is a good thing, because in Phantom's absence the GIW make a giant spectacle of destroying several houses while chasing some blob ghosts. They're chased out of town by brick, stone and metal bat.

Next time Red Huntress actually manages to hurt Danny, the Fentons pack up and leave. The Portal can be transported somewhere else. It can be rebuilt.

Their baby boy can't be rebuilt, no matter how much he likes to be a little shit and ignore Reality to quote Shakespeare at his own head (thank you Mr Lancer, for not giving up on him) or "give them a hand".

As Fenton takes the last tour of Amity, Phantom disappears. The Protal has been left seemingly unguarded.

The Ghosts decide to have one last hurrah in Anity Park before Danny closes the Portal, as per their deal. They won't hurt anyone, just cause chaos, but in return Phantom won't stop them. It's not like poor Red has the energy to chase them down, now that she's been "upgraded" into Amity's sole defender (the one time Lancer compares her new lack of sleep to Danny's, horrifying pieces start lining up too well in her mind)

The Fentons move out. Into a quiet farm neighbouring the land that belongs to the delightful couple that are the Kents, and their darling son, little Clark, who stares at Danny mildly horrified whenever he comes by to babysit, or help out with fixing the stubborn tractor. One day under Danny's clever hands, and Jonathan Kent's eagle-eyed gaze, and that damned tractor has never worked so well before. The boy's alright in the old man's eyes, and he makes sure they kid knows it.

After quiet rooftop admissions of one small boy's growing powers (I know Adult Clark is a brick house of a man, but what if he was a little twig while young) and the reveal of Something More Than Human from his honorary older brother, the course of Time sets into it's best version, and an Old Clock smiles, as Superman rises, only to be scolded by Spectre for recklessness.

(Dunno how well it came across, but I'm envisioning Valerie's feelings towards Danny to go from bitter resignation because she " had to" push him away, to horrified despair when the truth starts falling into place. He's her "the one that got away". And it's not like she gave him much of a reason to trust her with his secrets.

Maybe older and wiser Red Huntress gets invited to the Justice League, and has to deal with not just Fenton, but also Phantom flirting with her, after a good long conversation on how dumb they both were as kids, and a mutual vow of "I think I can do better now, and I want to prove it to you")

[slfcare]

Do you have any advice on doing it scared? I'm so scared all the time, i avoid doing anything that would make me more scared, but its the only advice anyone has ever given me. Your post hints you figured it out, somewhat? Do you have any further wisdom to pass?

I had to stop seeing fear as something I could run away from. Think of the situation you're in as a large, boxed room, and you're standing in front of the door to that room. You have to enter through the door, because you have to experience the situation to get to that room's exit (which is on the other side), and move on. Your fear is like the key to both doors - the entry as well as the exit. The thing is, it's a heavy key. For some reason, it's uncomfortable in your hands, and you know that opening the door would take a monumental amount of effort. You also feel like it's unfair that your rooms are locked at all, because other people don't even need keys. At least, you don't see them use any. If you wanted to, you could drop the key and turn around and forget about the room altogether, but you don't want that - because then you wouldn't be moving forward. You'd also rather open the door without the key, but to get to a situation where you no longer run into locked doors at all, you need to unlock this one, first. I started seeing it that way. My fear used to be a heavy key that I was embarrassed to need, but my unwillingness to stay where I was forever convinced me to bother, anyway. Later, my fear became a lighter key, and then a keypad, and now it's somewhat of a finger print ID. Most importantly, my fear is not what stops me, but like security if you really think about it. However much it annoys me, feels like it hinders me or embarrasses me at times, its most important function is that it's a tool that I use to open doors. I'm trying to forget others' lack of security systems and intricate doors, and focus on opening mine however I need to so I can move forward. Because that's the point. Moving forward. This makes perfect sense in my head but it might not in yours (it already feels really odd trying to put it into words so I wouldn't be surprised), but I really hope you get the gist ♡ Fear = tool!

[jumpscart]

TBOB has actually really interesting insights onto Bill's character and his relationship with Ford/how he sees himself in him

bc now we know that Bill actually DIDNT want to destroy his home dimension, and had a family he cared about... but then after that, he fell in with a crowd (his Henchmaniacs) that were all angry and spiteful towards their worlds, and had no families (they are all either orphans or hate their families), and they hear that Bill destroyed his 'oppressors', and for the first time in his life Bill hears "wow your differences actually make you COOL and HELPFUL"

and over time 'revenge' starts to mean 'blowing up anyone that doesn't like us' and 'accidentally destroyed his dimension' becomes 'liberated his dimension' and 'i have no one' becomes 'i dont need anyone!'- but the nightmare dimension is Unstable and falling apart and Bill has to Keep The Party Going or else he loses all his coolness and all his power

And then he tries and tries to manipulate people into building the portal but it all fails bc he actually sucks until he meets Stanford Pines, who is so easy to manipulate because Bill knows exactly what he wants to hear because its what he himself wanted to hear...and Ford is bitter and vengeful and that makes Bill start to consider him as more than a pawn, possibly even a henchmaniac, he tells him about how DEVASTATED he was to lose his home dimension, even if he went 'no contact' with them and was an outcast and an Other, he still misses home...

...and so when ford finds out the portal will destroy his home, of COURSE he turns around and thinks about his family, even though he 'doesnt have anyone'. Bill expects Ford to enable him, as all the other henchmaniacs did, but Ford stands up to him and it triggers Bill so badly because he sees this man as basically who he was at the beginning and it challenges the image of himself he's built in his mind, because he KNOWS back then that he wouldnt have destroyed his own dimension on purpose! And the only thing he knows how to do anymore is to crush anything that hurts him, because unlike anyone else Ford is able to hurt him.

and thats why he needs to be in therapy for basically forever

[rendevok]

your narumitsu art made me weep with joy and I heard you want more requests 👀

idk if this is the right place to put them but I think phoenix coming with miles to try on his glasses for the first time would be sweet :,) miles asking how they look and phoenix being just smitten. the good stuff

Dear anon… you sure know how to pick em! Things got very out of hand very quickly while drawing, and well. You inspired me to draft a comic! I didn’t want to make you wait long, so here are the sketches for the pages relevant to your request <3

Thanks so much, and hope you enjoy~! 💜