#i thought about putting the text all in like actual font

[ganondoodle]

(new totk rewritten- PREVIEW)

since this stuff takes a long while to think out, design and write .. heres a preview of the arm abilities ( just rauru edition for now)

the shiekah one and spirit abilities im still working on though i know what each does and how it looks/works, just gotta draw and write it all

i will add a detailed description on the full post once i have everything for it regarding the abilities

[mercurygguk]

head over skates · jjk ; part iii.

··· SUMMARY; jeon jungkook is the captain of the hockey team and one of the biggest fuckboys on campus. you happen to have known him for as long as you can remember but he is not who he used to be and you simply can’t stand it.

so what happens when you’re suddenly stuck doing a project with him for three weeks?

SERIES MASTERLIST · # TAG · MOOD BOARDS · PLAYLIST

PAIRING; hockey player!jungkook x f. reader

GENRE; fwb au, childhood friends to enemies to lovers au, college au

WORDCOUNT; 1,255

RATING; 18+

WARNINGS; swearing, a teeny tiny little tension but also, jk is being very sweet :(

a/n; part 3!!! i love doing this little series bc it's so easy to write when the chapters aren't so long <3 i hope all of you enjoy it too despite the fact that it's not a very long read! lmk what you think! ty for reading xx

You didn’t text Jungkook back.

No matter how tempted you were when he tried to bribe you with iced americano – your favorite (which he remembered).

Instead you took it upon yourself and started working on the project without him. Your gut is telling you that he won’t be adding much to the group work nor will he invest the time and energy in it. There’s no reason to wait around for him to actually care about the project when you know that ‘caring’ isn’t one of his primary traits. It used to be but not anymore – if he still cared, he wouldn’t have abandoned your friendship the way he did.

Besides, it’s not like you mind. 

You’ll gladly put his name on the finished product if it means you’ll be rid of him and his flirty, cocky behavior. It’ll only make the process easier and you’ll be able to do it just the way you want. If anything, Jungkook should be grateful that you’re willing to do this on your own and just add his name. Normally you wouldn’t do something like this but you just can’t stand being stuck doing group work with him for three weeks.

Jihyo is right though – it is time to move past it but you can’t. Not yet.

You haven’t spoken to Jungkook in 5 years – that’s sixty months of spite and aggravation that has affected you way more than you would’ve liked. Like you said, you’re not one to hold grudges against people but this particular grudge has been sitting in the back of your mind for half a decade and while you’d love to be able to just let it go, you can’t.

You’re pulled from your thoughts when your phone buzzes due to an incoming text. You reach for it to take a look, your face instantly twisting in annoyance when you realize who’s texting you.

[11:07 AM] Jeon🤬👊🏼: whatcha doing? ;)

You swipe it, removing it from your lock screen before returning your focus to your laptop and the project at hand. You let out a soft sigh and rest your chin in your palm as you play around with the font of the text – Times New Roman suddenly has a whole other meaning after Jungkook’s name was written next to yours the other day.

"It’s good to know your phone works.”

“Oh my god!”

Startled by the low and deep voice right next to your ear, you jump in your seat and turn around with widened eyes. Dark brown eyes with a mischievous glint in them are staring back at you, an amused grin on pink lips as well. You take notice of the two iced americanos in his hand before you’re scowling at your former friend turned stranger.

“What are you doing here?”

“I’m here to do the project,” Jungkook tells you and holds up the beverages. “I brought drinks.”

“How did you know I was here?” You can’t help but ask, wondering how he managed to locate you. The library isn’t exactly one of the places on campus Jeon Jungkook frequents the most. You’d know since you spent a lot of time here. 

He shrugs, “I saw you when I walked by, went and got these,” he places the iced americanos onto the table, “and came back to join you.”

You gape at him for a moment as he pulls a chair out and takes a seat next to you, not a word of protest leaving you because you’re simply speechless once again. He actually got you iced americano and he genuinely wants to do the project. 

Something doesn’t seem right.

Jungkook glances at you with a smirk when he’s met by silence, “what? Surprised that I actually do my school work?”

You shake yourself off your speechlessness and shrug as nonchalantly as possible, “something like that.”

“I see you took a head start,” he nods to your laptop with a chuckle as he pulls his own out of his backpack. That fucking chunky, black backpack he’s had since high school. Back then you wondered what he carried around in it and every time you asked him, he would only shrug and grin. 

Teen boys and their mysterious behavior.

And just for a brief moment, you see your best friend from high school in front of you, sitting here next to you like back in the day – boyish grin and that same glint in his eye. He looks the same and it’s messing with your head because back then you were crushing hard on him. Jungkook has always dominated that casual, boyish charm and look and today is no different. He’s wearing an oversized white Nike t-shirt and black track pants from the same brand. There’s a yellow beanie on top of his head to tame his messy hair. For all you know, he could’ve gotten straight out of bed and gone to campus after throwing on the first outfit he could find – simple, casual, flattering.

The only difference is the two lip rings and the full sleeve of tattoos.

“Yeah, about that,” you start, shooting him a fake, over-friendly smile. “Don't worry about it – I’ll do the project and just add your name before handing it in.”

Jungkook blinks at you for a moment before recovering, his eyebrows furrowed in confusion, “why? You're scared I’ll fuck it up or some shit?”

You shake your head, “no, I just prefer working alone.”

“You always do projects with Jihyo though,” he points out, squinting his eyes at you.

“That’s different.”

“Is it? Or are you just saying that because I’m your partner?” He challenges.

How do you tell a guy who’s so used to getting his way and having people go out of their way to make sure he’s happy that you don’t want him as your project partner? That you’d rather do an important project that’s meant to be done in pairs by yourself and risk the possibility of getting stressed out just because you got paired up with him? 

“If I’m being honest, yes,” you tell him, not taking a moment to rethink your choice to confront him but just blurting it out instead. “I would rather work myself into the ground than do group work with you. So if you don’t mind…”

Jungkook cocks an eyebrow as you do a gesture with your hands as if to shoo him away. He looks rather unbothered though, not moving an inch either. He stares at you for a second and if you didn’t know any better, you would almost assume he’s silently challenging you to try again, to tell him off and ‘shoo’ him away like a fucking bird. 

You don’t.

You stare back at him, your face not showing an ounce of anything as you patiently wait for him to get up and leave.

He doesn’t.

Instead the corners of his mouth curls into a faint smirk as he reaches for one of the iced americanos and slides it towards you. He then grabs the other one and turns to his laptop, silently sipping on his beverage while getting to work on the project.

You feel your blood starting to boil a little but you don’t give him the satisfaction of a reaction. Instead, you pointedly snatch up the iced americano, once again turning your focus to the project at hand. You feel his eyes on you but you keep your eyes on your laptop screen, acting as if his presence isn’t affecting you or bothering you in any way.

You then give in and take a sip of the coffee.

Damn it… 

It’s a really good iced americano.

[54625]

With the upcoming Fit lore later today, I figured it may be useful to transcribe his earlier lore drops for those of you who may not have been there, or want a refresher. These were attempts to contact the contractor to relay information, and happened before the dreams.

-First attempt-

(Text appears on screen.

CONNECTING...

BYPASSING FEDERATION FIREWALL

ATTEMPT FAILED

ERROR)

Fit- Hello, it's me.

Fit- Sorry I've been taking my sweet time.

Fit- I've been busy...

Fit- We need to pivot from our original plan.

Fit- I've adopted a son, and I've been caring for him.

Fit- I've grown attached to him, so he's been my priority.

Fit- Being a single dad is a challenge at times.

Fit- But it's much easier than the nomadic lifestyle.

Fit- Life here is very different from the wasteland.

Fit- But I haven't forgotten our agreement.

Fit- I will fullfil my contractual obligations.

Fit- They're still falling for the whole "vacation" thing.

Fit- I ask that you be patient though, as we have a problem.

Fit- Something called "The Federation" controls this entire island.

Fit- They've been keeping us here.

Fit- As long as they are in the way, I can't access what you are looking for.

Fit- And the anti-cheat on the island is strong.

Fit- I haven't been able to use my abilities.

Fit- The Federation must be eliminated for this to succeed.

Fit- I've gained everyone's trust and made friends...

Fit- I've been helping their fight against the Federation in order to advance our plan.

Fit- Still... It hurts me to see everyone suffering...

Fit- Some have lost things they cared about...

Fit- But this struggle is an unfortunate necessity...

Fit- The conflict is increasing the value of what you seek...

Fit- I know you're paying me...

Fit- But have you considered......

...the true cost?

Fit- regardless of my personal feelings, I'll slowly move the plan forward.

Fit- I hope you find what you're looking for.*

Fit- It's getting late...*

MESSAGE FAILED TO SEND

Disconnecting....

*(it is worth noting that these are messages Fit had previously sent in the Minecraft global chat in that odd font.)

-Second attempt-

(Text appears on screen.

CONNECTING...

BYPASSING FEDERATION FIREWALL)

Fit- Checking in.

Fit- I am messaging you again to keep you updated on my progress.

Fit- The Federation still has full control of the island.

Fit- They've been putting on some strange election....

Fit- I'm assuming to keep everyone occupied.

Fit- However, it seems they've let a vulnerability slip.

Fit- Player data and statistics are being tracked.

Fit- The Federation must have this data stored somewhere on the island.

Fit- If I had to guess, it's likely the computer system of the Federation offices.

Fit- If I tried to break in and access the data, they would likely capture me...

Fit- It would not end well.

Fit- However, whoever wins this election will likely have open access.

Fit- Perhaps they could be persuaded... Or tricked into giving us access.

Fit- I will fullfil the contract.

Fit- And yet... I'm starting to wonder....

Fit- What are you actually trying to achieve?

Fit- Even if I can access the data, what good would it do?

Fit- I'm skeptical, but I hope to hear from you soon........

(This island...... Is worse than I thought....)

(Text appears on screen.

Windows XP

Task failed successfully.

[OK] )

(A cinematic showing various scenes from QSMP and 2B2T play. All the images from the former are in full colour, while all the images from the latter are in black and white. A video of a capybara eating grass plays. It is in black and white.)

If I left anything particularly important out, let me know!

[taylor-titmouse]

Julia is sick of working late. She's sick of being disrespected, and most of all she's sick of her boss. Lance is a burned out, smooth-talking playboy, but he also happens to be the son of the CEO.  When Lance pushes her buttons once too often, Julia is tempted to put him in his place – but is it worth throwing away her career for a moment of satisfaction? Content: -F/M -dom -degradation -small penis humiliation -directed masturbation -power play 5k words,  EPUB and PDF format Only $3, Releases later tonight! you can go read the first two pages on the shop page!

i've mentioned a couple times now that my editor and the author of roger crenshaw: the dogs at duskfall @mortalityplays is now available for freelance work for people other than me, but i don't think i've made as big of a deal how he's ALSO going to start releasing his own smut shorts on the last friday of every month! he is SUCH a talented writer on top of being an excellent editor and it's my absolute delight to work with him on the cover for his first release. FINALLY i have a great answer when asked "is there anyone else writing smut like you?"

and since this was the first time in a while i went through a cover design process that wasn't just me making one for myself, i thought i would go into how it went!

The Prompt

R/L wanted something that didn't visually describe the characters, because he had deliberately avoided that himself in the text. these characters are archetypes, ideas of characters: a woman who works in an office and her playboy burnout boss. for an erotic fantasy scenario, not going into detail can be ideal, as it allows the reader to project their own fantasies onto the characters. but what does that mean for a cover, when showing off the characters is often the point?

The Thumbnails

it means silhouettes, babie! if you're a reader of romance you've probably seen this approach a few times. silhouettes allow you to give the impression of a character without actually specifying them. HOWEVER! that can only go so far. note the female silhouettes in the left and right thumbnails--one with a pony tail, one with her hair down. these two very minor design elements say completely different things about the character, and pin her design down into something specific. (there is a whole line of feminist thought about this, that there is no such thing as an "unmarked" woman, or rather a woman whose presentation does not say something about her, ie a woman not wearing makeup is not perceived as neutral the way a man not wearing makeup is).

so anyway including her in the cover in full doesn't work for the prompt, because how she wears her hair or how she dresses would say something about her that we don't want to say. thus: we chose the middle design!

a man in a shirt and tie are super archetypal, and """neutral""" enough to not say anything specific about lance, our male protagonist, other than he has a job and is of average size (which are of course not technically truly neutral, but for our purposes, are functional as symbols). and while a long, narrow, leg does still say something about julia, it is abstracted enough to simply represent the concept of "woman" without projecting an overall image of her in the reader's head. she has a leg, and she wears high heels. that's all you get!

The Sketch

now we can move on to the sketch stage! this is the point at which the palette and text are figured out. i tried a few fonts before landing on one that had the retro paperback all-caps feel that i liked, and i used what i believe to have been a risograph print texture from retrosupply.

we went with the text up top rather than at the bottom, because it lends weight to the shoe and balances out the blacks in the pants. it also allows the figure to take up more of the cover, which is ideal. honestly, not a whole lot to say about this bit that i didn't cover in thumbnails: which is the point of doing thumbnails in the first place!

The Finish

well you can just scroll up to see that one. the final colors ended up a little less saturated, a little cooler, to bring it home to the retro paperback look i was going for and tie the colors together. i'm very pleased with it and had a lot of fun. cover design is one of my favorite parts of putting out books, and it was especially fun working with someone else to bring their vision to life.

anyway, you should go buy this book! it's only three dollars and i want to make more covers for these! your purchases would prove that i am a very good investment as a cover artist >:)

[swallowerofdharma]

Yashiro’s Cruel God part one

Disclaimer: this post contains a detailed and straightforward analysis of chapter 25. Doumeki isn’t the villain, if you were worried about that. Actually I must apologize because I wanted to talk about him too, but as usual I started this meta with Yashiro and got carried away. This is also why I am dividing it in parts to avoid having a very very long post. So other parts will hopefully follow to fully elaborate the premise I made. Thank you for understanding. And please take care of your wellbeing, if mentioning Yashiro’s stepfather upset you, maybe skip this one.

Premise: not a matter of perfection but of balance

This person I followed reblogged the Declarations of healthy adulthood by David Richo in big big font and - having only one thought on my mind apparently - I read all that text in Yashiro’s POV. I actually don’t think that this is a perfect model or anything, and I am generally skeptical of self help books (I only assume this is something like it), but why not use this as an example, while considering something that I find interesting about Yashiro and Doumeki? During the discussion about the latest chapter, I said something along the lines of Doumeki representing young love, while Yashiro’s approach has been more mature, and I meant it thinking about Yashiro being aware and cautious about hurting others [and being intentional when he does, since he put a bullet in Doumeki’s leg] and being quite self reliant, and yes I know that he is also afraid of being hurt/loved! in previous posts here, I have mentioned that Yashiro’s acceptance of his past is only-in-part denial or downplaying of trauma, because it has been also a strategy and an impressive sign of his maturity and determination to live in the present. Isn’t it exceptional that Yashiro doesn’t seem all that resentful of his parents? That he openly says that he doesn’t blame others? We have to confront his words always mindful of the fact that he usually is an unreliable narrator, but in many instances he says the truth or half truths and his demeanor confirmed that he did some of what David Richo proposes: I accept full responsibility for the shape my life has taken; I accept that I may never feel I am receiving - or have received - all the attention I seek; One by one, I drop every expectation of people and things; I let go of blame, regret, vengeance, and the infantile desire to punish those who hurt or reject me; No one can or needs to bail me out. I am not entitled to be taken care of by anyone or anything, I let go of control without losing control.

I thought that it was very interesting to consider the Yashiro/Doumeki dynamics from different angles, like older/younger, or even realist/romantic, for example. The point of this experiment isn’t to make a comparison of merit nor to talk about a character in better light than another. Maybe those differences need to be confronted or balanced: for example the realist maybe needs some of the romantic’s idealism to soar and not be stuck on the ground. Yoneda-san might be onto something so human and amazing here. An important clarification is due before saying anything else. As characters that are written as full human beings, with their complexity and contradictions, Yashiro and Doumeki can’t be put neatly into the opposite categories I proposed. The story is much more dynamic, so I ask you to take a further step and put those opposites at the ends of a spectrum and to move our characters freely in both directions. Yashiro tends toward being effectively the older and more realistic one but he has traits that make him move down towards the other end too, even to the extreme of being childish. Consider for example these other statements, from the Declarations of healthy adulthood: I need never fear my own truth, powers, fantasies wishes, thoughts, sexuality, dreams, or ghosts; When change and growth scare me, I still choose them. I may act with fear, but never because of it; I am still safe when I cease following the rules my parents (or others) set for me; If people knew me as I really am, they would love me for being human like them. These points clearly demonstrate Yashiro’s unresolved problems, where he is stuck if you want, and why probably nobody believed me when I pointed at him as being mature (eh, he has his moments tho, you can’t deny that).

I challenge everyone to consider that those four points in particular are quite challenging for most people in general, but particularly so for someone who has fear/betrayal as the foundational principle in their childhood instead of a normal amount even a scarse amount of parental love/safety. And I want to underline childhood here, not teenage years or later.

I need never fear my own truth, powers, fantasies wishes, thoughts, sexuality, dreams, or ghosts. Yashiro here is a mix of contradictions, because he outwardly seems to own those things, even making them a point of his persona, but most of those things are based on the lies he told himself, or his stepfather told him: see this other point

I am still safe when I cease following the rules my parents (or others) set for me. Isn’t this statement extremely helpful to understand Yashiro’s situation? To feel safe he had to build his personality according to the rules of the one who had all the power over him and had already taken away any sense of security from him. This is probably one of those things that can be hard to understand when you have never been there. Most notably, not only in the manga this has been pointed out, but it has been pointed out by Yashiro himself. He is self conscious of this, he knows that he lied to himself as a child, that he had to, and he is constantly choosing to continue lying because that is still the only foundation he has. There was no familial love, no other relative safety. Letting go of the lies actually means going to pieces and breaking down.

This isn’t different from what happens to people who are tortured. Yashiro’s father completely took away any sense of security and safety. The aggravating circumstances were that Yashiro as a child didn’t have any other point of reference or knowledge to understand what was happening with his body and in that state of mind what his father told him had to be the only truth possible. Parents who abuse their children most often don’t even realize what they are doing to its full extent. That’s the immense cruelty of these types of situations. The rules are lies, but the lies are rules to follow to be safe:

You like it when it hurts, right? If it doesn’t hurt, I can’t get into it.

What happened in chapter 25: why now?

Yashiro didn’t want to have sex with Doumeki and said so repeatedly. Doumeki has grown on him, behind liking his physical appearance or using him as a substitute for Kageyama: Yashiro truly liked this person and he liked that Doumeki was impotent. Thanks to that, Yashiro grew comfortable around Doumeki and with comfort and safety comes familiarity. When Yashiro discovered that the impotence was gone, he was angry and terrified. They had become too close and now the premise has changed and Yashiro couldn’t trust Doumeki or himself anymore. I won’t analyze here the scene in the shower but I’ll skip to the point. Doumeki only understood that his love was required, that he was wanted and stopped thinking. He acted passionately like any young person who had a normal foundation in love would. He didn’t understand anything that Yashiro asked or why there were mixed signals and what it all meant. He pushed and hurt and broke without being aware of what he was doing.

And Yashiro was trapped in a situation he had tried to escape from his all life: with a person who felt familiar, a person he loved and relied on, in the safety of a home, who wanted sex and was going to do what he wanted regardless of what Yashiro had to say. Yashiro desperately tried to control what was happening through usual patterns, making it hurt, asking Doumeki to do from behind, detaching the sex from his emotions, but he couldn’t and for the first time in his life sex was different from what he knew, because while Yashiro had loved his stepfather, his father didn’t love him and he didn’t treat him like Doumeki did. And every lies built around his father’s abuse came to the surface. Including the fact that his father never loved him. Doumeki broke him indeed because he broke through the lies/rules upon which Yashiro had intentionally built his entire personality/safety. And he wasn’t ready for it, he specifically said he didn’t want it, he had known all along, he already knew when men before Doumeki tried to make love to him and when he built a strategy to specifically avoid being confronted with those lies/rules. He didn’t love those men. He did love Doumeki though. But once again Yashiro didn’t have a choice. And he was physically hurt and recovering after being shot and knowing his life was in danger outside of that room. He had just discovered that Doumeki lied about being impotent the previous time he touched him in the car and before that. It was probably the worst timing possible for making love. At some point Yashiro grew resigned and even reciprocated a little, reaching for Doumeki, caressing his face, and he even reassured him before he fell asleep. There were words that Doumeki said that Yoneda didn’t disclose fully, choosing instead to immediately took us in the flashback with Yashiro. I think it is probable that what Doumeki said was something that Yashiro’s father had said and that we are going to confront before the end of the manga. I personally want to know these words more than what Yashiro said while an airplane passed by and Doumeki was unconscious. Morbid maybe on my part.

I have stated that I am not going to make Doumeki a villain here. The point of this analysis is just to see where Doumeki was in terms of maturity. To be continued…

[astralynx]

I figured out how to rip DOTDD Models and now I'm teaching you! (plus uploading mine)

^ download these things onto your computer devices anytime!

Last summer I spiraled into insanity trying to figure out and eventually gave up so now that I know I'm saving you the trouble! I've also put all of my rips into a drive folder here that contains most of the notable npcs + playable characters but I'm planning on submitting them to modeler's resource when I have the time.

Final disclaimer: i also don't know much about ripping / romhacking / blender / computers in general but I thought it would be nice to put up what I've figured out anyway. I've also never actually written a guide to anything before so uh. i hope this is clear enough. Now finally onto the tutorial itself!

You'll need: tinke / apicula / a dotdd rom (not important if its in english or not but if you want like some of the translated ui elements / fonts you might wanna use a ver w the fantranslation patch) / and (optionally) blender or whatever other 3d modeling software that can read .dae files so you can actually do stuff with these.

First is to launch Tinke and load in your dotdd rom, you'll then be met with this menu. the models are contained under the "mdl" tab

each of these have different things but you'll probably care about mb (major npcs) and pc (player characters) and also mn (familiars). also using this to say that tinke is a. very finnicky program so sometimes stuff will just Not Work. sorry about that. anyway.

Once you're in you can start looking for whatever model (.n3d file) you want, unfortunately the models aren't named clearly so you'll have to open them to see what they are. You can do this by selecting the .n3d file and clicking "unpack" which will open a .bmd0 file with a yellow box icon, you'll need to unpack that file one more time to actually be able to open the file it gives you after that in the viewer / export it

When you get the second unpacking (which should be a .bmd0 file with a mostly green drawing for the icon), you can open it in the viewer and it'll look like this!

sorry any file you open that has a skeleton will look like that. I have been informed that sometimes ds games just store their models like this and it has no affect on the model when its exported so. lets just move on. Also sometimes tinke will give you an error that will stop you from opening the viewer properly but it will (most of the time) let you see the textures fine so you can double check (and even if it doesn't we have a workaround coming up soon)

Next big step is to set up apicula! When you download it, the program can't run by itself. You will need to create two text files, one named "apicula view nsbxx_files" and "apicula convert nsbxx_files -o dae_files" (no quotation marks) to put in the same folder as the apicula exe. You will then rename these .txt files into .bat files and you'll use these to actually "run" the program. You'll also make a folder alongisde those called nsbxx_files. It should look like this at the end

Back to tinke, you'll take the viewable .bmd0 model you want to export and click "extract" and I usually put mine directly into the nsbxx folder in my apicula folder for convenience sake. double clicking the "view" .bat will put the models into a viewer that I like to use as a final double check (and also what you can use if tinke's preview is giving you trouble). Its WASD to move and Q and E to lower / raise the camera

to actually convert the file, double click the "convert" .bat file and it will create a new folder named "dae_files" and inside will be your model and its textures in a .dae folder that you can read in blender and contains its skeleton!

PLEASE NOTE!!!! that apicula can only read / convert one file at a time! this means that it will just use the topmost file in the nsbxx folder and if you'll have to delete the dae folder every time once your done with it so it can run properly again. so just make sure you move your converted files somewhere else before you do. but now you'll have a model to put into blender!

the tutorial is technically "done" now but I'm gonna share how to set up these models in blender (which for the sake of explaining i'm gonna assume you don't know much about). When you first load in the models you'll have to "turn on" their textures using the drop down arrow in the menu on the top right corner of the 3d viewport and turn on these settings (while still selecting the solid circle tab)

Secondly, Many of them use transparent elements in their textures that blender doesn't like to load without some help

you can fix this by expanding the menu on the bottom of the screen and clicking the clock icon to turn it into the "shader editor" tab

Then, you'll select your model and go to the "base color" node in the shader editor, go down to the "alpha" tab and set it to "pre-mutliply" and it should remove the white lines around the transparent elements!

That's all from me! if you have any questions you can reply to this post / send me an ask or dm or whatever and I'll try my best to help! happy ripping!

[keystonepublishing]

The Purim of the Philosophers by Jonathan Edelstein

Jonathan Edelstein has cropped-up in this blog for several times now, and not without good reason. I knew him from almost a decade ago on an internet forum and his stories - short and long-form - have captivated me by their depth and ingenuity.

So no surprise, I decided to bind yet another short fiction of his. After my first two binds of his work, I actually made a promise to myself to bind two more stories of Jonathan's before the year closes out.

One of them was Of Letters They Are Made, and the other is this: The Purim of the Philosophers.

Set in an alternate France where the Albigensian Crusade went unfinished, the Languedoc is its own kingdom, and the political situation is still explosive, The Purim of the Philosophers tells of a Jewish official sent by the Languedoc king to the city of Marseilles to quell tensions between the Jewish communities, all while the French north is gearing up for another war with the south...

Now, while this all sounds fascinating, I doubt I will remember all the background context in 20 years' time. That was why I decided to write a preface to explain the bewildering history of the region, balancing out the need to explain history with the constraints of a small page.

To be honest, I think there is enough historic oddness about southern France to make an original compendium, but I digress.

As with previous binds, I have a love for filling in pages with images that capture the feel and mood of the story, and this bind is no exception.

Additionally, parts of the tale is told in the form of letter correspondence between the Jewish official and his son, which I formatted using the 1475 Humanistica Cursiva font. I love the old-timiness of the letters so much that I eventually used it for multiple other things in this book, including the chapter headers and title strip.

The main body text is Alegreya, with a large drop cap of Harrington colored red to give an impression of illuminated manuscripts.

And as always with me, I added-in a comments section to preserve what people thought and discussed of this story when it was first published on alternatehistory.com.

But after all of that, I still feel like giving the background stuff of this tale more justice. So with some consultation from the author, I put-in two more sections denoting the main characters of the story and their real-life counterparts, as well as minor Jewish, French, and Occitan terms that were sprinkled throughout the book.

I have to say, it was quite an experience Googling up which terms meant what to a faith that is not really known to the general public east of India. I think I learned more about Judaism in the last 3 weeks than I ever had in the last 5 years, or even 10!

All in all, this bind was one of the more easier ones to make. I would have made this quicker if not for stuff at work and home delaying progress for a bit. I so wish I could make more than 1-2 books a month, but better to have those 1-2 books than no books at all.

[fereldanwench]

i'm still holding off final judgement until the gameplay today, but seeing some stills on twitter kind of helped me solidify what i found so off-putting about the style in the companion trailer

although before i post those, a few counter arguments because i'm already tired of ppl bashing the ppl who aren't vibing with it, and my head is clear enough to put these thoughts down:

"cinematic trailers rarely look like the actual game" - true to a point. however: 1) typically cinematic trailers strive to look like a higher definition version of the game, which seems to be the opposite here. in the case of DAO and DA2, i would say the cinematic trailers actually strived for more realism, not stylization, as that was the trend at the time. 2) this is a cinematic trailer, but it is also done in the game engine so it's not unreasonable to assume that the end product is gonna look somewhat similar 3) this was supposed to be their best foot forward so suddenly going "don't worry, it's gonna look better in-game" is just a bad marketing move. it's not on the audience to give this company the benefit of the doubt (particularly in light of all the shit that has gone down there in the past decade)

"not everything has to be super realistic!" - agreed! not liking elements of this particular style doesn't mean i'm opposed to stylization in DA at all. i think DA2 is much more stylized than DAO, and not only does it look nicer, it looks more distinctly dragon age. DAO visually is also very generic, especially for its time. i still love the almost painterly look of DA2, even all these years later

and i think DAI has issues with the character models, especially the uncanny valley disconnect between the really stiff animations and realistic faces (having played it within the past year, they've aged pretty roughly), but in terms of environment and armor and whatnot, it did build off the style presented in DA2 in a way that effectively modernized it for that era. it did go for a more realistic look, but it was cohesive and still distinctly dragon age

"people reacted like this to DA2 and DAI's trailers too" - no, they did not, lmao. DA2's trailers were the reverse--they looked more realistic than the actual game. now there was some backlash against the stylistic choice in the actual game. i remember david gaider talking about it in a panel at dragon con in 2012--apparently ppl were upset that the companions looked like they were made with cosplayers in mind, which i thought was an interesting criticism. but no, the trailers did not get this sort of response.

and DAI's trailers used a lot of in-game footage, and the cinematic ones were both pretty accurate to the game and well-received by the audience. DAI's marketing was also absolutely bonkers and nonstop for like 9 months before the game was released, which in hindsight i think was way too much, but in terms of visuals, we knew exactly what we were getting.

"you guys just think anything with a style to it looks like fortnite" - lmao, okay, yeah, describing it as fornite is probably unfair and inaccurate, but i know for me, i kind of use it as a shorthand to reflect my general dissatisfaction with the way so many 3D styles (in both games and movies) just have this bland, cartoonish look to them. the pixar-ification of everything. i just don't like it.

and the logo with the bright purple and overly smooth text doesn't really help here either. i think a less saturated and darker purple paired with a grungier font would also help in making this feel like less like fornite season 3458345: dragon age avengers.

plus it was originally gonna be a live service game and i think that it still has some of that dna artistically

SO ANYWAY

these stills, which i think are also in-game engine but im not entirely sure if they're from cinematics, gameplay, or just renders but they seem to be in-line with the trailer:

and seeing emmrich and to a lesser extent neve in these pics solidified why the stylization didn't work for me on a visual level (never mind it being paired with the light-hearted planning-for-a-silly-little-heist vibes)

so when i first saw the trailer, and i saw varric, i was like "nice"

he looked like a higher definition, older version of a DA2/DAI hybrid of his model. he looked really good. i thought harding looked good, too. it did take me a minute to realize who she was, but it really wouldn't be a DA trailer if we weren't left wondering who tf a returning character was lmao (remember the confusion over alistair's appearance in one of the DAI trailers? this is actually tradition now)

but as the trailer goes on, the style doesn't even stay consistent--it just gets progressively more cartoonish right up to emmrich, which is the exact moment that made me go WHAT

he looks like a cartoon character. the hard lines in his face, the stiffness of his hair, his overall proportions--he looks like he should be a villain in a pixar movie. like i'm digging his overall vibe and as a concept of a character design, i love it. but this execution of it next to fellow old wrinkled man varric looks so off

and then we go right into davrin who is beautifully rendered and designed--he doesn't look out of place next to varric or harding

some characters have the soft, wispy hair while others have hair that looks like a hard shell with lines carve into it. some characters have finely detailed wrinkles while others have thick, cartoonish ones. some characters have realistic proportions while others have more exaggerated features.

stylization is only effective when it's purposeful and consistent, and from what i've seen so far, it's not. it's all over the place.

so there's my thesis about why i dont like the art direction in the trailer lmao

and like i've been saying since it dropped, i am reserving full judgment for the gameplay reveal, but based on the other stuff bioware has teased, i'm not expecting this aspect to change too much. i've seen other ppl who were on the fan council thing say the tone in the game is more in-line with the tone in the other games, so maybe that'll help smooth out this disconnect

[vampylily]

Transcription of Fall Out Boy's interview with Rock Sound

Since I was going to read the article anyways, I thought I'd transcribe in case it'll be more accessible to read for others. The interview with Pete and Patrick goes in depth on the topics of tourdust, evolving as a band, So Much (For) Stardust, working with Neal Avron, and more.

Thank you to @nomaptomyowntreasure who kindly shared the photos of the article! Their post is linked here.

PDF link here. (more readable format & font size)

article in text below (and warning for long post.)

Rock Sound Issue #300

WHAT A TIME TO BE ALIVE

WITH THE TRIUMPHANT ‘SO MUCH (FOR) STARDUST’ CAPTURING A WHOLE NEW GENERATION OF FANS, FALL OUT BOY ARE RIDING HIGH, CELEBRATING THEIR PAST WHILE LOOKING TOWARDS A BRIGHT FUTURE. PETE WENTZ AND PATRICK STUMP REFLECT ON RECENT SUCCESSES AND THE LESSONS LEARNED FROM TWO DECADES OF WRITING AND PERFORMING TOGETHER. 

WORDS: James Wilson-Taylor

PHOTOS: Elliott Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show? 

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that  you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We've been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it. 

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There's a new energy to it. There was something that I could hear live that I couldn't hear before. 

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices? 

PETE: There were some lean years where there weren't a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era.

PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. 

PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now. 

You seem generally a lot more comfortable celebrating your past success at this point in your career. 

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that's probably the one I would listen to. But I just never wanted it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally. I think that’s fucking awesome. 

PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. 

One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do, I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this,’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them. 

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then? 

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion, because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band.  

PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout the record where you got these little inklings of who the band really was. We really explored that on ‘From Under the Cork Tree’’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t playing on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the tour of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’. I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day. I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like, ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’ 

On ‘So Much (For) Stardust’ you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off? 

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other…as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time had passed as people but the four of us got on better so we had more to bring to Neal. 

PETE: It’s a little bit like when you return to your parents’ house for the holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. 

He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little bit scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit. 

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From the Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and I want to keep shaping and changing. 

Patrick: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everybody liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from “Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in  ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record. 

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’. 

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it one such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And going that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there. 

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise. 

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had kind of written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. 

PETE: There's irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’  I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool. 

It’s almost no secret that the sound you became most known for in the md-2000s is having something of a commercial revival right now But what is interesting is seeing how bands are building on that sound and changing it. 

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time.  And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who also likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. 

PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. 

PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else. 

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here? 

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you realise that the fans over there are real fans of music It’s really awesome and pretty beautiful. 

PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour…

PETE: This is why me and Patrick work so well together (laughs). 

PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UL, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. 

Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself. 

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen

[greenhorn-art]

to catch a sunbeam with white moonlight

Author: orphan_account [this work has been orphaned and is no longer associated with it's author]

Fandom: 全职高手 | The King's Avatar

Rating: General Audiences

Category: F/M, Gen, M/M

Words: 55,720

At a Glory convention, Dai Yanqi meets Ye Xiu who is helping Su Mucheng buy her favorite doujinshi. They surprisingly hit it off as they browse through all the doujinshi about their peers and talk about Glory.

About the book

FONTS: EB Garamond (body text, title), Roboto (body text - electronic), Bebas Neue (title, headings), Alfie (title), Segoe UI Symbol (scene breaks - 'gear without hub')

IMAGES: Sunflower (Rawpixel, ID: 2687359), lightning (Rawpixel, ID:10200699)

MATERIALS: Domtar Earthchoice (textblock - 20lb, cream, 11x17 cut down to 8.5x11), Recollections paper pad (endpapers - Dark Watercolor Florals), Iris bookcloth (covers - Eggplant), Verona bookcloth (covers - Hot Toffee), Ribbon (covers - 1/4", shell grey), embroidery floss (endbands - 209 Very Dark Lavender), leather cording (endbands - 1.4mm), Ceramcoat acrylic paint (painted edges - metallic silver), Anita's acrylic paint (painted edges - 11038 Purple), Reeves acrylic paint (painted edges - Violet & Crimson & Blue Lake, Payne's Gray), waxed linen thread (sewing textblock - 30/3, white), Books by Hand (glue - pH neutral PVA)

PROGRAMS USED: Affinity Publisher (typesetting), Affinity Designer and Affinity Photo, LibreOffice Writer (QR codes), Bookbinder-JS (PDF imposer)

BINDING STYLE: Split-board binding, French double-core endbands

(Belated) Binderary Book 2024

My first year participating in Binderary and I'm 2/2 with my goals, albeit slightly late (even with the added leap day).

Goal No. 1: Bind a book!

This fic is an orphaned work, with no author available for me to reach out to. Convenient, since it was a last-minute decision.

Goal No. 2: Finish typesetting the fic that got me into this whole bookbinding/fanbinding hobby!

Bad Boys JEDI Style is a 217 chapter, 908k word "comedy of errors: in which our heroes are recruited to film a reality holo-drama". Much to my despair, the fic I loved had been deleted from every site it was uploaded to, and I was left kicking myself for not having downloaded a copy from AO3.

Shout out to Kam and Lofe, whose wonderful Binderary demos were put to use in the making of this book! Kam's French Double-Core endbands demo was super helpful, sizing up the 'textblock' and components made it easy to actually see what's happening with the sewing. Loffe's demo introduced me to the split-board binding technique and, sleep-deprived hiccup notwithstanding, I think I might find it easier then bradel style binding! Need to bind more books to know for sure (such a hardship 😔).

In other new-s, I took my dad's recent workshop baby for a spin. The bookbinding plough works like a dream! I tried a hidden fore-edge painting for the first time (just a solid colour), but the purple is lost under the Payne's Gray basecoat I applied to the silver painted edges. Adding ribbon to the cover was also new (mostly due to the fact that I never remember until the endpapers are already pasted down).

On the Design

Cover

This is a Team Thunderclap!Ye Xiu AU, so the cover was based on Team Thunderclap's uniforms from the donghua (from the one screencap of the team I found, see below): purple across the shoulders and forearms of their jackets with a yellow stripe down the centre. I added silver ribbon as a nod to the white of the jackets as well as the grey gear of the team's logo. Also in reference to the title: yellow=sunlight, silver=moonlight.

Title Page

The title page stumped me for a while. While brainstorming title page design ideas, I thought about what the title means. In English it's poetic but nonsensical, so I wondered if maybe it held some meaning in Chinese?

As it turns out, it does. Kind of. Maybe. (If I stretch and reach for it, it makes sense). According to a quick search of one webpage for each query, "'White Moonlight' usually refers to a person or thing that is elusive in the heart, has always been loved, but cannot be touched" or "an 'unforgettable first love'." The sunbeam itself might be Ye Xiu, the figurative ray of light, the hero, the gaming idol. Or 'catching a sunbeam' could refer to how "sunflowers turn their heads to catch every sunbeam."

The potential meaning I have cobbled together is how Dai Yanqi turns Ye Xiu's head and captures his heart by sharing the (SanXiu-ified) story of Su Muqiu, the aforementioned white moonlight. Is this what the author intended? Who knows. But it does seem plausible enough to inspire me.

I ended up using both the idea of sunflowers and Thunderclap's uniforms (again). Lightning referencing the team's logo, and also the white colour of a flash of lightning which is kind of like moonlight. The logo's background is blue, as is the uniform as seen on the cover of the manhua featuring the captain Xiao Shiqin (see below), so I made the background blue-purple.

Endpapers

The (not-actually-)sunflowers carried over to the endpapers, as well as the grey colour from the gear in Thunderclap's logo.

Endbands

Kept these simple. A solid purple, as close as I could get to the bookcloth. I didn't want to draw attention away from the stripes on the covers or the silver edges.

Probably could've gone for thicker cores.

The text

For the scene breaks I used a special character of a gear. The cog also looks like a sun. Which is fun because it can reference Thunderclap, the title (sunbeam), and my design choice of sunflowers.

I reused the lightning image at 50% opacity as a background to set apart the backmatter.

Misc.

Recently, I've begun to increase my efforts of preseving fanfiction and safeguarding the stories I love from purges and takedowns. (Sparked by the December 2023 scandal about Sony announcing an upcoming removal of content including the movies and TV shows that people have purchased).

This fic has been archived via the Wayback Machine at https://web.archive.org/web/20240215155152/https://archiveofourown.org/works/37414021?view_full_work=true.

Also, curses be upon Rawpixel. Since the time that I had downloaded the images, they have now be placed behind the premium user paywall (along with a number of other graphics and elements that used to be free).

[cosmoglaut]

DEMON'S GUIDE to

ANGELIC BEINGS

who WALK the EARTH

HASTUR'S FURFUR'S COPY

--- NOT REMOVE

(It was Hastur's!! Aww whatever happened to the toadhead? Would he be back to challenge Shax for the post of Grand Duke of Hell?)

Inside page describing Aziraphale:

(This font is Furfur's additions)

⚠ Mind you

******

On sighting: TORMENT.

An easy target, any demon who does not proceed to aggravate said angel in execessive quantities will be punished with full diabolical force.

AZIRAPHALE:

Principality. Angel of the Eastern Gate.

Stationed: Land of the Angles, Hemisphere of the West & North.

Appearance: Fair hair. Suspishus Ears. Plum hands.

Replusively soft. Can generully be found wearing various shades of loathsome beige. Occasional spectacles.

Residunce: Angelic Embassy X also known as AZ Fell & Co, 105 Whickber Street, London.

Known Earthly Occupations: Guard of Eden, Music Ty---- (couldn't read), White Knight, Garden Deziner, Bishop, Bookseller.

+TERRIBLE MAGISHUN

Weaponry: Flaming Sord.

CHANGED HIS NAME? YUCK!

On sighting: AVVOID

A wily opponent, this demon smiter must be warily approached. Report any interactions to the demon Crowley (circled to say)

******

BARAQIEL

Dominion. Angel of the Sky

Appearances: Hair an eye-burning jinnjer. Eyebrows with the appearance of grisly slug. Often draped in red. Occashunly damp, most likely singed.

(At the book seam are added notes:)

CRAWLEY IS SUSPISHUS! DON'T TRUST HIM! HIS HAIR IS BAD!

**********************************

⚠⚠⚠ The prop designer has asked not to put the hi-rez photo of the book up on social media. I had written down the transcript before reading about it. I won't be posting the photo, but hopefully the text is ok. Because it's just so deliciously funny 🥺

Now my ravings:

Omg AZIRAPHALE's description!! Suspishus ears?!?! Repulsively soft?! 🤣 I almost thought this might be written by Crowley because of 'various shades of loathsome beige'. Which is actually what prompted me to dig into whether the copy belonged to anyone else at all. But no, it was the toadhead's!

At first I wanted the angel described before AZIRAPHALE to be Muriel given their description as easy target and TORMENT suggestion. But Next angel is BARAQIEL, which makes me wonder if the list is alphabetical. AZIRAPHALE coming at the end of the list of A-angels would definitely make sense. Which in itself is suspishus because that's a bit too organized for Hastur. The front page simply says it's his copy, not that it was written by him. And yet, Aziraphale's description (with all the demonic spellings) suggests it was written by some demon who did frequent the earth throughout the ages. (And knew the angel was Crowley's 😁)

And the entire description of BARAQIEL is just so tempting 😂 Occashuly damp?! Mostly Singed?! WHY?! Tell us more!!

Finally, Furfur didn't know Crowley changed his name from Crawley until he got the book. It's also his addition in the Occupations section after watching Aziraphale's sad magical act. (The act might've been sad, Aziraphale most certainly wasn't <3)

Uh ok, finally finally, as far as I could find through multiple rewatches of the scene in the green room, Furfur had put this copy down on the dressing table, and did not pick it up back before vanishing. I hope just as the angel and demon got to keep their photo (through Aziraphale's timely, and luckily working, prestidigitation), they got to keep the copy of the book as well. And I hope Crowley teased the angel about having suspishus ears and being repulsively soft 😂💗

[ferronickel]

Lettering Tips for Comics Artists!

Lettering is an easy to overlook aspect of comics creation, partially because good lettering is designed to be invisible, but bad lettering can ruin an otherwise well crafted project.

Now, I'm not a letterer by trade, I'm a colorist who thinks too much about comics craft, but I've picked up on a few common mistakes I've seen new webcomic artists making, and I thought I'd share my tricks.

#1: Get a Dialog font

Sorry, despite Comic Sans having the word comic in the name, it's not actually good for lettering comics. Comic book letterers usually use specially designed fonts when they're lettering comics, and they often have websites where you can get these typefaces for a reasonable fee (or sometimes even free!)

What makes dialog typefaces special?

The barred-I! (and other contextual options)

This one is subtle, but generally, you want to only use the barred-I for the personal pronoun "I" or for roman numerals. It helps clarify that what you're looking at is an I and not an L, but it takes up more space in the word, and we're trying to reserve as much space as possible for the art on the page.

Specially made comic book fonts will also be custom designed to be legible at a distance, have multiple bold/italics options, and might even include special versions of individual letters for when you type multiple of the same character in a row! It'll give your lettering a personal touch that you won't get from typefaces designed for other things.

Blambot is a great resource for all your lettering needs. Here I'm using Backissues and Nightmark

#2: Dialog Stacking

Dialog should always be stacked such that your longest line of text is in the middle. The block of text itself should have a sort of diamond shape <>. Sometimes this is difficult to do, especially if you have any long words at the beginning or end of a sentence. You can't always get it to work (and if you're unwilling to rewrite your dialog so it fits), so sometimes it might not be perfect, but if your text block is more hourglass shaped >< that's a good indication that you should try putting your line breaks somewhere else. Basically try to make your text as round as possible if it's in a balloon.

#3: Balloon Shape

One of the more common mistakes I see webcomic artists making is using perfectly elliptical balloons. It's actually kind of difficult to fit text into balloons that are perfectly elliptical; there ends up being a lot of uneven space around the text, and it looks kind of cheap. Making your balloons slightly more rectangular is going to give you more bang for you buck, they'll fit the text block a little better. I like a hand drawn balloon, I tend to think they add variety.

One thing you definitely shouldn't do is this:

This might be a personal preference thing more than any kind of hard and fast rule, but these lettering styles give me the impression that the text is pasted on top of the art, and that no real thought was put into arranging it thoughtfully with the art. These are probably more appropriate for captions, not so much for dialog

Lettering is a part of the medium we're working with, the dialog should be approached as a part of the artwork, and treated as such.

#4: Balloon Placement

The number one, most important rule of lettering, is that the placement of your balloons should never confuse your reader. The goal of balloon placement is to guide your reader around the page, each one should naturally lead your reader towards the next thing they should read. Here's an example of something I see a lot:

While yes, it is true that on a comics page, people read left-to-right top-to-bottom, if two balloons are connected with a line, I am going to read them one after another. Readers are not going to intuitively assume they should jump to the other side of the page just because the #2 balloon is slightly above #3. In this situation the balloons should be interwoven.

It should not be possible to look from one balloon to another and skip over intermediate dialog. If your reader misses a part of the conversation and has to double back to figure out what they missed, you've broken the flow and immersion of the page.

Like I said, lettering is all about guiding your reader around the page, it should be a part of your composition from the beginning, don't forget to incorporate lettering into your work when you're first laying out your page. Put yourself in the place of your reader and see how your eyes track across the page.

Hope these help! Like I said, I'm no expert; it took me a while to learn a lot of this. I would have found these tips super useful when I was first starting out. If you're interested in the technical side of lettering, I highly recommend The Essential Guide to Comic Book Lettering by Nate Piekos. It's one of the most useful reference books I own, and I learned most of this from that book.

[loathemetc]

Deltarune Theory: Another Weird Letter.

God okay, pulling out this again. My track record with Deltarune theories has been... Bad? Like okay, I don't have any crazy long-held beliefs that have been debunked, but I tend to rush to put out a theory right after new info drops based on my first thoughts and then literally disagree with what I came up with like, a day later as the information settles. I still thought Gaster and the Knight were the same guy right off the heels of Chapter 2 before thinking about it for a minute.

So fuck it, let's do it again, we got another weird letter!

So the first noticeable thing is that this doesn't really resemble any other mysterious characters (or characters we know of's) text. I mean, there's not much to pick up on, the only defining feature here is weird spacing, and a decent amount of commas. Which is also true of the weird valentine from earlier in the year, but this text lacks the caps lock and whimsical personality. The weird valentine also never broke line without punctuation. And if the weird valentine didn't match Gaster's text, this matches even less.

Now, as kind of an aside since I forgot to ever make a post about this, but I believe the Valentine was from the egg man behind the trees, and therefore the egg man is not gaster. There's a video about this but it only gets to the point like 30 minutes in so here's a quick chart.

So, if the prose style itself only tells us that it's not Gaster or the egg man (Or Spamton or Queen or Rouxls or-), then what can the actual contents of the text tell us?

Well, first it raises the question of if this is even a tease for Deltarune at all. It is Undertale's anniversary after all, and the mentions of best friends, 999999s, nothing being able to hurt you anymore, and laughing flowers with scary faces do paint a very "Asriel and Chara" kind of picture. Especially with the earlier damage font 9 gag evoking Chara in the newsletter. It's certainly a possibility, one I won't dismiss, although there are some odd things about it. If it's from Asriel, he never picked laughing flowers with scary faces, considering he was one. (See Addendum for correction) And it seems less likely to be from Chara, as they seem like the one who would like the number 9 in that way.

I could just leave it at that, (AND I SHOULD HAVE) but we should examine what it would mean if this was in fact a tease for Deltarune, and, if I'm right, Chapter 3 specifically. You can't really get more Asriel and Chara vibes in Deltarune than Asriel and Kris's house, after all, so of course the vibes are similar. I do feel like this paints a very deliberate picture. Where would we expect to see laughing flowers with scary faces in Deltarune? The trash can in the Dreemurr house of course, more accurately it's dark world variant. The flowers in the trash have often been speculated as a Chapter 3 secret boss since Chapter 2 released, although here it seems more like we're getting the perspective of a character who has surrounded themselves with these flowers, and perhaps this is our secret boss instead. Who's to say, as while this letter is shrouded in the mystery you'd expect from a secret boss, so is most of Chapter 3 right now. The mention of good memories definitely fits the vibe of the sadder aspects of the dreemurr home Chapter 3 may touch upon. I think it's probably safe to say this is a chapter 3 character that we might find in an area representing the trash can, but isn't the trash flowers themselves. Maybe something else that's been thrown away?

What's less safe to say is who this character is, so this last part is a lot more speculative based on things we already know. People have tried to place the mysterious character "Mike" in any role you can think of, so I might as well try here too. We know Spamton knew someone named Mike, who he seemed to be on good terms with. If the letter was written by Mike, then Spamton is definitely someone you might expect to enjoy high numbers.

Let's take a look at something else Spamton said too (featuring another Liss cameo in one of my theory posts.)

If you're not caught up, we can assume the Cathode in question is Tenna, the TV boss of Chapter 3. Whatever Tenna and Mike's relationship may be, Spamton seems to want them far away from each other. So, given the contents of the letter, maybe Mike is hiding in whatever trash can equivalent area Chapter 3 may have among the flowers, to lay low and keep off Tenna's radar? That's about as speculative as I'm willing to get for now.

AH FUCK LEMME ADDENDUM THIS ALREADY.

The way this is written made it hard to parse for me but it seems more like it's not be about laughing flowers with scary faces but rather Chara's laugh and scary face. The wording kind of fucked with me there.

So it really does just seem like it's about Chara and Asriel. See what I meant about my bad track record?

[vante1920pm]

Hey hey

imagine if you're crushing on your best friend Grusha. Always supporting his dreams even when he's in his glory days, Grusha reciprocate your feelings too, but both of you never mention it!

All confident Grusha lost his shine after the incident that ended his career, and then he even hesitate to make the first move as he cried his hearts out in your arms.

His golden days of snowboarding are gone and now he's a gym leader, but you're alway there to aupport him still. Arceus help him, he can't hesitate, he needs to do the first move, Please!

Another Grusha enthusiast, I have more-

──;; "𝐈 𝐆𝐎𝐓 𝐘𝐎𝐔𝐑 𝐁𝐀𝐂𝐊" ★☆

★ 𝗮𝘂𝘁𝗵𝗼𝗿𝘀 𝗻𝗼𝘁𝗲: I love this Idea !!! It was really fun to write it, even if I'm not quite happy how it turned out but I still hope you enjoyed it !

And I would love to hear more Ideas !! ^^

I never wrote a whole "One Shot" in English, so I'm kinda proud that I finished it :)

ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

☆ 𝗽𝗮𝗿𝗶𝗻𝗴𝘀: grusha/reader

☆ 𝗰𝗼𝗻𝘁𝗲𝗻𝘁 𝘄𝗮𝗿𝗻𝗶𝗻𝗴: not proof read, ooc, gn!reader, spoiler, grammar mistakes

You were sitting on your couch, Grusha sleeping in your arms.

It's been two hours since the boy knocked on your door, tears streaming down his face. After the incident a few weeks ago, he stopped visiting you, this was actually the first time since then that you even saw him.

-

"Grusha? What are you- oh! Are you okay?"

The boy in front of you just sniffed, head low and walked past you, into your living room. He sat himself on your couch, face still on the ground.

You closed your door and sat yourself beside him. He didn't look up as you did so, just playing with his scarf, ignoring the heat that spread out on his face.

Even tho he was devastated, he still got nervous around you. His feelings for you even grew stronger in the time he didn't see you.

He missed you so much but he didn't had the strength to face anyone. He needed time for himself so he ignored all your calls and texts.

"Okay, what's up?" you asked, hoping he would finally look at you, which he, surprisingly, did.

Now you could see his red eyes and wet stained cheeks, so you just pulled him in a hug. He started to cry hard, his loud sobs could be heard in Mesagoza.

While he was laying in your arms, he thought it would be a good time to finally confess.

"Y/N, I-"

He stopped mid sentence, which confused you but you didn't want to push him. He looked in your eyes, thinking it through. Maybe now wasn't a good time, it didn't felt right. So he just hid his face in your neck and took in your scent, before he drifted off to sleep.

-

It's been 6 month since Grusha became a gym leader. At first he didn't was happy about it, but now he seemed okay with it.

You're still thinking about what he wanted to say that night but just brushed it off. " Maybe it wasn't important, I shouldn't think about it too much. "

Grusha and you started to hang out much more, even if he had much work to do, he still made some time for you.

You were planning to go to a Café this evening on his break.

You were already waiting in front of the Café, when you saw Grusha walking towards you with something in his right hand. You didn't see what it was, since Grusha now hid it behind his back.

When he stood next to you, he just lightly smiled and opened the door to let you in. What a gentleman.

You two found a good table in a corner where no one would see much of you. When the waiter came back with your orders, Grusha finally put the thing he brought with him on the table, facing you.

It was a letter, your name written on it. You looked at Grusha, still confused, but he just shrugged his shoulders and looked out of a window to his left, while he drank his coffee.

You grabbed the letter and opened it.

"Dear Y/N,

sorry you will not hear this out of my mouth, but I think I'm better with my words written than spoken.

The truth is, I actually grew quit font of you in these past years. Maybe font isn't the right word, more like, I catched very deep feelings for you, that I can't resist anymore.

I tried to ignore them, hoping they would just disappear, but the opposite happened.

I hope this letter will not scare you away but I would like to be in a relationship with you."

Under the text were two small caskets, under each of them "yes" and "no".

You looked at Grusha, who still stared at the outside, and smiled, crossing the casket with the "yes".

When you gave the letter back to Grusha, he slowly observed your answer, a small smile creeps on his face. He then finally looked at you.

"So, now that we're together, how about we make this an actual date?"

© 2022 VANTE1920PM

[emberunderscore]

i put way too much thought into fonts when editing. and like nobody gives a shit but i post things because I care about them. this is really long because im a NERD

All the fonts i mention are on capcut and all of them are free because i refuse to pay. Also im linking all the edits because. theyre kind of all over the place lmao

Scylla so, we're starting with scylla because of course. The text at the beginning is white in the font "fervent" this is intended to be the icarus, who is the narrator of the song in a sense, when Quixis name gets mentioned "the lair of quixis" the text becomes light grey and gets a golden glow. but the FONT is still fervernt because its still the narrator speaking. then on the word "home" the text is yellow, with a slight purple glow, because icarus' world is the yellow one, but the purple glow is to show Quixis' prescense, and the difficulty in the journey ahead. and because the brand is purple and yellow.

then Quixis gets their first line, and we see their text, and its light grey, yellow glow, Evangel font, italics and the opacity is slightly lowered (its actually specifically 77% because 7 is my fav number and i sneak it in everywhere i can) and the opacity is lowered because quixis is detached from the world and so the text is slightly transparent. think a ghost, they are not part of the coporeal world so their form appears translucent. same concept. also mostly because scylla's voice is very light floaty in my minds eye. and of course the glow is yellow because of the wack and midas imagery

rae's text doesn't appear every time he speaks, he's not the main focus and his lines are supposed to be semi-ambigious, you could see the au going a couple different ways. his font is Fervent, same as icarus' and its light blue because thats the colour i associate with rae.

then quixis' little distorted "hello" which is written in quixian. the opacity is full on this text because the quixian has an easier time getting into the world than normal text. there's also no glow but honestly thats just because it wouldn't work right on the quixian font.

the next time quixis speaks their text is different, everything is the same except now the opacity is full because theyre yelling and the voice isnt as light an airy anymore and there's also a red shadow to show they angy. EXCEPT for when they say "wraith" because they're referring to icarixis which, they are not supposed to tell yet its spoilers and the world is trying to redact that information.

their text returns to usual, no red shadow and lower opacity at the "we are the same you and i"

and something that's hard to notice about icarus' text on the "i" is theirs also has a little glow to it and its also italicised, its becoming more like Quixis' and the next thing that happens is literally them BECOMING Quixis

I am damaged

lot simpler concept, ic's text is yellow and in the font "freehand" because I thought it made it look vaugely handwritten but also fit icarus and the tone of voice of JD. all their text is in lowercase (except for whenever they say i or God). and whenever they refer to centross - you, you're etc the text is light purple (note, when they say "cause you beat me fair and square" theyre talking about everyone so the text is still yellow) because centross is purple.

but when Centross speaks, his text is a darker purple. because hes a god now, its Violet speaking but Icarus still sees him as centross so they still have the lighter text when talking to him.

Centross also has proper uppercase letters whenever he speaks. because he speaks fancy. He has the same font as icarus. i thought it fit them both.

when icarus says "dont know what this thing will do" they're talking about the wack injury on their chest, the word thing even appears over it and the text is red with like a cyan glow and green shadow. its supposed to look like the wack, a lot of colours, not a lot of sense. icarus also gets a red glow to their text whenever they're emphasising something "worship" "life" "disappear"

and the "our love is god" this line is said 4 times total, first time all yellow, second time "our" is that light purple, third time "Our" has a capitalised O and the text is light purple with a yellow glow and the forth time its the same but God has a red glow because the note gets held.

then centross' "Say hi to God" the word god is in centross colour and theres a yellow glow. becaues Icarus becomes the 'god' in a sense, could also take it as the yellow glow is for midas, because icarus does in fact say hi to them

How bad can I be

Midas' text is very similar to how it is in Scylla, its light grey, yellow glow. but the opacity is full and most of it isnt in italics. Except for the "How bad could I possibly be?" which is in italics because its Midas' actual voice (i stole the audio from the midas subnautica stream yesterday) which is echoey so they get italics for that part. they also get a red shadow for whenever text needs to be emphasised

and the little backing vocals are intended to be the things because. all of us love midas and they can do no wrong. so the font is called "pixel" and the text is white with both a brown glow and a brown shadow even tho if you glance at it it looks like its glowing yellow which was unintentional but cool

God Games

Perix's font is called Italic and its a blue-ish green like how the sculk feels to me. First thing she says "hey baby" baby has a purple shadow because shes talking about enderian (homosexual behaviour) the purple shadow also comes back when Perix says "yours" talking about Enderian's hero. when perix emphasises words their text doesnt get a glow or shadow but the word is written in all caps instead. felt right

Then when you get that "HERA" part its not hera singing so its not perix's font. The font is called Vogue and its one of the effects, so it looks like its white with cyan glow but technically its just cyan without glow and with that effect. make sense? good. anyway its like this because the people speaking are "narrator characters" so the main text needs to look white and its glowing cyan because theyre talking about perix.

Enderians text is in the font Luxury, it looks very proper and regal so i think it fits her and its light purple with a darker purple glow. its also in bold but only because the original font was too thin. When talking about icarus, her text keeps the purple glow and the body changes to yellow. no reason other than it looked better this way.

the only time perix's text does get a glow is at the very end, when she says "release them" and shes talking about icarus so the glow is yellow

[st-asya]

Okay, so my passion is whatever my current hyperfixation is and commenting something everyone has already commented. Here we go.

•••

Pilot

1. Things did not go as planned...

Love the way the colour of the font switches to red instead of staying some basic white as the rest of the text, cause my life always does the same, metaphorically speaking, when shit happens (well if somebody typed everything that happens in my life). It's like honey, red means passion and your passion (one more) is turning every single thing in your life to shit when you wanna change something really bad, so imma change the colour for you not to forget that you're gonna fuck something up. Right off the bat, symbolic. Red is my fav colour btw, wonder why (it's, as fall out boy said, a sign (×5) indeed).

2. Pirate bard (?) sounds pretty nice (and beautiful), I already like Frenchie.

3. The "what we're about do will be perilous" speech.

(Why did I instantly think about Lord Farquaad, what's wrong with me?)

And oh my God, the whole bit where Stede talks to the crew is borderline ptsd-loaded flashback, cause I used to work as a teacher so I had to talk to the kids ofc and say something to a class full of students who looked at me the exact same way.

4. Wee John's raised hand and saying that they gotta talk about whatever they're gonna take part in and Stede's enthusiastic yes, damn that hit too close to home. These kinda students are a blessing, btw

5. "We talk it through as a..." and the reluctant ass "crewwwww", my ptsd horrors persist, but so do I. That's the exact same experience I had at work, there's no difference.

6. "Keep it straight if you can" (they couldn't, in fact, keep it straight). Love the way there's a place for choice, cause it's not an order, it's a pretty mild (gentlemanly, see what I did there, huh?) request. Love the way it's not strictly needed (and completely forgotten as the story goes on).

7. Lucius's face expressions throughout the ep are my normal face expressions, wonder why people don't usually think I'm friendly and always ready to chat actually (that's prolly cause they can't read my mind, that's on them duh).

8. "I'll be your robber here today", we all fell for him right this instant, didn't we?

It reminds me of the time I worked as a shop assistant (my career choices are a mess, I know), cause essentially that's who I was, I just had to word it slightly differently so customers would give us their money willingly.

9. The leg crossing and uncrossing is just... Yeah. Idk how to elaborate, I just get it. Completely in character for the character, let's put it that way.

10. The arts and crafts bit is the school experience all over again, I cannot shake this feeling. Don't get me wrong, I enjoyed being a teacher a great deal (that's exactly why I don't work as a teacher anymore, yeah).

11. Going from making dresses to being a pirate sounds precisely like my careers changing plans, really.

12. "Do you think Blackbeard's crew sews?" Holy shit, I'd love to see Izzy sew.

13. The mini speech about cats, why is Frenchie so adorable omg

14. Not killing your captain for the sake of hearing the story in full sounds like a solid idea, ngl

15. The complete collective aversion to Lucius's wooden boy voice pls. Turns out Stede stays alive only cuz the crew doesn't want to hear Lucius read, that's loyalty right there.

16. "I've made a mistake, I'm not a pirate, I'm an idiot". Well, omitting the pirate part, it's as relatable as it can possibly get. Ouch

17. Eye. No thoughts, just eye.

18. Stede hiding from the navy is me hiding from my problems, we've got the exact same style of solving them.

19. "It's always the quiet ones", cause usually it's the quiet ones who have to put up with all the shit there can possibly be and they're usually accused of being soft at the same time, I mean you cannot blame Stede for snapping, that's what Badminton deserved (I sound way too bloodthirsty, don't I...)

20. Oul's "might as well enjoy it while it lasts" speaks to me on more levels than I'd like to admit. I love Olu's levelheadedness (is this even a word)

21. I love the way all the flags are up there, it's important for everyone to be included, love this detail so much.

•••

So that's basically just a retelling of the plot with bits of my tho(ugh)ts, tried not to digress too much and not to make it way too personal (initially there were 31 points😅). I'm just genuinely curious to know what the dynamic of my perception of the series will look like at the end, so dear diary, 🎶be prepaaaaaaaared🎶