#i'm probably going to change the angle of his head because this profile view looks like garbage

[acreekinthenight]

trying to keep working on this wip since i can't write right now...

[jensensitive]

I am obsessed with the way in which you draw Dean. You have his features nailed to perfection - somehow your Dean looks even more Dean than Dean in the show, because you exaggerate everything that makes him HIM. It's truly breathtaking <3 Any advice on how to get those features so flawless?

This is so so nice, thank you so much 😭💕💕💕

Honestly Dean is like my go-to thing to draw basically, and has been for many years, like I have to try to refrain myself from just drawing Dean again sometimes. He's like probably half of how I've learned to draw at all. So there's definitely practice there.

That said, I did not immediately have much of answer to this. It's like, his face is just his perfect, beautiful face, and then I try to draw that. 😅

So I drew some Dean to figure out what it is I do, so thanks for the excuse to draw more Dean lol

Extensive answer under the cut

If you're drawing something realistic from reference, for Dean you kind of have two options, you can either get a screencap that's closer up so you can see details better, but the top of his head is cut off, or you can get one where you can see less details but his whole torso is in frame. It can be weirdly difficult to guess at where the top of his head is sometimes, and you don't need details to capture a likeness, I think it was Sargent that said that the shape of the head is actually the most important aspect in capturing a likeness, so it's something to keep in mind. On the other hand, if you want to look at his pretty eyelashes while you draw him, you might want something closer up. (An understandable impulse).

Another thing is just to look for a reference that you really like, contrasty light and shadow are also great to look for. It's difficult to create a great drawing without them, but also it will illustrate the structure of his head best too. Look for shadow shapes you want to draw. If a reference is too dark (as it often is, because it's supernatural), edit it so you can actually see what you're drawing lmao.

I took a bunch of random screencaps of 11x02-- as random as I could, normally I'd just take screencaps of what I already kind of like, but I tried to just get all of it so you can see what I'm not choosing. (also couldn't help taking some cas ones when the lighting was going really hard)

I love a profile, I love a 3/4 view, I love when his eyes are like half open. His face was kinda giving towards the end of this episode.

Hopefully you can see them well enough. The mass ideas are more important for picking at impactful reference, but ofc I'm also trying to avoid any where he's making a dumb face or it's blurry. Sometimes that's only evident when I open it bigger, but that's okay, we have a bunch to pick from.

a. This one is one I picked out because it's an interesting angle, and I'd definitely do a little study of it, but because the lighting is so soft, it probably wouldn't be super interesting.

b. I like this one, the face he's making is hilarious, and I like the rhythm of his hand, but if I were to draw it, I might draw a fourth finger, otherwise it might look strange. So keep that in mind too, if it looks odd in the reference, it will look odd in the drawing, so unless you're confident that you can effectively change it, pick a different reference or find a second reference to help you change it.

c. This lighting's more dynamic, and I like his expression.

d. Would be hard to pick between these. This one's 3/4 and has a nice eyelash shadow, and I love the shape of his eye when it's downturned.

e. Shoutout to the shape of Jensen's brow when he looks down gotta be one of my favorite genders. + subtle Rembrandt lighting. Lovely.

f. This one is so good. Overhead lighting getting a shadow from his ear in a sideview, defining the jaw in an interesting way. Great expression. It's a bit strange, the way he's looking to the side, so it might be hard to draw convincingly, but would be worth it if I could do it. The shadow from the hair defining the shape of the brow. The light on the cheek defining the slight eyebag. The reflected light under the eye, the light landing on the nose. Would probably change the hair a bit because it looks a bit odd at this angle in this lighting, and if drawn like this it would probably look at bit block-like.

g. More rembrandt lighting. Shoutout to the shadow that this upper lip casts on his lower lip. Shoutout to the shadow his lower lip casts on his chin. Shoutout to the line of light defining his neck. Shoutout to the shape of his brow and forehead.

h. The rhythms here are chefs kiss-- the shadow line diagonal from the corner of his hairline to the corner of his brow echoed by the shadow line diagonal of his cheekbone, then that second line following through to the line of light on his neck that curves the other way.

i. This one's kinda boring wrt lighting, but it's an interesting enough angle to do a study of.

I'm going with screencap c because it's gonna work well to effectively illustrate the basic structure of how I construct his features. It's not directly straight-on, so the form isn't lost, but it's straight enough on to properly show our proportions.

For supplies here, I'm just using a soft charcoal pencil, I just use the kinda cheap ones (currently Markart) cause I actually like them better than General's. And it's on smooth newsprint. I just get it in a big thing of 500 sheets. Not archival but it's a cheap thing that's incredibly enjoyable to draw on. Pink Papermate eraser and a kneaded eraser. The pen I use at one point for some reason is a red Pentel RSVP ballpoint I think, although I actually prefer a Bic.

1. So first thing I block in that main shape, in this case, his head and shoulders. I also have to draw in the hairline at the same time, cause I can't figure it out otherwise. He's got kind of pointy ears. The collar of his jacket often comes up pretty high on the back of his neck. He's got a distinctive hairline that I think can go a long way to showing it's Dean, it's worth taking note of. It swoops to our left, and then the corner (I guess?) of his hairline will line up with the corner/arch of his brow. And don't draw the hairline as an unbroken line, but several lines with some room to breathe. His shoulders are pretty straight and broad, but about three heads across which is pretty normal.

2. Next what I think about is the shape of the eyesockets and the line of the brow. This bit will go a ways for conveying Dean's expression, because he has a wide range from light and happy to horribly scowly that's in the brows. You don't have to define the exact line of the brow at this moment, blocking in the general line is fine just to have an idea of where it lands. You can go back later and refine it. I also find where the bottom lid lands. In my brain it makes a shape like what I've drawn. I might not draw it just like this, but even if I don't, this is the shape I'm thinking about. The line from the end of his eyebrow to his bottom lid is a fave, sometimes you can see it on him, especially at an angle, and it's real pretty.

3. Next I find where the bottom of his nose lands, it's about double the length of the eyesocket. And the line under his bottom lip, about halfway between his nose and the bottom of his chin. These measurements are pretty average measurements for a face. I didn't give myself enough room for his chin initially, so I moved it down to fix it. Also adjusted his face very slightly wider on the right side, cause it's looking a bit narrow.

4. I added some of our shadow shapes. This is where finding a reference with well-defined shadows will be very helpful. And I sketched in the clothes cause why not. The clothes don't have to be perfect, who cares, Dean's collar is not our point of interest lol. The shadow on the neck will probably be slightly curved because of the roundness of the neck. If it's not, you might want to make it curve slightly anyway just to help define the form. I blocked in where the eyes are.

eyes: For Jensen's lovely eyes, they have a specific shape that is so nice to draw, especially at certain and angles and with certain expressions. But basically the top lid is more angular and can be almost boxed off at the end, and the line from the corner of the eye to the lashes is an s-curve that's higher in the middle. Again, not unusual features in drawing a face, but such pretty examples. The shadow that his lower lid casts (or his makeup idk?) is often dark enough to look vaguely like eyeliner. Jensen's lower eyelids, an underrated part of Jensen. His eyebrows are thicker in the middle and sparser on the ends.

5. Next I found the corners of the lips. This is an important aspect in the way I draw mouths. Sometimes I just draw them with dots where the corners of the lips are, a curve where the lips part in the middle, a shadow under the bottom lip, and the curve of the cupid's bow. (This is seen below in 6) I think I also adjusted the bottom lip shadow here. Straight-on, the middle of his lips is slightly higher than the corners, but of course, this will change when not straight-on, depending on if we're looking up or down at his mouth. I also sketched in the nose shape. The ridge of his nose has a nice subtle bump, and then the ball of his nose is very slightly squared off I think, from a front-facing perspective, I feel like. And I drew in his slightly drawn brows. Just pay attention to the angles in your reference, because the expression, the perspective and the angle of the head can impact it. But of course generally, drawn down in the middle, furrowed = scowly; drawn up, unfurrowed = happy.

nose: I prefer drawing his nose in profile. And who wouldn't, look at it! The slight curve of the bridge and then the ball of the nose. I will exaggerate this a little sometimes, just because it's fun and I like it. I couldn't find a reference, but from below, you can see the shape of the bottom of his nose, it dips in the middle a bit more than average. Drawing the bottom of the nose is often a delicate balance between shadow and reflected light. I love keeping it light, save for the nostrils, but then the shadow under the nose can be important too. Sometimes it's just a stylistic choice. Note that there's a plane change between the side of the nose and the cheek. (I think I drew his nose too upturned here, but the general idea is still there)

6/mouth: In drawing the mouth, the top line of the upper lip looks more rectangular at the ends, increasingly so as it turns away from us, and much less so as it turns towards us. Of course, he has a full upper lip that you can shade as you like. I try to keep it distinct from the shadow of the line of the mouth, and a reflected light on the top lip can be good here too. For the bottom lip, it's always nice to give is some shine with a hard-edge highlight. For the cupid's bow, I try to leave a light between the upper lip and the shadow in the cupid's bow. For some reason I drew the shadow backwards here, but I think it looks fine.

7/ears: I started to shade it, and then I remembered that he has ears. There's a simplified way I draw ears that I like. It's not entirely accurate, because the two shadows at the top are actually usually connected, but I find it a bit distracting that way sometimes, so this is more subtle I guess. In profile, I don't really have a method of drawing it, I just draw whatever the reference gives me or bs it with a similar version of this, depending.

8/hair: My method for drawing his hair is 1) suffer 2) hope and pray. I like to leave a rim light-type deal between the contour/outliine of the hair and the rest of the hair, I feel like it helps define it a bit more. The direction of his hair, and thus the direction of my lines is something like this.

9. And then I more or less just shaded. When shading, it's always good to follow the direction of the plane, and I also alternatively like to shade in the direction that the light is falling to reinforce that gesture, but when I shade a face, I try to shade in the opposite direction of where wrinkles would go, if that makes sense, mostly up and down I guess. This is of course on a case by case basis, like a lot of times, I'll do the forehead horizontally anyway, but it's especially touchy around where the laugh lines of the mouth would be and the neck. And on soft plane changes (and softish hard plane changes), I often shade at a different angle to the main shadow. Shading direction can also delineate different areas of similar tones, like I did with the jacket and the side of the nose. I like to give Dean his eyelash shadow, because he deserves it. I also drew in the eyes, of course. I think I actually tend to shade them backwards, and the light would fall in the opposite direction, so when lit from the right, the right side would be darker, but I just don't draw it that way idk maybe I should.

And there he is, that's our guy!

Normally when I'm drawing, I'm definitely a bit more all over the place, and don't necessarily do things in perfect order. And it's good to move around. I'm probably not going to be shading things before noting where all the features are going to land, but I often am shading something before I've drawn everything. Or end up drawing one eye and then maybe do part of the other and then move to do part of the nose and then sketch in an ear and then maybe notice something's off somewhere and adjust that, etc. Just go with it, have fun, he's got a fun face to draw! 💗

[composeregg]

wanted to join in on that meta post by saying yeah, even if we view joker’s and akechi’s relationship as special compared to the others, akechi is still written under the constraints of p5, and an antagonist to boot. like. vanilla had his confidant as automatic bc (iirc) they thought they couldn’t fit it in properly! which is crazy, even tho the automatic rank ups have an interesting implication (such as, akechi will always be rank 10 by the end no matter what you do). i understand that ppl probably wanted someone to talk sense into the thieves for their unwittingly callous actions, but not by the guy who decided to go thru with his 11/20 plan lol

(this post)

YEAH like, I love Akechi. I adore him. But I have SO many OPINIONS about this mans. like. I'm not going berate anyone for how they write characters, that's the freedom of fandom, but I am going to stand over here with my opinions and contrary thoughts and chitchat about them in my space

I know that very often it is because people want someone to refute what canon has shown us (because canon's writing disagrees with it's desired goals as mentioned in that post). They want someone to go "Look at Joker, look at what's happened to him, don't you care? How risky this was?"

But okay I'm actually going to back up a bit!

(this got long)

What other choice was there for 11/20?

Because the answer is not "they could have taken Akechi in a fight."

The goals of the interrogation room/metaverse plan:

Escape with Joker alive

Trick Shido and the conspiracy into believing Joker has died

and you know? you know? you cannot do that latter bullet point if you just beat up Akechi

So enlighten me. How, exactly, were the thieves supposed to come up with a different plan in under 20 days? One where Joker would live, where the conspiracy would believe he had died, and importantly, one that at that point in time cannot count on Akechi being a turncoat. They have no reason to trust that he would

"Don't you care about how risky this was? There had to have been other ways."

We don't get Shido's name as Akechi's employer here until after the phonecall reporting the death, I believe. They cannot change Shido's heart in time to avert this because they do not have the information. The interrogation room plan, genuinely, was one of the smartest ideas they had. It accomplished exactly what they needed to. These are teens in a life-or-death situation, who notoriously have MANY trust issues with adults for good reason, especially since society is so corrupt that a hitman can easily walk into a police department and assassinate a high-profile criminal and get away with it with help (remember the guard at the door?) The other options are basically "change your identity and flee the country" or "literally actually die" lets be real here!

SO

Akechi, let's be honest with ourselves here, would primarily be pissed off that the thieves got one over on him! And if he is concerned about the lasting trauma of it all, or how risky the plan was, he is seeing this and approaching it from the angle of knowing it worked.

(Better options for sense-talking: Sojiro! Sojiro is right there! Takemi! Iwai! Kawakami! Yoshida! All important responsible adult figures to Joker and at least some of the thieves.)

In my opinion if Akechi wants to snark at the thieves about the plan in any way regarding how much it fucks up Joker and how it was risky, they are more than allowed to fire back shots at him for making it necessary and shooting Joker in the head in the first place.

I think people often use it as a shorthand, to show that Akechi cares about Joker, but also as a way to emphasize the importance of Akechi to Joker (compared to the rest of the thieves). It's easier to ignore the fact that he killed two of the thieves's parents when it comes to Joker being in a relationship with him, as long as it can be shown that he's the one that really cares. That he wouldn't put Joker through something so fucked up with his care (hilarious, laughable, he shot Joker in the head). It separates "Akechi and Joker" from all the phantom thieves in a way.

(Honestly sometimes it feels like ship bashing/character bashing but for ALL the phantom thieves with how intensely some people write it! beyond even the point of exploring Atlus fucking up characterization to pretend to have a blank slate silent protag)

BUT like I said in the post, it also points out a major flaw with convincing players that the rest of the thieves DO care in the game. Because the thieves are never really given a chance to show that. It's implied, and it's clear the game wants you to believe they care, but we don't get scenes addressing specific stuff like this enough.

Joker is confident, and cocky, we see that with that bastard smile in the interrogation room after getting "shot" in those cutscenes. It is genuinely a plan to be proud of, and it hails back to his original persona being Arsène. Arsène, who escaped from prison simply by disguising himself and pretending he had already escaped and put a body double in his place. Arsène, who pulled off a robbery while in jail. Arrogant and self-assured and cocky, the interrogation room plan is genuinely something the likes that would be worthy of Arsène's name.

He can be proud of the plan, and also traumatized by it. But he actively agreed to this plan, probably helped come up with it (where does everyone get the idea that it was Makoto's plan? genuine question). Joker is not a hapless victim of other's whims, he also had agency. So many of the parallels between Joker and Akechi are how they exercise what agency they have while being stripped of traditional power and victimized by society.

Honestly? Honestly? In my personal opinion, having Akechi berate the thieves for the plan is disrespectful to his rivalry with Joker, along with his own characterization.

He holds Joker as his equal. Equal in agency, in skill. If he looks at Joker and says, "why would you go along with such a foolish plan?" if he looks at the thieves and says "why would you ever put your precious leader through this?" he is taking away Joker's agency and choices. One of Akechi's focal points is agency. If he sees Joker as equal in this, and he denies Joker his agency, he is also taking it away from himself.

Akechi's cocktail of emotions regarding the assassination can manifest in so many different ways, and he can translate that to anger at the thieves rather than himself for putting Joker through that, but that would be his emotions regarding himself being misdirected more than anything.

Akechi has too much respect for Joker to deny Joker his agency in a plan that was good enough to fool him.

Respecting agency and admiring a brilliantly crafted plan also doesn't mean ignoring trauma that ocurred from actions taken under duress.

(At least, it doesn't mean that as long as you're not Atlus)

[sonkitty]

The Sideburns Scheme Post #1 v3

(For reference: The Sideburns Scheme)

This post was last updated 08/03/2024.

Take it all in.

Treasure it for all that it is.

Because you will never see this hairstyle this clearly on Crowley ever again, not even from different angles...unless there's a treat waiting for us in season 3. But otherwise, no, that's all we get of this gorgeous, gorgeous shot.

...

Sideburn Check

Before we see Crowley pull that newspaper down, we are given a profile view of his right side of his face and can see his right sideburn. This sideburn looks short but is a little longer than the shortness we'll eventually see is the intended shortness after driving the car for a long enough time.

Let's take a look:

Wow, that is really hard to tell, but I'm still going to go with thinking it is little longer.

So, why is it a little longer in this human space that is the park?

Theoretically, it's a combination of factors that add up to Crowley making that newspaper his own personal door to manage his own personal space. I'll cover that more in the Earthly Objects section. It might also help that this human space is a more familiar one to him.

Two characters are going to show up, at different times, and there will be no interaction from him to them until he has deliberately pulled the newspaper down from his face. That is to say, he passes through his designated threshold to talk to them.

Once the newspaper goes down, we'll see the sideburns some more. They will look similar in length. It's hard to be sure due to the angles and expressions on his face.

...

Brighter Red Streak Check

In our initial view of Crowley, we can't see the streak. Once the newspaper goes down, it will become evident. That means we have to be suspicious of the fact that we didn't get to see it at the start of the scene because this story lies. Repeatedly. Something is amiss with its chronology. There is possibly a book somewhere in here and a lot of games messing with our heads.

There is a weird blocking and blurring thing happening all the time in GO2, and it's really overt in this scene. Basically, Crowley's right profile view from the side of the bench is going to just keep being blurry, so that we still can't really see the streak in those particular shots.

Otherwise, on the more clear front or other angled shots, it's more clear the brighter red streak is there.

Hairstyle Changes

Crowley's hairstyle changes frequently during GO2. It will even change in really subtle ways during scenes, such that I simply cannot catch every style. The style when Crowley pulls down the newspaper for the first time is actually something like in between the first shot we see with the profile view and then another shot after it when Shax arrives. You probably won't catch that if you aren't trying. I missed it when I was first studying this stuff some months ago.

Far more subtle, and admittedly iffy—I could just be seeing what I want to see—but to me, it looks like the initial right profile shot has a more obvious gradient. The hair towards the bottom matches his season 1 color better and gets brighter up until the top. The after-pushing-newspaper-down style has a gradient, but there is even less of the season 1 color on the bottom area, as if the hair itself is transforming into its new season 2 state. Here's a comparison view if you wish to decide for yourself:

Here's the original collection I made from this scene before realizing the first style at least is different:

Now with streaks indicators too:

So with all of the above in mind, I reached the following conclusions back when first trying to figure out the hair generally...

(1) Crowley's hair is now a brighter red than season 1, including season 1 present day and season 1 flashbacks.

(2) There is yet an even brighter, more saturated, streak of red hair above his left eye.

(3) His sideburns are longer than they were in season 1. At this point, we have no comparison to season 2 present day, but they are going to get both longer and shorter than what is seen here in this same episode.

(4) In this scene, the hair is lighter and more saturated on his left side; it is darker on his right side. For episode 1 at least, in my past notes, that was standard for most of it.

(5) I can't tell you what the top style is telling us about Crowley's mood, but it does seem to do that, at least sometimes. I'll point out if I think I notice it at times later.

(6) The left sideburn does not have as much hair as the right sideburn. Just as the color of the hair is lighter on the left, it seems the left sideburn is supposed to be "lighter" than the right through that way. That seems to be the more frequent way these things work, but it does sometimes switch.

...

Earthly Objects

For Earthly Objects, one of the reasons "earthly" is specified in the name of the game is touches can depend on how an object is used on Earth, instead of just limiting things to tangible objects and physical touches. For example, looking through a window is an earthly object touch because people look through windows to see things on Earth.

Next, I am going to talk about pockets, so this part is going to get ridiculous. You might want to skip down to the next "..." if my saying the newspaper is like a personal little door for Crowley was enough. My understanding of pockets is limited, but I'll share that limited understanding nonetheless.

Before we get to a lovely right profile view of Crowley, there's lens flare rainbow stuff!

Pockets love rainbows combined with Crowley. We can blame Elvis Presley and his song, "A Pocketful of Rainbows". The most noticeable and seemingly official rainbow, in my opinion, is the one right before Crowley himself appears in the cut. I have indeed, checked frame by frame, to see that technically it has not fully disappeared once Crowley himself is visible. It's really close though!

Okay, back to when we get a closer view of Crowley on his initial profile view.

Crowley has his back to the bench. He has his elbow on the arm rest. He has his line of sight directed at the newspaper as if reading it. Those are 3 possible earthly object touches right there. Crowley is holding the back of the newspaper with only two visible fingers. They are the index finger and the middle finger. Only the index finger is showing its tip. That's not enough to receive credit for touching the newspaper physically as an earthly object yet. He'll get that later, when he wants it done. The other two partly visible fingers on the front are probably significant as well.

For the record, I do not like talking about the pockets as frequently or to the extent that I do. I talk about them because I've noticed they are important. They irk me because they are the hardest part of these games for me, at the present moment. I am downright incapable of solving The Pocket Trick to my own satisfaction. A key mechanic in that Trick is the use of word play. Another is to use one's imagination.

One of the first things to know here about Crowley's super advanced play in Earthly Objects and pockets is that his tie strands are connected to his hands because they are his Tied Hands. It's actually really funny when it sinks in, but it does make the game so, so hard. These silly cute Tied Hands have thumbs. The thumbs are the tassels, so the tips of those tassels are the thumb tips.

Thumb tips matter for Door Mode.

Due to Crowley's posture, there is a pocket between his right arm and the bench itself. His right jacket sleeve is open enough that there is yet another evident pocket existing between his shirt sleeve and his jacket sleeve. This pocket is the key one of interest to me because the newspaper touches it. Even so, there is still another pocket formed between the newspaper, Crowley's right hand, and his clothing that the newspaper touches so long as a breeze isn't messing with it.

Those tassel tips I mentioned earlier...are on his pants. That's why I'm spending so much time on this part by the way. There's some metal thing sticking out that only ever sticks out here touching the vest. The belt is his Belt Head, which the vest does like to touch at other times. So, if this metal is somehow the buckle from the belt—since I can't see it being the tie or anything else, that's probably supposed to be its "tongue" while the other visible part of the snake on the belt is pocketed between the vest tips.

Update 08/03/2024: After going over this scene thoroughly months later, I can now see this metal thing is probably the lower metal part of the clasp for this strand. It's so hard to tell with the lighting and the tassel sticking out from it. The tassel could be bunched together then hidden behind the vest, then peeking out again. Here is a color-coded image of this possibility:

The red would be the metal parts of the clasp. The green would be the tassel. The black is the vest near this area. The part between the red that is not color-coded is some small extra part that connects these metal parts. I've also lowered the opacity on the overall screenshot. The color-coded parts are layered over it. I'm honestly still not sure this setup is exactly as I speculate; it just seems the more likely scenario at this point, after months of studying these scenes. For reference, here is another image of what the clasps and tassels look like from the front as I tried to figure out the possibility with lighting and angles.

End update.

Based on how the game plays itself, the Belt Head is helping the Tied Hands in ways beyond my comprehension, so Crowley can take advantage of pockets. What? Do they need belt assistance to be tied because he's sitting down and the watch is not on screen? Somewhere in here is Door Mode on the clothing, channeling its way through pocket imagination powers, so that all of the apparel can work together and give Crowley his newspaper door.

Apparently, this method requires the watch to not be visibly on screen for now. I really want to know what the watch's job is for silly pocket mechanics.

Oh, and I almost forgot. Check out the self-made pocket of hair since we have an active Belt Head messing with things:

Yeah, sure, could be nothing, but The Pocket Trick is really, really intentional about these types of things, and even though this scene is not one of the touches in The Pocket Trick, pockets are still relevant. I mainly suspect such things because of those tassel tips.

Even some of his hair is pocketing the collar of his jacket. The profile shot is so precise, none of the left part of his sunglasses can be seen.

While we're at it, Crowley's sitting really still. He'll be standing really still later in episode 6 with a more obvious pocket touch for The Door Trick. Said Trick is another big part of why I'm noting so much about the pockets by the way. It also has a self-made pocket of hair visible in the first cut.

Update 08/03/2024: I have gone over this scene cut by cut with a long list of what to look for in my attempt to figure out how retying works. Because of how I progress in the puzzles over time and for simplicity's sake, I am not going to give every painstaking detail here. I will say that if my notes are correct, the tying sequence goes something like the following. The Tied Hands are tied 8 times during this entire scene. They also switch which hand they are connected to 3 of those times. He uses reflection connections and Shax's lapels to make these switches. More can be found in visual form here: Park Reflections. I have long suspected retying is required for crossing every threshold but been unable to recognize them because one of its key clues is a "joint" or a "hinge". The obvious such key is the one I've looked for of a metal part of a clasp striking a lapel edge. Well, it doesn't have to be just that. An actual thumb joint, especially Crowley's left thumb CMC joint, can accomplish this same task. For instance, here at the park, the left thumb CMC joint presumably qualifies as at the edge of the newspaper in the opening back shot of Crowley. Even though it's not clear at first glance due to the distance, I can take in numerous other clues of the scene, such as the large reflections in the lake and the rainbow that tying is already done. If I zoom, I can then find the face of the watch and a very good guess at where the left thumb CMC joint is. I still can't confirm retying happens for crossing every threshold, but current studies suggest it is likely or will have some further puzzles where I'm supposed to figure out the method in use or why it might be exempt. The below notes will remark on things I noticed about the tying, the connections, and the reflections, without quite getting the full process in motion because I did not break down the scene cut by cut with extensive notes to myself to figure out such things back when this post was first published. End update.

Okay, that's enough about pockets. Finally! They'll be mentioned later but not to this extent.

...

During the scene after Shax shows up, Crowley's going to touch some mail. We'll see his shoes on the ground at one point. A notable earthly object touch is the first one he gets when Shax shows up after he pulls the newspaper down. He's going to see himself in the mirror. Crowley does not see the way humans see most of the time. He senses with his eyes. But a mirror's actual literal function on Earth is generally to look at yourself, or something of interest.

One of the ways Crowley can and does see is if someone—or something, is deliberately showing him an earthly object. So, by Shax holding the mirror and Crowley intentionally looking at it, with its general actual function, he theoretically sees himself.

That's helpful to him because based on his actions during the story, he doesn't sense that the sideburns themselves have changed length when they do, even if he's using them to manage his space. He checks by looking in the mirror if possible and necessary, notably in his car. Catching when he might be looking at all is harder than this one part of this one scene. He is quite subtle about it. This game wants people to look closely to catch these types of things as they play and interpret the story.

The cut between Crowley holding the newspaper in profile view and pushing it down has him holding the newspaper differently with his fingers. That could be a suspicious chronology edit or it could be Crowley testing/managing the bounds of his created space or both.

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You can see some of the sky and dark parts of trees reflected in Crowley's sunglasses. I consider that significant because it's a clue among several others that great care is taken to what is and is not reflected in his sunglasses during this story. You can find out more about why I think that's important here: The Window Trick Visual Representation.

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Story Commentary

I don't know what the stillness does, but I suspect it is relevant because of how still Crowley is near the end of episode 6 when standing by the door to the car. My overall guess has been that it helps Crowley be sensed or seen since humans often don't actually approach him with the exception of Nina later. However, one human approaches him here before Shax will later arrive.

Due to how I play these games, Crowley's seeming listlessness here actually strikes me as more of a strategic move than what it looks like on the surface. He has his saturated streak. He has his sideburns. He had his newspaper door. He's messing with pockets without even putting actual hands in pants pockets yet. There was a rainbow. This sneaky snake is up to a lot, and he's hiding the extent of what that is from Shax and whoever else is reading him in the story.

When Crowley leaves, he will pass by Shax with him in the background. He is blurred, and there's something gold around where he's holding the newspaper, that is presumably his bills. After he passes Shax, you can't see the presumed bills anymore. Due to the angle? In this story, I'm skeptical, but yeah, could be. Crowley's going to be conveniently obscured many times throughout the season.

Based on this timeline rundown post, this scene could easily be out of order from the presented story. The sunlight and rainbow stuff is too confusing for me to understand in trying to figure out the time, but I think the idea this scene takes place out of order is a good, valid one. The basis from that post is the chimes I didn't notice on my own and wouldn't even know what they mean if I had noticed.

Not only that, in my watching the scene repeatedly to try and figure out what pocket mischief Crowley's up to next, I noticed the tie strands keep just swapping what side of the vest they are on in different cuts with no indication he moved to make them do that. It's not every cut, but it happens. He's a demon, so he could just do that because he wants to, of course.

The scene has ducks and some other birds. While some birds do appear when Crowley makes it rain in episode 3, animals are otherwise rather lacking in appearance once closer to Whickber Street and wherever Crowley parks his car when it's isolated.

The scene is nicely lit, thanks to the sunlight. We actually aren't going to see Crowley's hair this well lit for quite a bit of the story due to the other settings, especially the dimly lit bookshop.

That's it for this post. Way back when I started to track these things, I did have a tendency to update even these posts, so that could happen again, just FYI.

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Past versions of this post:

Post #1 (meeting with Shax in St. James' Park)

Post #1 with mistake

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Project inspired by these posts:

Crowley’s Sideburns & what do they mean?

Ok, I love this theory that it could be some sort ...

[not-xpr-art]

Art Advice #16 - DRAWING EARS

Hi and welcome back to another art advice post where I try and pretend I know what I'm talking about when it comes to art lol...

And the time has finally come for me to finally face my biggest fear: drawing the human ear.

This is gonna be me trying to offer advice to any artist (beginner or established) who struggles with drawing ears like I do so hopefully some of y'all will find this useful lol!

Will start by saying this is an unofficial sequel to this post from 2021 where I talked about how to draw a very basic face, but didn't include a lot of information on how to draw ears pfft...

Like with much of art, the key is always going to be 'look at references and draw them' lol but this wouldn't be much of an advice post if I just told you that, so let's go into a little more detail about how you can get good at drawing ears lol!

Ears are a complicated series of shapes, and obviously it doesn't help that everyone's ears are often drastically different! They also have layered parts to them that other facial features don't, so it's even more difficult to create a sense of its 3D quality in a 2D space (as in, by drawing/painting it).

First: start with the basic shape of the entire ear. This of course changes depending on the angle your drawing, but for this post I'll focus on a side profile clear view of the ear!

Above is my own ear that I'll use as a reference to explain some of this stuff!

First we need to establish the external shape of the ear.

As I've said already, this does differ from person to person, but generally try and remember that an ear is often made up of 3 curves.

(A lil note here: I'm not gonna use technical terminology here because a) i don't know it & 2) I feel others probably also don't know the technical names for parts of the ear so it would just get confusing for all of us pfft...)

You first want to draw the top part of the ear, and the largest curve, followed by a shallower curve for the 2nd section and finishing with the final curve to create the lobe. Remembering this can also help in drawing ears from other angles, by the way!

I next draw the outlines for the internal parts of the ear.

You do this by following the shape of external part of the ear, remembering how everything basically curves together smoothly. This is definitely where I've gone wrong before in making every individual section separate from each other!

I've colour coded the above image in a way that hopefully makes it easier to see the two distinct 'sections' of the raised inner parts of the ear. It's these distinct shapes that I try and keep in mind when I'm drawing ears.

Obviously one of the most recognisable parts of the ear is the central hole shape, which is technically made up of 2 sections too. The yellow section kinda resembles a 3 shape, so that might be a good way to remember it when you come to drawing this part!

This is also a good point to go into how to fill in the shadow parts, because as you can see in the reference there are different sections that require darker shadow than others.

In the above image I've used blue to show where the deepest shadows go and yellow where the softer ones go to create a 3D quality to it! You might notice how I continue the yellow beyond the ear itself, and this is because I always find it useful to try and remember how the ear connects to the rest of the head.

And that's about it!

Here's a very rough quick sketch of an ear I did using the stuff I just mentioned! It's definitely not perfect, and I'll be the first to admit I still struggle a lot with drawing ears, but I hope this lil post was somehow useful in breaking down some of the more confusing elements of the human ear!

Let me know if you're interested in another ear related post with me going over drawing ears from a front perspective (although a lot of my advice would be very similar on that lol)!

Anyway, happy ear drawing everyone <3