#more thoughts ig idk

[ghostatas]

OK, theory time Bois (except its not a real theory it's just a cool idea and I want angst)

So we all basically think those black and green structures are like portals right, or some way to communicate with another dimension?

What if, eventually, each parent has to go into a ring/portal as a trial (like quackity said ooc) and face something- whether this leads to the eggs or not is up yo you to decide

This trial can be anything, but my main ideas for it is it shows them

1. Their past,

2. A possible future (most likely where the eggs are dead/ doomsday or something of the likes),

3. Themselves- something like where they have to fight an exact copy of themselves and try to find a way to beat them (which, BTW, is great for character growth and is anime protagnist as FUCK and sounds cool as shit- can't be done for etoiles tho cuz none of the admins can imitate his pvp skill LOL- but off track)

ANYWAYS, onto the main point, FITMC

Fit motherfucking MC, gets the first option of seeing his past.

2b2t, the place he tried so hard to escape. Oh boy. (It'll only be a replica, he still can't use hacks, there's no one there and there's very minute differences but he's too out of it to realise :] )

When he first enters the portal, it takes him a few seconds to truly realise where he is, but when he does he fucking CRUMBLES. That man's walls break faster than my will to live. He immediately starts panicking, and his panic even overpowers his worry about ramon for a second. Its all just 'I can't be back here, I tried so hard to leave, anywhere but here, please'

I feel like his time at Quesadilla Island softened him, distanced him from his past and made it easier to ignore all the shit he's been through. He became happy, he was safe and he was doing good! Still very emotionally constipated and just not even processing the trauma he's experienced as trauma, but as good as he can be despite that. So when he realises he's back in 2b2t all those decades of shit he's been through comes crashing down all at fucking once. So yeah, he goes through it.

His first instinct is to make one of those tiny, reinforced obsidian and hide. Once he's in he just sits down and... tries to process. Tries.

It takes him a very long while to calm down, but only to think properly. The only thing that gets him to stop panicking about his own situation is trying to find ramon, or any clues, because GOD FORBID ramon is also trapped in here, it's the only thing worse than being there himself.

From there he can think more clearly. He has a goal so he pushes all the other shit back down and locks it up for later- he's got his boy to find. At this point he realises there's none of the usual explosions or noise that's usually very common in 2b2t, he checks and sees his hack client is not working still so yeah, odd. He's still very shaken and more vigilant than usual, but he can actually go out and investigate and think now so he goes and does that.

Does he find Ramon? Idk, I didn't think this far.

Well, I did, but maybe not the way I would want it to go. Imagine he finds Ramon, who's fighting a shit tone of mobs. Fit's just desperate to get him to safety, so he doesn't get much time to actually look over his boy or talk to him or anything. Maybe there's a time limit on how long they can stay in this dimension or something, but the portal back is not too far away and it is slowly getting smaller and smaller.

Fit is leading Ramon to the portal, all the while fending off the barage of mobs. Ramon, thankfully, gets to the portal in time, safely. Everyone's at spawn waiting for them, looking over Ramon and making sure he's OK.

Fit does not make it in time.

He is stuck in 2b2t for the foreseeable future, and he can do nothing but wait, just like he always does. Just waiting. Waiting.

[ink--theory]

i believe agent 8 and parallel canon should kiss, as a little treat :3c

[cry-ptidd]

"And she had brown eyes like a lamb, innocent and golden"

[turtleblogatlast]

No but like every time I think about Splinter and what he had to go through just to keep the boys alive, my heart hurts for him so badly. Is he perfect? No not at all, but none of them are and by god does he love his sons.

The fact that all of them are alive, and grew to thrive despite the circumstances surrounding them is a testament of how much Splinter loves his boys. He raised four babies following the most traumatic time of his life, all alone with nothing but the sewers to house them (to hide them.) I feel like he’s not given the credit he deserves for all he’s done.

And I get that it’s easy to hold up his flaws and faults when it comes to parenting, I myself like looking into them because flawed characters are super interesting and said flaws make them more realistic and engaging, but he tries, and again, so many others would have given up on the boys or failed along the way but Splinter didn’t.

He’s their father, for all his faults he did his damndest to make sure they survived.

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[secrescaryat]

// pentiment spoilers (implied ig but still there)

more of these because i was inspired

[dovesick]

mothman in the glittering night

[sleep-deprived-luka]

Gog au niigo for tonights doodle

[bloggingboutburgers]

hi :) i see you have cool stuf about being aspec. I think you are knowledgable on qpr. I have a question about qprs.... can they be a guy and a girl? Or is it not queer enough to be considered a queerplatonic relationship? Idk, I am in situations and wanna know if it's valid

Thank you.❤️

Bruh I absolutely don't see why not.

Here's my chance to remind that queer doesn't have to equal same-sex by the way. Different-gender couples including at least one bisexual or pansexual individual are queer. Different-gender couples including at least one trans or nonbinary individual are queer. Different-gender couples including at least one asexual or aromantic individual are queer. Doesn't matter if they're "passing". The reality is that their experience is outside of the cishet/amato/allo norms, they've have to live through that, and that makes them queer. It's what they ARE, not what they SHOW.

And if due to what you are, a queerplatonic relationship is what would suit you best, who the hell would we be to gatekeep them based on gender? Idk, I think the most important thing about being in a QPR is understanding what it entails and being respectful of the nature of it, and respectful of your partner.

...Also QPRs are pretty freaking amazing so the more people who are interested in them get to experience them, the better imo

[fluentisonus]

the thing is it's such a shame marius never went back after the whole defending-napoleon-fiasco bc I genuinely think enjolras likes him. and that he genuinely thinks he has potential in an 'he's a little confused but he's got the spirit', 'i could work with this' sort of way. like yeah he's a very serious sort of guy w strongly held beliefs but his behavior (to me at least) really reads like was interested to have him around & develop his politics. like in the post-napoleon-speech scene when combeferre has had his really good line & the rest of them have all walked out of the room & he stays behind:

and:

the 'gazing gravely at him', the staying behind, the hand on his shoulder, they don't read to me like he has any dislike towards marius even if he obviously doesn't agree w what he's said, he seems like he understands marius' confusion. he's not giving any ground politically but he's interested in marius. a sort of 'missed the mark this time but let's try again' thing. and then way later (chronologically) he's still obviously thinking of marius in this bit & seems to genuinely think he'd do a good job & regrets that he never came back:

unfortunately I don't think marius picks up on any of that though

[maladaptivedaydreamsx]

not me immediately getting jude from this

who did you guys get? 👀

[shower-phantom-ideas]

Yall imagine Danny getting help from Batman and tells him about how hes on the run (it was a joke in passing smh) and how he has no home (it was ment to be funny man) then all of a sudden Bruce way shows up on a totally casual stroll in his neighbourhood. “Oh look a child who is in need laaa dee daa let me help you poor random child who I have no idea who you are.” As if Danny is an idiot. He isnt fooled in the slightest. He knows when something is up. Batman clearly is using Bruce Wayne to help kids off the street.

Danny is staying at Wayne manner and notices how no one really talks about the bats. Or tif they do Bruce gets this look then quickly changes the subject. Hes putting so much effort into it too. And at first Danny hardly noticed. Now it’s obvious theres a connection. At first he thought Bruce Wayne hated batman with how often he refused to comment or gave his kids a glare when they mentioned the big bad bat. But now it’s clearly something else. Danny got a chance to talk to the commissioner alone and then it clicked. Danny had asked whats Mr.Waynes beef with Batman and the commissioner seemed so confused. Quickly telling Danny about how the two have worked together. How Bruce has even helped the bat with information or a distraction from time to time. Why would Danny think that he hated him???

And BAM Danny had it. Bruce Wayne is dating THE Batman!!! Holy shit it makes so much sense. Danny would often find batgear around the house. Bruce probably got targeted a bunch and thats probably how they met.

Now hes trying so hard to be supported of his clearly closeted father figure. He also gets why it’s not public info too. Paints a huge target on Bruce. Plus his many many kids. Must be hard for them. What a crazy life they live. Jason would probably be so jealous of their literal fairytale romance.

Danny tells Bruce that he is supported by him and that his secret is safe until hes ready to tell anyone else. Bruce niw thinking Danny knows hes batman shows up no mask and Danny goes nuts. “You can’t out yourself in danger to protect him bruce!!! You are just some himbo man!!! He wouldnt want this!!!” Thinking Bruce is going to try and fight in Batmans place.

Then Danny walks up and places a hand on bruces should (he has to reach lmao shorty). “I will go. I will keep everyone safe. You can count in me” transforms snd flys off to defeat the big bad. Leaving a fully stunned and confused bruce.

[beneathsilverstars]

idk it sounds reasonable to me for a teenager to run away bc they didn't want to eat their veggies!

one hopes that by the later stages of childhood a parent will have figured out which veggies and preparation styles work for the kid, and the kid will have resigned themself to what they do and don't have to eat according to their parents, and it's all settled into an equilibrium instead of a daily fight. and hopefully as a teen your palette is expanding and you're even willing to eat more veggies then you did as a child.

however, if the kid is extra picky and stubborn, and the parent is extra determined to make sure they eat a good variety (or just eat whatever the parent prepared no matter what it is), it could absolutely continue to be a regularly-repeated fight. and if something is a continued point of contention throughout childhood then it absolutely makes sense for a teen to go FUCK this, i am nearly an ADULT i am done being told to eat my veggies i am gonna prove my independence and make them realize i don't have to just sit there and let them boss me around!!

like, the childishness of the fight is exactly why a teen would run away about it.

[codgod]

🌼

sorrow, stupidity, resentment, remembrance

and the specific meanings i used [since they vary depending where you look]:

grass - submission

purple hyacinth - sorry, sorrow

nuts - stupidity

petunia - resentment, anger, your presence soothes me

geranium - stupidity, folly

forget-me-not - true love, remembrance

bleeding hearts - love, heartbreak

[3-aem]

my arts been doing bad on twtter. ive recovered in the past but i worry this time will be different. the idea of losing such a large platform makes me wonder if theres point in continuing even if i feel tremendously guilty admitting that.

as my therapist pointed out today: ppl still like my art. still when i think about it i think there are other artists for you all though. better ones have come along and better ones will still come.

im in my 20s and i haven’t really gotten a chance to live my life properly since the pandemic bc of it. still art is important to me and the idea of losing it has me feeling listless. what do i do when its been who i am for years.

im unsure tbh if im going to quit.

i draw what i like but i don’t see purpose in drawing for myself.

anyways this isnt that deep my therapist is just on leave next week and i wanna cut my hair again

[andr0nap]

gung-ho-woo's

+ a very rough size chart

just for estimates, i cannot be bothered to do the height calculations