#something seems to be off it seems

[hamletthedane]

I keep seeing ads for cotton candy flavored vape pods on tumblr and it made me wonder…

Why/Why not in the tags?

I’m interested because I feel like when I was in high school/college in the mid-10s, almost nobody smoked - even if you otherwise had some pretty hard vices. I think it was considered not really worth it for something with such a small buzz. But now, idk. Maybe the advertisers are right to target people here because it’s just that popular again??

(Reblog for a bigger sample size etc etc.)

[egophiliac]

oh, uh, this...this isn't Silver's backstory after all.

[doctorsiren]

give this angle another tri

[paperglader]

they really put alicent in bridgerton blue on the reunion and genuinely expected me to think that she didn’t in fact march all the way to dragonstone to get wifed up? bfr

[syn0vial]

imagine vader trying to do his trademark "disciplinary force choke" thing on boba after he gets a little bit too impudent, and boba just gritting his teeth and pushing forward until he's close enough to force vader's actual physical hand around his throat, not even remotely as a gesture of devotion or obedience but fully a declaration of, "you think i'm scared of you?? you think you're so precious you can strangle a man and not even get your hands dirty??? let me show you exactly how little i think of your pretentious fucking magic tricks, you pompous wizard fuck 🤬"

and meanwhile vader's just standing there with his hands full of Angry Bounty Hunter like, "unfortunately, i have decided this one is my Favorite :/"

[edwinisms]

you know. I think the reasons it feels so literally narratively wrong when people refer to charles as being straight (such as in interviews where his love life comes up and so on) are that A) he’s never deemed outright straight in the show, so it’s just an assumption that he must be straight by default (which is silly in a show like this), and B) what he says following edwin’s confession. I know I’m biased, but even when I try to look at it as neutrally as possible, the way he reacts in general and the specific words he uses just don’t sound right when you imagine them being said by a Totally Definitely Straight guy.

first of all if you actually listen to it instead of absorbing the scene superficially it’s not particularly a rejection at all, and the actors have stated that themselves– it’s not him saying no, it’s him saying “I can’t give you an answer right now, but I will eventually”. that’s not an interpretation, that’s literally just the truth of what he said (and again, the actors agree). can you imagine a straight guy saying that, or possibly even more damning, “we have literally forever to figure out the rest [“the rest” meaning anything that goes beyond the kind of love charles already solidly has for him]”.

imagine you’re a straight man who’s unwaveringly confident in his orientation and your gay best friend confesses his feelings for you. you would not respond with the implication there is a “the rest” to figure out. since the main, obvious obstacle would be your solid lack of attraction to men, that’d probably be essential to your response– it wouldn’t be a “I can’t say–“ it’d be a “I can’t be–“. and on top of all that, I feel like the whole thing would have to sound far more apologetic– “I’m sorry, I love you and that’ll never change, but I just can’t love you the way that you love me.” something like that, right?

tldr: this is a rare instance in television where assuming a character is straight by default makes Less sense than the alternative. and charles’ choice of words in the confession overtly suggest that he is, at the very least, unsure of his orientation.

[abisalli]

sometimes he forgets the power behind his magic and goes a bit overboard-

[itsnotacostume]

we as a fandom do not talk about this scene enough. what the fuck is this. why did he feel the need to install this? so he could stare at his boybestfriend all day without having to get up?

[nerdgirlnarrates]

Even though it's been months since I switched from neurosurgery to internal medicine, I still have a hard time not being angry about the training culture and particularly the sexism of neurosurgery. It wasn't the whole reason I switched, but truthfully it was a significant part of my decision.

I quickly got worn out by constantly being questioned over my family plans. Within minutes of meeting me, attendings and residents felt comfortable lecturing me on the difficulties of having children as a neurosurgeon. One attending even suggested I should ask my co-residents' permission before getting pregnant so as not to inconvenience them. I do not have children and have never indicated if I plan to have any. Truthfully, I do want children, but I would absolutely have foregone that to be a neurosurgeon. I wanted to be a neurosurgeon more than anything. But I was never asked: it was simply assumed that I would want to be a mother first. Purely because I'm a woman, my ambitions were constantly undermined, assumed to be lesser than those of my male peers. Women must want families, therefore women must be less committed. It was inconceivable that I might put my career first. It was impossible to disprove this assumption: what could I have done to demonstrate my commitment more than what I had already done by leading the interest group, taking a research year, doing a sub-I? My interest in neurosurgery would never be viewed the same way my male peers' was, no matter what I did. I would never be viewed as a neurosurgeon in the same way my male peers would be, because I, first and foremost, would be a mother. It turns out women don't even need to have children to be a mother: it is what you essentially are. You can't be allowed to pursue things that might interfere with your potential motherhood.

Furthermore, you are not trusted to know your own ambitions or what might interfere with your motherhood. I am an adult woman who has gone to medical school: I am well aware of what is required in reproduction, pregnancy, and residency, as much as one can be without experiencing it firsthand. And yet, it was always assumed that I had somehow shown up to a neurosurgery sub-I totally ignorant of the demands of the career and of pregnancy. I needed to be enlightened: always by men, often by childless men. Apparently, it was implausible that I could evaluate the situation on my own and come to a decision. I also couldn't be trusted to know what I wanted: if I said I wanted to be a neurosurgeon more than a mother, I was immediately reassured I could still have a family (an interesting flip from the dire warnings issued not five minutes earlier in the conversation). People could not understand my point, which was that I didn't care. I couldn't mean that, because women are fundamentally mothers. I needed to be guided back to my true role.

Because everyone was so confident in their sexist assumptions that I was less committed, I was not offered the same training, guidance, or opportunities as the men. I didn't have projects thrown my way, I didn't get check-ins or advice on my application process, I didn't get opportunities in the OR that my male peers got, I didn't get taught. I once went two whole days on my sub-I without anyone saying a word to me. I would come to work, avoid the senior resident I was warned hated trainees, figure out which OR to go to on my own, scrub in, watch a surgery in complete silence without even the opportunity to cut a knot, then move to the next surgery. How could I possibly become a surgeon in that environment? And this is all to say nothing of the rape jokes, the advice that the best way for a woman to match is to be as hot as possible, listening to my attending advise the male med students on how to get laid, etc.

At a certain point, it became clear it would be incredibly difficult for me to become a neurosurgeon. I wouldn't get research or leadership opportunities, I wouldn't get teaching or feedback, I wouldn't get mentorship, and I wouldn't get respect. I would have to fight tooth and nail for every single piece of my training, and the prospect was just exhausting. Especially when I also really enjoyed internal medicine, where absolutely none of this was happening and I even had attendings telling me I would be good at it (something that didn't happen in neurosurgery until I quit).

I've been told I should get over this, but I don't know how to. I don't know how to stop being mad about how thoroughly sidelined I was for being female. I don't know how to stop being bitter that my intelligence, commitment, and work ethic meant so much less because I'm a woman. I know I made the right decision to switch to internal medicine, and it probably would have been the right decision even if there weren't all these issues with the culture of neurosurgery, but I'm still so angry about how it happened.

[stardynamite]

I love the Cass apocalyptic series so much y’all it’s crazy

Anyway, I havent really gotten the chance to do rottmnt fanart UNTILL NOW

BOOM

I know that if Casey does a reveal it wouldn’t be like that but I just wanna see what @somerandomdudelmao has in store for us lmao

Also, look at Leo’s flappy shirt arm, just tie it up bro 😭/lh

Full page ⬇️

[lesbianmarrow]

do you think spike from buffy was like dave strider for 1990s transmascs

[just-null]

jay u NEED to draw more ino

PLS I BEG YOU HES SO HGHGHGH IN YOUR STYLE...

he's pretty cute!

even his underlying jealousy is pretty cute in how he asks because he goes right back to wanting to know everything about you and your day!

[luna-loveboop]

Currently obsessed with the idea that the boys go to Time for love advice, since "he's married so he knows this stuff right?"

I mean they couldn't recognize a wedding ring??? And neither did he???

And time was saying this in his youth I mean cmon

Twilight: So ancestor. What would you do if like. Malon left to another world and never came back

Time: ... bro Malon called me fairy boy and then we were married like what

Hyrule: So uhh old man. How does one. Meet a girl.

Time: By speaking to her I guess? Or not, Malon did the talking for me

Hyrule: riiiiight...

Wild *no tact*: Hey so like... what if your redheaded wife who's name started with M died.

Time: what?!?!

Wild, undeterred: but like before she proposed.

Time: ...

Wild: and you don't remember if you would have said yes. What's your advice for dealing with that?

Time: ... vent to a fairy?

Warriors: hey old man

Time: no no no not this one asking me please

Warriors: how do I get women to stop coming after me. So I can ya know. Choose without war trying to force me into relationships

Time: I can safely say I've never had that problem captain

Wars: of course not *smirks*

Wars: ok but seriously how do I make them go away

Time: ... wear a wedding ring so they think you're taken, I've got a shiny extra

Time: no no why- they won't stop, I don't know how to do love!

Time: ok well at least I have legend. That kid would never ask for advice, I'll sit by him.

Legend: so old man.

Time, looking forward to a normal conversation: yeah?

Legend: hypothetically, what would you do if you found out Malon didn't exist.

Legend: And her whole world didn't, but it did, and now it doesn't

Time: ...Excuse me for a minute.

Time, writing a letter as fast as he can: MALON HOW DO I GIVE LOVE ADVICE THEY THINK IM WISE

Malon: lol

Happy Valentine's Day guys, have a headcanon :P

The boys go to Time for love advice and Time spouts whatever wise-sounding bs he can, before shoving them all on Malon for therapy when they visit the ranch

Art and comic by Jojo @linkeduniverse! :D

[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.

[kaitobromota]

[Blows the dust off this blog] Long time no see...

Back in the Danganronpa pits... have some silly doodles for an...AU? or like, slight canon divergence/missing scene? I got to chapter 5 in my THH replay and was thinking about the part where these four are alone in the gym dismantling Monokuma all night.

I know realistically it's supposed to be because they were paranoid and extra careful about taking it slow so nothing went wrong... but like... their alibi is from 10pm to 7am? In my heart of hearts it actually took the whole night because they kept getting distracted and chit-chatting and got into a bunch of shenanigans once the actual dismantling part was done. Like Byakuya says they went to the bathroom in pairs?? Not to mention you'd totally expect him to make a comment about how insufferable it was being stuck together for like nine hours. And Hina says they played rock paper scissors to decide who brought back breakfast???

You can't tell me they didn't bond at least a little bit. A friend pointed out it'd have the vibes of a 4am discord call and that's exactly it. Emotional confessions about personal fears and insecurities to dumb physiological debates that become inside jokes forever. Etc.