#still getting in the flow of drawing in this style

[radioducky]

[machinerot]

[sysig]

Your Weekly TV Guide

On Monday you can expect:

2:30 PM: Original - Concept art

And Tuesday:

2:30 PM: The Stanley Parable

Wednesday:

2:30 PM: Mob Psycho 100

Thursday:

2:30 PM: MP100

Friday:

2:30 PM: Star Control II - Helix

Saturday:

2:30 PM: Dragon Quest IX

Sunday:

2:30 PM: SCII - Helix

Thanks for tuning in! (Patreon)

[ittybittybumblebee]

Ive decided trying to draw foreshortening in realism is hell actually

[serenyetis]

Stede buys Izzy heels bc he likes to feel tall 😌💕

[keeps-ache]

oh brother. kinda sucks to have multiple creative interests and you can only do One but it's not the one you want to do at the moment </3

[gamebunny-advance]

😳

Somebody in the tags of one of my posts called my art “shaped,” and I’m pretty happy to hear that.

[sprite-writes-fanfic]

Hey , I was wondering how do you think the Bay Turtles would react to that Tik Tok trend where the gf called their bf their husband ? Like they could be at the lair and April calls reader amd reader is like " Ya I'm at my husbands place " etc.

This is the trend I'm talking about

https://vm.tiktok.com/ZGeypmGWK/

Very cute idea! Also Bayverse request! 😚👌💙

🐢Calling Them Your Husband🐢

💙❤️Bayverse TMNT x Reader💜🧡

Word Count: 917

CW: Gender-neutral reader, calling him your husband 🥰, fluffy as hell, not proof-read.

TikTok was an interesting platform that you enjoyed scrolling through occasionally, and it wasn’t until one day you stumbled upon the couple side of TikTok. You were planning on scrolling past until a certain one caught your attention, and it certainly got you thinking…

Later that night, you and your boyfriend were doing your nightly activities as you usually did, when you got a sudden call from April. You answered with a smile, “Hey April, what’s up?” You ask, the conversation flowing naturally until she asked where you were at. Without hesitation, you answered, “Oh! Yeah, I’m at my husband's place.” You smile, before glancing over at the turtle beside you, getting the following reaction…

🐢💙Leonardo💙🐢

💙 Leo was staring rather intensely at you, feeling a flood of emotions course through him as he stared at you. He would then let out a soft chuckle, and waited until you hung up. He really liked that, oh he REALLY loved that actually, you saw him as your husband, huh?

💙 Once you hung up, he wrapped his arms around you and kissed you sweetly, “So, what was that about, hm?” He mused, as you giggled a bit. “You want to get married? Why didn’t you just say so?” He smiles, and you couldn’t find it in your heart to tell him it was a TikTok, you just couldn’t, not at the time anyways. And plus, I mean the topic was on your mind after all.

💙 “Oh yeah.” You grin as you draw him into a loving kiss, “Let’s get married?” You ask, smiling at him. A chuckle escapes him and he presses his forehead against yours, “Yeah… Let’s get married.” He swiftly lifts you up, bridal style, “And let’s make it soon. I want this husband title to be more permanent.” He chuckles. (Though you would have to tell him later down the line about this because you felt a tad bit guilty, spoiler; he was confused, but he was fine with it.)

🐢❤️Raphael❤️🐢

❤️ Raph gave you a soft chuckle, before placing a hand on your hip, “Damn right you are.” He smirked down at you. Now this, dear reader, stroked his ego, he absolutely loved it. He waits for you to finish up the call with April, lightly rubbing your skin in a loving manner as he was left with his thoughts for a moment.

❤️ Once you hung up, he kissed your head, “Husband, huh? Get that from somewhere?” He asks, and you couldn’t help but chuckle, “Yes… I did, it was a TikTok idea.” He playfully rolled his eyes, “Now you didn’t mean it?” He teased, making you panic, “Of course I did, Raph!” He let out a small laugh, “Easy, Dollface. I’m messing with you.” He would kiss your forehead, calming you down.

❤️ He was a little disappointed that it was a TikTok trend, but he does have to admit, you calling him your husband certainly felt good. Now he was rather tempted to make you a Hamato, if you catch my drift. But he’d wait, he wants it to be at the right time… For now, he’s just relentlessly bullies you (lovingly) about this for a good while.

🐢💜Donatello💜🐢

💜 Chokes, Donnie literally chokes. He was in the middle of drinking some apple juice when the phrase, ‘my husband’s’, gave him some whiplash with this one. He was choking and coughing, wiping away dripping juice as you panicked and hung up on April to help him, (RIP Donnie, died to apple juice 💀).

💜 Once you finish helping him clean up, he would finally regain his composure, his nostrils still stinging from the apple juice, he asks, “What was that about?” He wasn’t angry, not at all, just really confused about this whole thing. Husband? That’s not the right term, you guys aren’t married (yet)! You end up explaining, “Well… It was a TikTok trend and I kinda wanted to see how you’d react.” You admit.

💜 He chuckles and shakes his head at this, “A TikTok trend?” He asks, “Well, it certainly caught me off guard… But maybe don’t do that the next time I’m drinking apple juice, it isn’t pleasant in the throat nor the throat.” He warns, making you smile, “Right, sorry Don.” And you kissed his cheek, returning back to your fun nightly activities of working on his latest invention.

🐢🧡Michelangelo🧡🐢

🧡 Mikey goes along with it, he’s seen this trend. He wraps his arms around your waist and leans against your shoulder, speaking closer to the phone, “Yup~ Wifeys at my place!” He grins, and now you were feeling yourself get red in the face, now a little flustered that he went along with it. It kinda made you feel a little giddy inside.

🧡 Once hanging up, Mikey was giving you a smug smirk, “Tried to pull that one on me? Well I’m two steps ahead of you, angelcakes!” He grins as he’d kiss your cheek, making you groan, “Damn it, Mikey. I was hoping you’d be a little more on the surprised side, but alas, you know TikTok better than I do.” Making him laugh and nuzzle against your neck.

🧡 He placed sweet kisses along your neck, “Nah, that just takes the fun out of it.” He grins widely, pulling away to look into your eyes, “Plus, I’ve always wanted to call you wifey.” He smirked again when he saw you blush a little harder, making you sigh, “Fine fine! You win.” You groan, hugging him around the shoulders, as he laughed softly and nuzzled your cheek lovingly.

[physalian]

Pacing your Story (Or, How to Avoid the "Suddenly...!")

Arguably *the* most important lesson all writers need to learn, even for those who don’t give a damn about themes and motifs and a moral soap box: How your story is paced, whether it’s a comic book, a children’s chapter book, a doorstopper, a mini series, a movie, or a full-length season of TV (old school style), pacing is everything.

Pacing determines how long the story *feels* regardless of how long it actually is. It can make a 2 hour movie feel like 90 mins or double the time you’re trapped in your seat.

There’s very little I can say about pacing that hasn’t been said before, but I’m here to condense all that’s out there into a less intimidating mouthful to chew.

So: What is pacing?

Pacing is how a story flows, how quickly or slowly the creator moves through and between scenes, how long they spend on setting, narration, conversation, arguments, internal monologues, fight scenes, journey scenes. It’s also how smoothly tone transitions throughout the story. A fantasy adventure jumping around sporadically between meandering boredom, high-octane combat, humor, grief, and romance is exhausting to read, no matter how much effort you put into your characters.

Anyone who says the following is wrong:

Good pacing is always fast/bad pacing is always slow

Pacing means you are 100% consistent throughout the entire story

It doesn’t matter as much so long as you have a compelling story/characters/lore/etc

Now let me explain why in conveniently numbered points:

1. Pacing is not about consistency, it’s about giving the right amount of time to the right pieces of your story

This is not intuitive and it takes a long time to learn. So let’s look at some examples:

Lord of the Rings: The movies trimmed a *lot* from the books that just weren’t adaptable to screen, namely all the tedious details and quite a bit of the worldbuilding that wasn’t critical to the journey of the Fellowship. That said, with some exceptions, the battles are as long as they need to be, along with every monologue, every battle speech. When Helm’s Deep is raging on, we cut away to Merry and Pippin with the Ents to let ourselves breathe, then dive right back in just before it gets boring.

The Hobbit Trilogy: The exact opposite from LotR, stretching one kids book into 3 massive films, stuffing it full of filler, meandering side quests, pointless exposition, drawing out battles and conflicts to silly extremes, then rushing through the actual desolation of Smaug for… some reason.

Die Hard (cause it’s the Holidays y’all!): The actiony-est of action movies with lots of fisticuffs and guns and explosions still leaves time for our hero to breathe, lick his wounds, and build a relationship with the cop on the ground. We constantly cut between the hero and the villains, all sharing the same radio frequency, constantly antsy about what they know and when they’ll find out the rest, and when they’ll discover the hero’s kryptonite.

2. Make every scene you write do at least two things at once

This is also tricky. Making every scene pull double duty should be left to after you’ve written the first draft, otherwise you’ll never write that first draft. Pulling double duty means that if you’re giving exposition, the scene should also reveal something about the character saying it. If you absolutely must write the boring trip from A to B, give some foreshadowing, some thoughtful insight from one of your characters, a little anecdote along the way.

Develop at least two of the following:

The plot

The backstory

The romance/friendships

The lore

The exposition

The setting

The goals of the cast

Doing this extremely well means your readers won’t have any idea you’re doing it until they go back and read it again. If you have two characters sitting and talking exposition at a table, and then those same two characters doing some important task with filler dialogue to break up the narrative… try combining those two scenes and see what happens.

**This is going to be incredibly difficult if you struggle with making your stories longer. I do not. I constantly need to compress my stories. **

3. Not every scene needs to be crucial to the plot, but every scene must say something

I distinguish plot from story like a square vs a rectangle. Plot is just a piece of the tale you want to tell, and some scenes exist just to be funny, or romantic, or mysterious, plot be damned.

What if you’re writing a character study with very little plot? How do you make sure your story isn’t too slow if 60% of the narrative is introspection?

Avoid repeating information the audience already has, unless a reminder is crucial to understanding the scene

This isn’t 1860 anymore. Every detail must serve a purpose. Keep character and setting descriptions down to absolute need-to-know and spread it out like icing on a cake – enough to coat, but not give you a mouthful of whipped sugar and zero cake.

Avoid describing generic daily routines, unless the existence of said routine is out of ordinary for the character, or will be rudely interrupted by chaos. No one cares about them brushing their teeth and doing their hair.

Make sure your characters move, but not too much. E.g. two characters sitting and talking – do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them gesture, wave, frown, laugh, cross their legs, their arms, shift around to get comfortable, pound the table, roll their eyes, point, shrug, touch their face, their hair, wring their hands, pick at their nails, yawn, stretch, pout, sneer, smirk, click their tongue, clear their throat, sniff/sniffle, tap their fingers/drum, bounce their feet, doodle, fiddle with buttons or jewelry, scratch an itch, touch their weapons/gadgets/phones, check the time, get up and sit back down, move from chair to table top – the list goes on. Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t – what does that say about the both of them? This is where “show don’t tell” really comes into play.

4. Your entire work should not be paced exactly the same

Just like a paragraph should not be filled with sentences of all the same length and syntax. Some beats deserve more or less time than others. Unfortunately, this is unique to every single story and there is no one size fits all.

General guidelines are as follows:

Action scenes should have short paragraphs and lots of movement. Cut all setting details and descriptors, internal monologues, and the like, unless they service the scene.

Journey/travel scenes must pull double or even triple duty. There’s a reason very few movies are marketed as “single take” and those that are don’t waste time on stuff that doesn’t matter. See 1917.

Romantic scenes are entirely up to you. Make it a thousand words, make it ten thousand, but you must advance either the romantic tension, actual movement of the characters, conversation, or intimacy of the relationship.

Don’t let your conversations run wild. If they start to veer off course, stop, boil it down to its essentials, and cut the rest.

When transitioning between slow to faster pacing and back again, it’s also not one size fits all. Maybe it being jarring is the point – it’s as sudden for the characters as it is for the reader. With that said, try to keep the “suddenly”s to a minimum.

5. Pacing and tone go hand in hand

This means that, generally speaking, the tone of your scene changes with the speed of the narrative. As stated above, a jarring tonal shift usually brings with it a jarring pacing shift.

A character might get in a car crash while speeding away from an abusive relationship. A character who thinks they’re safe from a pursuer might be rudely and terrifyingly proven wrong. An exhausting chase might finally relent when sanctuary is found. A quiet dinner might quickly turn romantic with a look, or confession. Someone casually cleaning up might discover evidence of a lie, a theft, an intruder and begin to panic.

--

Whatever the case may be, a narrative that is all action all the time suffers from lack of meaningful character moments. A narrative that meanders through the character drama often forgets there is a plot they’re supposed to be following.

[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.

[snuffysbox]

Is there a specific method to how you simplify clothing folds? I love seeing how cohesive they are in your style and it’s so cool to look at

Wow uh, that's super specific but also nice to hear! I tend to think about clothes in a sort of priority list:

What sort of fabric is it? Is it heavy like denim or light like silk? Does it crease easily or not?

How tight is it to the body? Is some of it tight and some of it more loosely flowing? Skinny jeans don't crease as much across the thighs as they do near the ankles and waist, for example.

Is it in motion or static and how does its weight affect this?

Where is the point of tension in the body? A raised arm or turned torso will create a point of tension and the folds/creases will flow out from that point.

I think this tutorial and this tutorial illustrates these points really well.

As for the simplification, I try to always think in contrasting interest, if that makes sense. I find that too many folds, even if it would be more realistic, tends to get too busy-looking (in my art, for my tastes). So I try to keep to a minimum of folds, just enough to help sell movement and weight but still minimalist enough to be contrasting.

Like with the above drawing of Korra, I didn't draw any folds on one side of her little fur thingy there, but I drew just enough on the other side to illustrate the upwards movement of her leg and the tilt in her hips and torso. I coulda done more, for sure, but I thought it was a nice contrast.

same thing for this leg, where the weight of the clothes gets dragged down by gravity to one side, so I've left the other side of her leg relatively simple, for ✨contrast✨.

Hope this helps a little!

[lazyneonrabbitt]

Inked

Tattoo artist!Carmen Berzatto x Reader

3.1K | The cute, blue eyed guy does your tattoo, then he does you as well.

Smut, Mikey lives AU, improper use of a tattoo station.

Carmy, who always stops his work to make sure you’re greeted properly when you deliver their lunch.

Who gets numerous complaints from the other artist in the shop when he suggests ordering sandwiches at The Beef during lunch for the third time that week.

“You just want to see he girl again.”

“we’ll agree this one time, but only if you ask her out.”

Carmy, who gets stupidly jealous when you’re getting a tattoo from the guy who does your preferred style of tattoos.

Carmy, who’s pretty sure you don’t even know his name.

So when you come into the shop that day with the ordered sandwiches, he’s gathering the courage to ask you but he never really gets the chance. When you drop the bag at the desk as you usually do, you’re immediately chatting with Layla, the lady at the front desk, about something he can’t hear from back at his station. He sees you take a piece of folded paper from your back pocket and hand it over. A moment later he sees Layla point at different flash sheets behind her on the wall, as if she’s having you choose a style. His observing is stopped by a sandwich being handed to him.

Eventually your serious conversation seems to have ended as all that’s heard over the now resumed buzzing of tattoo machines is cackling laughter from the front desk, which he was still happily watching between his appointments. Normally he’d been sketching in between his clients. Either refining his next appointment’s design or working on new flash designs, but today his mind wasn’t anywhere near a canvas.

He did catch the guy that did your previous two tattoos linger near the front, which Carmy was a asshole move since you clearly wanted something different than usual, otherwise you would have asked for him immediately.

He shrugged at his own thoughts and went back to enjoying his sandwich and watching the scene from a distance, hoping to catch the guy’s disappointment when you picked someone else.

And as if he had spoken it into existence he saw his eyes widen and immediately scrunch up in annoyance, huffing angrilly as he stomped past carmy’s station and glaring at his smile.

His small, mental victory cheer was short lived, though.

“Yo, Bear!” Layla’s voice bellowed through the shop. “Get your ass over here for a sec.”

With every step he took to the front he got more curious about what was on the piece of paper you had brought with you, but he was also feeling better with every glare he got from mister rude guy.

He stopped at the counter, leaning on it and awaiting his friend’s explanation for calling him over.

Layla scoots him the paper with a “She loved the coloring on these,” as she points at the open binder filled with colored pencil drawings. “You think you can work that into this design she brought?”

Carmy lets out a laugh as he picks up the paper and looks it over, already picturing what he’d do with it color-wise and looks back up to you. “So, you want this exact linework with this color palette," with a gesture that moves from your picture, to his open binder. "But with this type of coloring?" He looks at you with his fingers on a watercolor piece with soft pastel tones under smooth curves of a globe, a waterfall flowing from one ocean into the soft blue background. The design looked like an upgraded version of the small line only piece he had on his arm.

“If that’s possible, yeah.” You nodded excitedly before looking back at him. “It is possible, right? If not I’ll think up something else or whatever.” The disappointment your own thoughts were causing you was clear on your face, so much Layla almost felt bad for you.

A hand on your arm quickly made the thoughts disappear. “I’ll make it work, yeah. I got this.” He takes a pen and writes down the design details in he upper corner. “So, how soon do you wanna get this done? I got some open spots not too far out.”

“Really? I got this week left before we close the shop for renovations so I got all the time then.” You bounced on your heels from excitement as you worked out the appointment details and he handed you his card. “Thank you so much!” You put the card in your back pocket and looked around for a clock. When you spotted one you realized just how long you had been there. “Shit, I gotta go! If I walk fast I’ll make it back before my break is over. see you in two weeks!” You waved to them and called out a goodbye over your shoulder as you jogged out of the front door.

~~~

You kept the little appointment card in your phone case, getting more and more every day.

You got so giddy about it, the Beef staff teased you about it endlessly during the first week of renovation, up to the second you walked out of the door on your way to the appointment.

Arriving at the shop without your work attire or a bag of food felt strange but you were insanely excited. During your waiting time you had been stalking Carmen's artist instagram as well as the parlor's. You had initially picked Carmen as your artist for this piece because of his style, but after really taking a close look at his new posts your mind was already collecting more and more plans for him to cover your body with. But you would be lying to yourself if you said you hadn't been enjoying those tattoo hot take videos of theirs. Honestly you were glued to your phone whenever either page posted something new.

You arrived early so you quietly sat down at the front after saying hi to Layla. From your spot you could see Carmen busy getting his station ready for you, your quickly folded, printed design taped to an armrest.

After a couple of minutes he came up to you, offering you something to drink before walking you to his station.

"So, you nervous?" His sweet smile made all of your nerves disappear and smile back confidently. "Not anymore now that you're here." You couldn't help it, you were so much more excited for this piece than your first ones.

Maybe because this is the first big one, or maybe because of the intricate colors. Obviously because of the insanely cute guy being up close and personal with your thigh for hours.

It surprised you how much effort he had put into your piece. "We never discussed the size, only the placement so I printed the linework in different sizes." He looks at your leg, comparing the prints. "Look in the mirror for me? Which one do you prefer?" His eyes follow yours through the mirror as he moves the stencils onto your leg one by one. "The second one, but maybe a bit higher up?" You leaned in slightly to tap your leg up t where you want the design to be and Carmen follows your taps, holding the paper carefully for you to judge in the mirror. “Yeah, that’s perfect!” You smile at him, following his movements as he puts the sheet between the foils and transfer paper and runs it through the machine. After cutting the piece out again he grabs a sharpie and kneels down in front of you. “Alright, I’m gonna need you to stand perfectly straight for me.” He puts his hands on your hips to turn you all the way to the mirror and places the piece of transfer paper onto your leg. “Right there, yeah?” “Yeah.” You stare as he takes the sharpie and marks its position before taking it off again. He grabs a bottle of liquid and puts some on hi8s gloved fingers to rub it onto your skin. “Okay now stay still.” He steadily holds the paper between his fingers, his pinkies resting against your skin for stability as he carefully lines up the markings and smoothes out the design onto your leg. Giving it a few careful brushes to make sure it stuck everywhere, he gives it a once over and peels it off carefully, checking if it transferred fully.

You watched him work with his full attention on you, no chatting with the other guys or casual conversation. Only making sure you’re getting the best work. When the stencil was fully off your leg he got back up again. “While that dries, lets go over colors.” With a hand on your lower back he led you towards the small desk hidden behind the bar like wall that separated the stations from the front of the shop. “This is what you brought,” His hand splayed out on the desk. “And this is what you requested for the coloring.” carmen opens a leather binder and pulls out a couple of pieces of paper, turning them over and placing them down for you to check. “Holy shit.” It was all you could get out, honestly. You had imagined what the finished concept would look like, but this was so much better.

“This one has the original colors your print has too, and then these two have small edits that I personally thought would look better on skin.”

The first one was what you requested, but the other two had such a better palette. “That one.” You put your finger on the last one, it had the best balance of the original colors and Carmen’s additions. “Yeah, that’s gonna be the one.” The excitement in your voice and that little bounce when you announced your decision had his heart do a flip. He smiled back at you and went to grab and prep all the colors needed for his work. “Go lay down for me? Make sure you’re comfortable and don’t touch the stencil.” You stared and nodded, hands behind you as you backed up against the leather seat and hopped on. He followed your movements while shaking multiple ink bottles. “Or stay seated, I guess, if you want to watch me work.”He smiled at your shocked blush as he turned back to his toolbox table and started pouring colors into tiny tubs. You watched as he compared needles, holding them to the printed line work and placing every needed item neatly on his workbench.

A few buzzes from the machine indicated the end of his setup.

“Okay now you really gotta lay down.” With a gesture of his hand he rolls over with his seat and positioning your seat so he can easily work on your thigh. Once he had you comfortable and got ink on he needle he gave you one last word that he was gonna start. You gave him a thumbs up in response. He looks up at you, raise brows as he asks again. “I’m gonna start now, you good?” “Yeah. Yeah I’m good to go.”

With that said he rubbed vaseline over the bit of skin where he decided to start and carefully pulled the needle across your skin. The scraping burn felt painful at first, but with time it faded into a dull feeling as you stared up at the ceiling catching Carmen’s gaze from time to time whenever he asked if you were doing okay or needed a drink.

By the time the lines were finished the rest of the artists had left for the day. Even Layla came by to have a look at he progress before she called it a day. You sat up and accepted the glass of soda, looking around the empty shop. "We usually don't do tattoos today. Just bookings and designing." He spends a moment cleaning his machine, changing to a different needle for the colors. "I got lucky and have most of my scedule filled out for the upcoming time, so I could take you today." He finishes up prepping for color and cleans off your leg once more with a quick "sorry.". You swore the alcohol on the towel hurt more than the needle.

“You good to start on colors?” You gave a nod in response and laid back down. “Yeah, let’s go!” He gave you an approving smile, loving that you answered him immediately this time.

The colored reference you chose was taped to an armrest next to you. Carmen studied it for a bit, choosing the best order of colors. Again, the buzz of the machine notified you of the start of round two. You kept your breathing even through that first burning moment again and laid still, relaxed and content. The two of you made some stupid small talk, joking here and there. Whenever silence took over for too long he’d start narrating whatever part he was currently coloring, or you would ask tattoo trivia questions that he’s happily answer for you.

The hours passed way quicker than you expected and before you knew it your leg was being cleaned up for the last time and you were carefully helped off the leather seat to take a look in he mirror. With a hand on your back he led you closer to the wall. “Man, walking feels weird now.” You mention and get a laugh in response. “It’ll have faded by tomorrow morning.” He looked at you from his spot beside you, taking in the way you’re staring at your new art piece in awe. “so?” His hand slid a little lower, squeezing right at the hem of your shorts. “What do you think?” His eyes were still on yours as he asked. “It’s perfect, holy shit Carm you’re amazing.” Your thigh was now decorated with the bold, black cartoony linework of a carebear, colored with pinks and blues, beautifully blending into each other and its details done in such smooth thin lines you could stare at it forever.

Your gaze left your tattoo and turned to the side, staring right into his eyes. Your eyes flicked over to his lips for a second before you grabbed his curls at the back of his head and pulled him in for a kiss. Your sudden move caught him off guard but he quickly returned the kiss, one hand slipping lower onto your ass and the other one holding your hip to make sure you wouldn't rub your freshly tattooed skin against his jeans.

“Lets get that leg wrapped up, shall we?” He guided you back to his station to wipe and wrap your thigh, securing the wrap with pieces of tape.

You were leaned against the large seat with Carmen kneeling in front of you, his eyes on yours. In a moment of confidence you put your hand in his hair, carding your fingers through his curls as his hands moved up to the hem of your shorts waiting for your permission.

A tug on his curls lets him know him he could go ahead, carefully pulling down your shorts and panties while making sure he's not dragging the fabric over your wrapped up skin.

Looking up through his lashes he hooks your leg over his shoulder and inches closer until he's right at your centre. "You got no idea how long I've wanted to do this." With that he closes the gap amd his mouth is on you, his tongue dragging over your slit in a broad, slow stripe.

"Fuck, Carm.." Your fingers curled into his hair and  pulled him even closer. His nose brushed against your clit and his tounge easily slid into you, tasting all of you. His moans vibrated through you, having you buck your hips into him almost riding his face. He pulls away for a moment to breathe "Taste so good.. Bring this over for me next time you do a food run?" He jokes with his head against your good thigh, those bright blue eyes staring up at you.

You let out a breathy laugh. "Only on food runs?" The hand in his hair moved down to his jaw to guide him back up. His hands find your hips and in a moment his lips are back on yours. "Gotta thank my brother for always sending you over," He kissed along your jaw. "Got high, spilled about my little crush on the pretty one that brought our lunch that day." Moving your head your lips find his earlobe. "Chef may or may not have heard me talk about the cute artist with the blue eyes and pretty curls a couple of times.."

He smirks against your cheek and steals a kiss before grabbing you by the hips and turning you around.

One hand moves up to your back and presses forward so your upper body is laying against the cool leather of the tattoo chair, while the other kept your thighs at a small distance from the chair. With your head resting on your forearms you look back at him admiring you. When he caught you staring he gave you a quick look with raised eyebrows, looking down at where your ass was pressing against the front of his jeans before looking back into your eyes. A smile and a wiggle against him as response told him enough as he pulled his sweats and boxers down far enough to take out his cock ad rub it between your folds. “Don’t tease, Carmy.. Just put it in,” You press your hips into his again, practically begging him. “please..”

With a roll of his hips he pushes in slowly and leans down to kiss down your spine and softly bit your shoulder blade before setting a steady pace, holding your hips close to his so he won’t accidentally shove you into the chair. Your sighs and moans are sounding trough the parlor as he fucks into you with rhythmic thrusts. “You’re not charging me extra for the happy ending, are you?” Your smartass remark only got a pull on your hips and rougher thrusts as a response. He kept up his fast pace until you were seeing stars and his thrusts started getting sloppy. His forehead was pressed against your back as you clenched around him, taking a few more snaps of his hips before he stilled with a moan. “Shit, if you let me do this more often I might even let you walk out without paying at all."

You shifted so you could look back at him, sweat and curls stuck to his forehead, a tired amile on his face. "Fetch me something to clean up with and I will."

You both got cleaned up and laughed together, chatting about all kinds of stuff. Planning a small dinner date during opening night at the restaurant and betting on how each of your work teams would respond to the two of you dating.

You did end up not having to pay for the tattoo.

~~☆☆☆~~

A/N: lets all pretend Mikey runs the Beef and shit never went bad.

[miguxadraws]

Hello, I hope you don't mind me asking, but I love your art style so much, and the way you draw Ragatha!!!

Would it be okay if I asked you for advice on how to draw Ragatha's hair?

Thank you!

It's perfectly fine to ask me for advice, but just so you know, I'm not the best at explaining my art processes tbh. I've never done an art tutorial or anything similar to that.

However, I tried making a small guide here on how to draw Ragatha's hair - well, how I draw it at least. It's sort of a rough sketch, but hopefully it'll be useful for you!

First off, I'd like to point out that when I began drawing her character, I used one of her official 2D artworks as reference to draw her hair, not her 3D model!

To be more specific, I used this one:

Another important thing to take into consideration is THE VOLUME her hair has.

If you have curly hair and it's long enough, you might know that to make it have that sweet sweet volume, you gotta style it in LAYERS! The same applies to Ragatha here, which you can actually see in the image above! If you wanna make her hair look voluminous, you need to draw it in layers (Assuming you'll be drawing it similarly to how it looks in canon - like dreadlocks)

Anyways, now onto the process!

1st step - Bangs

When drawing her hair, I will always start by drawing her bangs first. It helps me sort out where the other locks will be going for the most part.

I will always start by drawing the 4 locks that go on top of her forehead. The two in the middle will always be shorter than the ones on the sides, but that's just my preference.

Once that's done, I do the longer locks that go down along the sides of her face.

2nd step - Locks on top + bow

Bow is not mandatory, but I must admit it does make my life easier when i'm drawing her, because then i'll always know where to put the two locks she's got on top of her head - that being right where the bow begins - behind it.

3rd step - Superficial layer!

Once you get the two higher locks and the bangs done, this step becomes way easier. You just gotta fill the gap between them.

I'll normally draw 3 on each side, but of course that will depend on the thickness of the dreadlocks you're drawing. It's overall pretty simple.

I like making these 3 locks more droopy than the other 2 coming from behind the bow, but that's also just my own preference.

4th step - Secondary layer

As you can see in the two examples in the center, the shorter locks on top will sort of flow in the same way as the 2 smaller bangs in her front. They go up, then down.

The longer ones that go behind her neck will just go straight down since they're longer and therefore heavier, just like the two long locks on each side of her face.

Clean up + fixing asymmetry

In the top left example, some of the bangs were asymmetrical, so I fixed that after cleaning up the sketch. Mistakes like these tend to be very noticeable once you clean things up, so try keeping each side as symmetrical as you can to one another, especially if you're drawing her front view.

Anyway, that's pretty much it for my process! I feel like I could've elaborated a bit more and made this more organized, but at the same time I kind of have no idea what to do lol sorry

Still, I hope this helps you out somehow!

[luveline]

radio cure | steve harrington

an unhappy you meets steve harrington and his merry band of dorks. he shows you that some things are worth sticking around for.

5k words, fem!reader she/her used, tw mentioned/implied suicidal ideation please don’t read if that’s going to have a negative impact on you (no graphic imagery. but reader is passively suicidal and dealing with the other factors of that), robin steve + eddie chaotic trio, friends to lovers, multipart, swearing, friendly teasing, sarcasm, artist!steve, 90s au

.•° ✿ °•.

You're twenty two when you decide to kill yourself.

It's a warm day. The sun shines like a flower bud unfurling, a faint hint of golden yellow masked by cloud cover. You're savouring the brief moment of blessed cool as you walk around Lover's Lake, your ipod in one hand, headphones around your neck.

The flowing pants you're wearing help mitigate the heat around your legs, an itching, slick thing. Warmth feels like oil on your skin. You tip your head back and smell the grass, the lake water, the dry mud under your feet. You're thinking it's as nice a day as you're going to get this week, and you're forlorn, because it doesn't make one drop of difference.

You look up at the blue sky, squinting against the light, and you think it to yourself resolutely. This is going to be my last year. When your savings run out you're giving up.

It doesn't feel conclusive. It doesn't feel scary. It's just a decision.

You walk over dry grass until you reach the short pier on the leftmost side of the lake and sit down. You pull your headphones over your ears and bite your lip when the music isn't loud enough. The dock is rough. You're uncomfortable immediately. You want to go home, but you pull out your little craft sketchbook made of yellow paper and a pencil you've sharpened with a pen knife, staring out across the lake for something to strike you. A duck. A goose. Anything at all.

The thing is, you don't want to draw. You aren't some master, though you try, and you aren't a natural talent… You try sometimes. Nothing seems right. Most people have a style, charm, but you could draw a picture perfect copy of the day in front of you and still feel the lack; you have no idea what it is that makes other people's art beautiful, and that's the problem.

It doesn't matter. You put the sketchbook away. You have nobody to impress but yourself, and besides — you're not the first person in the world to feel uninspired. Thousands of people must feel it everyday, and they aren't throwing any pity parties. You peel off your cardigan, ball it up, and lay down with the fabric behind your head. You can hear the soft pant of a dog across the way, the happy chattering of a Frisbee game. Under the dock, little bodies thwack the planks, tiny green frogs that occasionally hop in the grass nearby.

You press your arm against your stomach and you fall asleep not long after that, your ipod playing music a few feet away.

—

Steve Harrington doesn't know why he stops to look at you. You're just a girl enjoying the summer sun, and he doesn't mean to be a creep. But you've left your stuff laying in small hills around you and your body's lax. You're asleep.

He kneels down next to you. Enough room to swing away if you try to stab him for perving. He isn't perving, he reasons. He wants to check if you're okay.

He tilts his ear toward you and holds his breath.

You're snoring.

Good, he thinks, crawling back to the far side of the dock, at least two feet between you. You're sleeping.

He sits down, knees up, hands between his thighs, and looks out across the lake. The sun shines high as the clouds shift to reveal it in full force, a burning yolk. It kisses every bit of green foliage it can find, dappled sunlight everywhere he looks. Steve is out today to draw whatever beauty he can find, and the light across the water riding the rippled waves of ducklings and brave human swimmers seems nice enough. He peers out of the corner of his eye at you, deems you still sleeping, and takes the pocket sized sketchbook out of his denim jeans.

His pencil is a stub folded between the pages. He lays down graphite in big sweeping lines, more focused on the impressions of shape than the specifics. It's hard to see a coloured world in black and white values. Steve isn't great — he's been drawing for two years now, and that feels like both a lifetime and a flicker. Every day he learns something new about making art, and every day he looks back and feels embarrassed at what he made before. The start of his sketchbooks make him cringe. This one is a mixture of pride and tepid reluctance.

Being bad at something is a stepping stone at getting better. Not every drawing he makes is good, but hopefully it's teaching his brain to be better. He doesn't know what he believes about art but he likes to draw, and he has gotten better.

The point isn't in being good, he'd told Robin. I just need something to do. Before I go crazy doing nothing. 

He draws the lake. He loves the way it comes into being. Ten minutes can turn grey splotches into trees, and bluegrass, and the heat rising off of the water. He draws a duck when it swims really close, though he has to abandon it when it swims away, leaving a half formed lovecraftian creature to haunt the page. He draws the dock, and his shoes, and your shoes, and your hand curled weakly next to your ipod. He draws your wrist, though he stops quickly.

He looks at your sleeping face.

Steve thinks you don't look like anyone he's ever seen before. He notes your lashes, your brows, and your nose. The sun emphasises the fine hairs across your cheek, and the texture beneath them.

He wants to draw your face, but he thinks drawing your hand and your shoes might have been too much without permission. He lets you sleep for a while, and then when he realises the heat is making him dizzy, he can't leave you there to bake.

He rips a sheet of paper out of his sketchbook and shoves the small book back into his pocket. The dock groans as he stands, and he casts a shadow over your face and upper torso.

"Hey," he says.

You flinch awake.

"Don't panic," he says, which is something a pervert might say, so he amends, "don't freak out, I'm just worried you're gonna cook your brains. I didn't want you to get sick."

You sit up. You look kinda cooked already, blinking and disoriented.

"You okay?"

You don't look up. "Yeah, I'm okay. Thank you for waking me up."

"Yeah, sure. Here."

He holds out the drawing of your hand. He doesn't think it's good, doesn't want you to see it, but he already did it. Giving it to you will ease his guilty conscience.

It's unlike Steve to bail, but he bails. Your fingers are barely brushing the paper when he's wiping his palms on his thighs and stepping away.

"Bye," he says, uncertain. "Try not to fall asleep again!"

—

It's not so weird. Sure, he'd made your fingers skinnier than they really are, and he made your shoelaces look like spaghetti, but they're good drawings.

You're trying to read a book in the corner of Benny's when he finds you a second time. He hovers, and you're not cool, you aren't, you're working with what you've got. Not many people skills.

“Hi,” he says.

"They were good drawings," you say, in lieu of your own hello, thumbing at the pages of your book all full of jumpy nerves.

"Thank you, I'm… new to it. My best friend, she's– she's actually nicer than she should be about them, I can't lie. I was going to say she thinks I should be banned from picking up a pencil, because I wanted to make you laugh, but. She's nice when it matters."

You can't keep looking down, it wouldn't be polite. You dog ear your paperback and let it lie against the tabletop, greasy to touch but you doubt it'll make a difference. The book is old and had cost you 50 cents at Mr. and Mrs. Wheeler's yard sale.

He's tall. Hair falls around his face and curls gently against his cheeks, a sandy brown. He's wearing a hat. He hadn't been wearing one the day he'd given you his drawings, but you can understand why he needs it. The sun is an inescapable force: sun stroke has half the town down for the count. The whole reason that you're in Benny's is because it's air-conditioned and shady.

"Do you want to come and eat with me and my friends?"

You say no automatically. "No, that's okay. I don't wanna," —you don't know what to say, so your voice hikes up awkwardly— "impose."

"You don't have to, but if you want to, you're not imposing." He twists at the waist and nods to a booth across the room, where a boy and girl sit. When they see you seeing them they look away. "Sorry, they're dorks. There's usually more of us, but Jon's in work and Nancy's in Emerson, so…" He seizes up.

You wonder why people are so afraid of being awkward. It terrifies you, to think one day you'll fuck up and be awkward and the other person will remember it and laugh, but looking at him now, you can't see why it matters. It actually makes you feel better, knowing he's worried too.

"I only brought enough for the milkshake," you say.

"I'll get you something."

"That's– no, that's okay."

He hesitates. "You'd be doing me a favour. I love them, really, but I can't stand it when they're together, they bully me."

It would probably be worse to reject his offer and sit here lonely while they laugh and talk. You'll worry they're talking about you.

"Okay," you mumble, picking up your book and your milkshake.

He grins at you and you follow him through the diner. It's not busy today, but there's still feet to fall over and backpack straps to tread on, so you watch the floor.

"My name is Steve, by the way."

You tell him your own name, which brings another quick smile to his face. He slows as he approaches the booth of his friends and beckons for you to slide into the empty side before following you in.

"Guys, this is– Eddie, what the fuck is that? We said no gross shit at the table."

"This, my friend," Eddie says, words rolling around his mouth grandly, "is a monster."

It's a little man made of coffee stirrers, sporks, and chewing gum seams. It's kind of gross, but it's cute. Grossly cute and cutely gross.

"We're about to eat."

"You're stepping on his artistic licence," says the girl, her voice distinctly pretty and a tiny bit hoarse.

"Disgusting," Steve says.

You shift on the leather chair underneath you and anxiety pulses in the bottom of your stomach. They're ignoring you, but not really. Both have lifted their eyes to look at you, and, in sync, they smile. The girl's smile is startling, lip gloss lips and white teeth. Eddie's is softer, less happy and more reassuring.

"I'm Eddie," Eddie says, though you'd figured it out. "That's Robin. Do you think my monster is gross in the gross way or gross in the sick way?"

"He's cute," you admit to thinking. "But the gum…"

"I didn't have any glue."

"Steve told us about his drawings. If he's holding you hostage right now, blink three times, okay?" Robin jokes.

Eddie and Robin lean their shoulders together and start a bit where they count your blinks. There's murmurings about shelters and how they can definitely throat punch Steve hard enough to make him mute. You're stunned at being the object of a joke and don't know how to react, feeling like you've been whacked and now there's cartoon birds flying around your head and they can all see them.

Steve grabs the menus out of the rack and slaps one down in front of everybody. "Alright, team. You know the drill. Last person to choose what they want has to buy drinks." He spares you a glance. "Except you. She's on me because hostages don't pay for themselves."

"I would make such a pretty hostage," Eddie says.

He is pretty, in fairness. Dark curls thick with baby hairs frizzed up in the summer heat frame a pale face. He has big brown eyes.

“And talented,” Robin adds, poking the gum man until he falls flat on his face. The head pops off and Eddie shrieks, not loudly but with a passionate upset about him that makes you laugh.

Steve leans over. “Please choose quickly so I don’t have to pay for Robin's lemonade addiction. No pressure.”

“I’ll just have what you have.”

“With a coke?”

“Sure.”

“Robin?” he asks.

“I want a cheeseburger with a lemonade and then, if you will, another lemonade.”

She dumps her menu in Eddie’s lap, who looks up from his decapitated figure with a look of defeat.

“Wh- hey, she cheated. She hurt my dude.”

“Rules are rules.”

Eddie sulks and accepts everybody’s money. He slinks up to the window like an annoyed cat. After he’s placed the order, he looks back to the table and flips the bird covertly.

“So, how old are you?” Robin asks.

“Twenty two.”

“How’s that?” she asks sympathetically.

“Robin.” Steve chides. “She’s twenty so she thinks she’s a baby.”

“I am a baby. This is my first year not being a teen, which means it’s my first year as an adult. I’m one.”

“We have this argument a lot,” Steve says, though not with any bravado. Simple explanation, his voice soft and warm. “When being an adult actually begins. It’s not the adult part that even matters, it’s the not having rules that fucks people up. Look at Eddie. He’s been out of school for a year and he’s been arrested three times.”

You frown, not because his getting arrested would bother you (depending on the charge), but because you’re surprised, and surprise is quick to appear as anger on your face. His shirt and rockstar rings, his nice smile, his gum man — you’d assumed he was a huge nerd. His arrests are a surprise.

“What for?” you ask, before you can remind yourself that invasive questions are rude.

“Once for indecent exposure– completely accidental. Once for trespassing, and the last time was because he chained himself to a tree outside of Tawny’s bar. They weren’t cutting the tree down,” Steve says. “He, and I quote, wanted to see what all the fuss was about.”

“Don’t give away my RAP sheet when I’m not here,” Eddie says, placing a tray of drinks on the table carefully. Three cokes and two lemonades.

“It’s not a RAP sheet if you don’t actually get in trouble. They let him off ‘cause they know his uncle. And also ‘cause it’s Hawkins.” Robin slides her slice of lemon between her teeth, shepherding her two lemonades as far away from everybody as she can, looking extremely hedgy. “I’s a bitch sheet.”

Eddie feigns for her second lemon slice and snickers when Robin defends it, elbowing him hard in the ribs.

“I paid for it!” he says through laughs.

Your hands start to shake. You hide them under the lip of the table but it’s no use. Soon your legs are shaking, your arms, all of you. They’re minute tremors, both invisible and impossible to ignore. You glue a smile to your face and try to calm down. You’re overwhelmed and you don’t know why — this isn’t a new feeling. You are not the first person to feel this feeling.

Then why does it feel like it?

Sometimes, everything gets so scary so quickly, and you sit there wondering why it isn’t scary for everybody else, and you wonder why they can’t see it on your face how scared you are, and they must see it? They must know you’re fucked.

You’re shot with thoughts. These people, you could be friends. All you have to do is make a good impression. But how should you go about that? How do you talk? What do you say?

“I draw too,” you say, hands clamped between your knees.

Steve’s eyebrows do this little dance. It’s adorable, and it makes you want to be his friend most of all.

“You do?”

“I do. I’m not good, I mean. I used to be better. I’m out of practice.”

“I draw,” Eddie says.

“Yeah?”

He nods. “Jonathan, too. God, you should see his shit. And he’s an even better photographer. But I draw shitty zine comics. And Robin does the typesetting for me.”

“Oh, wow,” you say genuinely.

“Nancy writes,” Robin says. “So we’re, like, a jerk circle of artists. She’s good, too.”

“She’s good,” Eddie imitates fondly. “I bet she is. Robin’s gonna be a great writer as well, once she gets all these private Nancy lessons.”

Steve puts a hand up and Eddie promptly shuts up. He takes a big, sheepish slurp of coke and you feel like you’ve said something wrong though you barely said anything at all, sipping at your own coke.

“What are you reading?” Robin asks.

You slide the book toward her so she can see for herself. “The Sea, The Sea,” you tell her. “It’s about, uh,” —you’ve only managed to read the first thirty pages, and that’s after reading the first ten five times straight— “this guy named Charles, he’s unique. He’s uh, annoying.”

“You know, Nancy used to have a book that looked just like that,” Steve says.

You laugh weakly. “It must be popular. I got it at a yard sale.”

“Can I open it?” Robin asks.

“Of course. It’s already pretty beat up, I don’t think there’s anything you could do—“

Robin opens the book with one hand, thumb and pinky fingertip pressed to either side, and tries to take a sip of her drink without looking, tipping her glass of lemonade straight into the pages of The Sea, The Sea. What doesn’t get soaked up by your book rushes down the length of the table and into her lap.

Steve reaches across the table to grab up the glass, but the damage is already done. Your lips part. Eddie gawps, throwing a hand over his slack-jawed face.

“I’m so sorry. I’m so sorry,” she says, looking at you with wide eyes. “I have the worst case of butterfingers ever, I’m sorry.”

It’s as if she can’t believe she did it. You fluster when you realise they’re all waiting for your reaction.

“It’s okay!” you say, as loud as you’ve ever spoken in public.

“You can be mad,” Steve assures you.

“No, it was an accident. I’m not mad, it cost fifty cents, and it was totally garbage anyway. I’m really not mad.”

Eddie stuffs napkins under the table and Robin shivers uncontrollably, dishing ice cubes from her lap and the seat. Steve, laughing now, says, “God dammit, Robs,” sounding like she might be the most golden person on the planet.

—

Steve works his hat over your hair the best that he can. “There. Now you won’t die from heat stroke.”

You bring both hands to the hat to encourage it down onto your head. “Steve,” you say, sounding unsure on how to continue.

“It’s on loan.”

You nod and look out over the lake, where Eddie stands at the edge of the dock. "It's getting way too fucking cold for this," he complains, in swim shorts and a shirt, gazing in distrust at the lake’s shimmering surface.

Lake is kind. It is technically a lake, but also technically a really, very pathetic lake that feeds from a pathetic tributary. If you stationed Steve on one side and you the other, he would strain to hear you talking. Likely infected with brain eating amoeba or tadpoles or leeches. Slimy things. It’s less disgusting than Lover’s Lake, a condom cesspit, so that’s a plus.

You aren’t looking any more eager about jumping in than you had been, thighs naked and kissed by the hem of an oversized, black t-shirt. It’s wrinkled. Steve kind of loves it.

"Just jump in, you big babies," Robin says.

She'd already jumped in, screamed at the cold, and now languishes in the chest height water in front of the small fishing dock with a smug smile on her face. "Not you," she says to you. Steve rolls his eyes.

You shake your head, hair slipping out of the hat. You sigh as you pull it off and readjust the sizing band.

"I guess I am being a baby,” you say to him quietly. “The sun’s been out all day, how cold can it be?” You’re not feeling confident. It seeps into your voice, to which Steve lends a placating smile.

"Really fucking cold."

"Eddie, shut up. Y/N, it's fine. You'll like it."

“I really don’t think she’ll like it.”

Steve doesn’t either, but he wants you to feel included, and less tense. Distract you from whatever it is that’s giving you such a big case of the frownies, and prove he and his friends aren’t just book-ruining hooligans.

Eddie finally jumps in over Robin’s head, disappearing into the not quite blue water with a cut-off curse. He appears again a few seconds later, black hair slicked to his face, neck and shoulders, wiping the water from his eyes as he splutters and giggles boyishly.

“Shit, Stevie,” he says. “Not that cold after all.”

“You don’t have to jump in, you can just ease off the dock, if that’s better,” Steve says.

“Frogspawn,” you murmur.

Steve does a bunch of flexing, throws in a jumping jack for good measure. “Alright,” he says, holding out his hand. “Let’s go.”

You shake your head gently.

Steve doesn’t wanna embarrass you further, or insist when you really don’t want to, so he nods and smiles and takes a running jump into the lake. Robin and Eddie both swear and dart away as his body collides with the surface of the water, and he sinks like a well-practised stone to near enough the lake bed, feet gracing slippery pond weed and things he’d rather not think about. The air shatters out of his lungs and the water, despite the summer sun, is cold. It feels amazing — he hadn’t realised how warm he was until the temperature abruptly shifted.

He rushes back up to the surface and shakes his hair out like a dog, water running down his face and shoulders in fast thick rivulets. He peels his eyes open and turns to find you still hesitating on the dock. Robin splashes at Steve in retaliation for his hair splatters and Eddie laughs evilly as he joins in.

“Come on!” he begs you. “I told you, they bully me! I need back up!”

You toss his hat on the dock. The jump you take into the lake is timid but enough to miss the frogspawn and not break your legs, a cold splash of water and you’re there. Luckily, your presence has Robin and Eddie both stopping in their cruel tracks, and you don’t have to save Steve after all.

Your happy laughter is stunning.

"It's so cold!" you squeal, water in your eyelashes.

Eddie takes one of your hands and together the four of your tread into deeper water.

"Now that all who can be present are present," he says, falling into his dungeon master drawl, "it's time we commence the The Tournament. Swimmers, take your stations."

Everyone falls into line. You don't know what you're falling into line for, raising your timid voice to ask, "What's the game?"

"The game is me and you dunk the ever-loving out of dumb and dumber," he says.

"Hey, what?" Robin asks. "How come you get her? She's a total wild card, she might win the game all by herself."

"Or she might really suck. We don't know, and so in the interest of fairness, I propose she swims with me." Eddie's wet sleeve sticks to your skin as he nudges you. "But you don't suck, do you?"

"Um…"

"Attagirl. On your marks, get set, go!"

You spend an hour like that. Steve and Co, they're stupid, but they aren't stupid stupid. The Tournament is a series of chasing and dunking (stupid but fun) wherein you get to throw yourself on the shoulders of the person you're chasing and submerge them (stupid again). You can't hold them down, though, they aren't trying to drown one another. Much.

The sun regretfully starts to set. If it's anything like the last few days, that means it's likely near 10PM, and they're all working tomorrow.

"Do you have work tomorrow?" Steve asks in concern, after he's heaved himself up onto one of the huge stones on the opposite side of the lake.

Cattails obscure you from view on your own stone. Across the lake, your possessions lay thankfully unscathed on the dock. Robin sits as close as she can to Steve on his rock, kicking water at Eddie every time he tries to approach.

"You fucking rat," he fumes, mouth full of lake water.

"I'm not really working right now,” you say.

"Do you need a job?" Eddie asks. "They're hiring— Harrington, restrain your creature! They're hiring at the Palace Arcade, aren't they?"

Steve nods voraciously. "Yeah! Hey, we can get you an interview no problem, they probably won't even ask you that many questions. I mean, Keith worked there."

"Don't be mean about Keith," Robin says, though she doesn't really like him. He thinks it's akin to defending your deadbeat older brother.

"I don't know, I think even a couple of questions might be too many," you worry.

"How come?"

You pull the fluff off of a cat tail, and it explodes in your hands. Steve yanks one down to do the same, watching the fibres float across the lake's disturbed surface with a cool breeze. Robin shivers beside him, sensitive to the cold in her wet clothes, the adrenaline of swimming and almost but not really dying wearing off.

"I'm bad at stuff like that."

"I don't think anyone's good at interviews at our age," Eddie says, nose wrinkled as cat tail floats toward him. "We're, like, babies."

"I always feel like I'm really old," you confess. You look down at your naked knees. "Like I wasted all the good years already."

"What, school?"

"And the four years since," you say.

Steve gets it, in a way. His high school years sucked, and he'd maybe thought he'd get out of Hawkins on a track or swim scholarship, basketball — anything. But he's here still, and at first that hadn't been what he wanted. Sure, he'd expected it, but in different ways.

Steve pushes back the cattails to see you clearly. "I didn't even get any real good years until just now," he says, as kindly as he can.

"I failed senior year twice," Eddie speaks up, "I kinda thought I was wasting my life too, but if I didn't, I wouldn't even know Robin, and she's, like, my best friend."

He throws his hands over his face before Steve can kick a huge wave of lake water into his eyes. "Get your own," Steve fumes. He's not really mad.

"Yeah, these are the good years," Robin says, "probably. I never had guys fighting over me in high school." She laughs and tucks her wet hair behind her ears, her freckled cheeks pale in the oranging light of the sunset.

You hold your hands out for Eddie and he finally climbs onto one of the rocks. From this side of the lake, you can watch the sun set behind the silhouettes of Hawkins town a half mile away. It dips slowly down, meandering almost, a pearl sinking through layers of raspberry pink and orange and, as Steve holds his breath, that sudden flash of electric green.

"I'm blind," Eddie mumbles, falling back into the rocks and grass.

"Shit, that was cool." Robin stands up and stretches. "I'm so cold I'm gonna die right here. Steve, do you still have a blanket in your car?"

Steve looks over at you again. You look shell-shocked, not quite awed. He doesn't know what emotion you're feeling, only that you're feeling it, eyes wide and set across the lake at the darkened sky, lights from the buildings like stars shimmering in your pupils.

He stands up and offers his hand to you. When you take it, he pulls you up without hesitation, not a flicker of doubt or an ounce of struggle.

"I'll get you that interview," he says, questioning, soft. If you want it. 

Your fingers linger in his palm.

"Yeah, okay. Thank you."

"Come on!" Robin says, taking your other hand and tugging without apology, barefoot over the asphalt path surrounding the lake. "Before the gnats come out."

"We might see fireflies if we stick around," Eddie says.

They bicker. Steve lets go of your hand and you and Robin walk just ahead, your head bobbing between his two arguing friends like you're watching a quickfire tennis match.

You turn to the side and hide a smile. Steve sees it, and he figures it's a start.

"Munson," he hollers, "how about you stay and watch the fireflies and you tell us all about it? Me and the girls aren't gonna freeze out here so you can get back in touch with nature."

It's a bad joke, but it works. "Fuck you, Harrington. The ladies wanna see the lightning bugs, don't you?"

"I can't remember the last time I saw them," you say.

"Then we have to stay," Eddie says smugly.

You all crowd the back of Steve's car, the heaters on but not doing a lot, the blanket stretched over Robin's shoulders. She tucks it behind your back, and you all look out to the night and scout for bugs.

"There," you whisper, pointing.

Green dots of light rise from the dry grass like tiny lanterns, a handful at a time.

"Jonathan's gonna be sad he missed this," Robin murmurs.

You try to count them all. Four voices whispering bets into the night air, though the real number isn't possible to calculate. "Winner gets a new paperback on Robin," Eddie jokes, swiftly quietened by a barrage of elbows to his side.

They let you win.

[circuscountdowns]

Crude Timeline/Breakdown of my goofy Cult of the Lamb drawings if you’re interested:

The whole premise for this i guess au? Started during my first run, I already knew the game was about kill god become god, but Did Not know you could Marry the god youd betray??? Or indoctrinate him???. Like I didn't even choose the Marriage Doctrine cuz I'm like boo r u kidding me I'm choosing violent Battle Pit always. Which Lambert wouldn't know any of this in the beginning either but the big deciding factor is: 

Lamb is going into it with the mindset of Kill All Gods for what they've done to the sheep (sorry my benefactor, ur included <3) Kratos style lets go, none spared.

That being said, they have a lot of devotion towards Death, I like to think the Sheep folk prayed to The One Below for quick passings knowing they're a huge sacrificial species, and because sheep with their huge herd mentality, the worship flowed heavily which is a threat therefore that plus prophecy equals Slaughter. 

So with TOWW, they play along and genuinely mean they're serving death because they worshiped Death as a concept, a divine entity. They believe when they “kill” TOWW they'll still be “together” because Death is unkillable right (and the lamb would never have to be alone again right). Something new will be written thats the both of us as one.

So in between crusading Lamb and TOWW get closer (i am going to take your throne but that doesn't mean we can't have fun banter or that i don't really really enjoy ur compliments and attention ((because I love kittys…))) and that's when the comic about tanking happens. 

But oh no! Through their journey Lamb discovers that TOWW is actually a Bishop, chained for a petty family squabble??? Has a name and it’s Narinder???? 

The revelation kinda breaks something in their head. it upsettingly humanizes the Bishops, trivializes the death of their people, and takes TOWW off the pedestal they'd placed him on. Uh ohhhh how does this change things i mean I'm still gonna kill all the gods but what does it mean to be a god is it just a crown whats going to happen to Narinder is it actually Narinder I like ?? (And i had a comic for this time planned but idk if ill get to it)

Meanwhile Narinders opinion on the Lamb has so far just been Wow im so proud, I chose good yay I'm gonna be free (why do I feel like I could be free from their devotion alone?) (why are they just like me fr?) 

When Narinder is defeated and they have the choice, the lamb feels they betray both their people for not keeping their promise to kill all gods, but also their Faith and Narinder, v conflicting. 

After indoctrination, Narinder does his typical Isolation, depression, and Lamb mourns what they'd had. In their loneliness, they stop allowing their cultists to die for long. They do all Narinders quests, and when it comes to the resurrection he's like Haha I remember why I liked you. But also he can exploit this. That's the time of the Resurrection comic.

He tries to micromanage from there, if he can't be the god being worshiped rn he's going to control the god. Starts off with whispering insecurities of Your cultists will find a way to leave you, be firmer. Gods should do this, have this, they'll leave if you don't. Lamb knows what he's doing and mostly humors him to keep him around but over time they've just both started to build a proper relationship again. He successfully ironically becomes their right hand.

This goes on for a sec before Mystic Seller knocks on da door like Hello do your joobbbb. And thats a kick enough to get Lamb out of their misery shit to really consider their original plan of killing gods and what exactly they want Death to Mean. (Comes to a conclusion that death is a peace that has to be earned. Through living.)

Bringing Leshy back brings a rift and arguments between Narinder and Lamb. That's when the Narinder Confessional comic happens and he lets out just how hurt he was by Lambs betrayal (cuz that seems to be all anyone ever does to him lol except for his sons)

So as a sort of reconciliation! Lamb brings back Aym and Baal. Yay! That's that comic, where Narinder tries to say it doesn't affect him so Lamb forces them to be together. Aym and Ball stay in the cult for a good while as Lamb works to free Heket, but Narinder is still super giving Lamb the cold shoulder. When Heket is indoctrinated Narinder gets angry again that he has no say on the matter. 

Lamb starts sneaking off to sit in the confessional booth at night and it gets Narinders attention. He follows them in and hears them speak about essentially their motivations and beliefs described earlier. I have a half finished comic of this to partner with Narinder’s confessional, with Lamb’s being more down to earth and kinda just explanatory of the whole timeline but who knows if ill finish it tbh

Narinder reassesses his feelings for Lamb after that.

Right after Lamb's confessional would be when the Baal and AYm comic happens, and Narinder asks for his last request of going on a mission, fully committing to living a life.

Cue big ambiguous gap of time where Lamb gets the other siblings, yada yada healing and dealing. Shamura in the pillory comic happens, the bishops are Not happy about it, but Shamura's only locked up for a night.

Probably takes a hundred or two years for the siblings being comfortable enough around each other and theres a lot less venom being spat out. Idk gods grudges be lasting forever sometimes. Eventually They can start having family game nights, cue that comic. Everyones tired of the shit Lamb and Narinders got going on. 

Lamb still thinks Narinder doesnt have romantic feelings for them. Best friends til the end me and my god, never mind the tense flirting. Lamb does that with everyone. (cursed with flirty asexual disease) For Narinder its that he shouldnt have to say anything everyone should just know that the Lamb is his. Straight up if Lamb asked him, do you love me hed say yes in every sense, but though he is aware of how he feels and would be honest on approach, an immortal relationship/marriage?? It is a lot to ask of the lamb, that has to be a decision they make. Hes content as is.

but No Way could Lamb ask that without a safety net.  So when Lamb realizes Oh its like. romantic jealousy? Interesting lets see how far i can push it, announces they will be choosing a spouse (due to a wager lost they reason, depending on who asks) (the siblings who know of Shamura’s deal, watch in mild amusement at how absolutely wired this gets their brother. No one helps him.) fine for narinder If they get married thats up to them but hes gonna make sure theyre worthy of his vessel first. Marriage is just a title compared to what he and the Lamb have. 

Cue comic i have planned that is Such a funny idea to me but im not liking how its turning out so who knows. But they get married yay! 

Some years later kudaai has offered to make the lamb their own weapon. They go on a little trip to the spot they were sacrificed, now very overgrown and forgotten, and find their chains to make their weapons. 

far future comic

many many many years later Lamb death comic.

that’s it for now. I’ll add more if ideas come but this is context if you’d like. Feel free to ask questions, I’m rotating these fellas in my head

[simpforboys]

Hi there! I have a request for Xavier Thorpe or Tyler Galpin if you are interested! Basically an Addams!reader in which she is the complete opposite of Wednesday, not because she's sunshine and rainbows, she's still an Addams after all, but she takes after their dad. Excitable about pain and murder and torture with a flair for the dramatics

just like your dad

xavier thorpe x fem!addams!reader

summary: xavier and you share a bond for art. while your styles are different, you share experiences.

warnings: fluff, swearing, you’re goth

works for blood related or adopted, no physical descriptions

i made the reader draw (idk why, when i was writing it just flowed to me) so sorry if this isn’t exactly what you wanted, i tried lol!!

ever since you and your sister, wednesday, had arrived at nevermore, there has been very different experiences.

while wednesday tended to be emotionless, full of hatred, yet somehow caring deep under her dead stare. you were passionate, expressed yourself, and family oriented.

seeing the way your father cherished and treated your mother has had a huge impact on you ever since you were little.

he would always go out of his way for your mother. he would kill for her, he would die for her, and he would live for her.

and you wanted to experience that same kind of love.

you kept an open mind at nevermore. after all, they did have a ton of students and a fencing program that you immediately joined.

your father had taught you, wednesday, and pugsley the fine arts of torture and pain from a very young age.

it was something you all had taken a liking too, but for you it drove deeper then just pain. it was more what pain could do on a psychological level, how it can mentally mess someone up for good.

and despite wednesday and her stone-cold self that she inherited from your mother, you had also taken on your father’s dramatic personality.

that’s why you easily made friends at nevermore. people liked being around you, especially xavier thorpe.

it wasn’t a lie to anyone that he found you enticing. you were gorgeous, unafraid, and most of all… different.

different in a sense that while others tended to shy away, you would stick up despite the judgement you could face. different in a way that drove xavier insane, and he needed to be around you constantly or else he felt like a part of him was missing.

“what are you up to, y/n?” xavier raised his eyebrows in confusion as you sat on a nearby bench that overlooked the quad of nevermore.

you peered up at him, showing him your sketch. you had drawn everyone in the quad with an explosion in the middle.

“what’s that for?” xavier asked, sitting next to you.

“just a thought i had, staring off at the crowd. isn’t explosions fun?” you smiled at the boy.

“watch..” xavier took his hand and held it over your drawing.

you watched in anticipation as the drawing you had done began to come to life. the little explosion blew up, causing everyone to come flying backwards.

“oh my…” you trailed off. xavier smiled at your excitement.

“do you want to come see my little get away?”

➽─────────────────❥

there wasn’t a silent moment on the way to xavier’s art shed.

you were blurting out ideas you had, and xavier just listened. he loved hearing you talk about things you were passionate about.

“when i was little, my father taught us all the importance of family. he was devastated when my uncle fester disappeared, but my mom was there to help him through it.”

“seeing love in a beautifully sickening way, it made me crave it. i want to be pursued like that.”

xavier stared at you. he felt his stomach ache as the two of you made it to his art shed. 

“y/n-”

“what’s this?” you accidentally interrupted him. 

xavier, now embarrassed, began to unlock his shed. 

“you’re not going to kill me, right?” you looked at the boy. 

“what? no-”

“shame.”

xavier stared at you in shock as you entered his little getaway. you looked around the small shed, artwork depicted everywhere.

“is this where you draw?”

“draw, paint, think. basically.”

xavier nervously watched as you inspected each painting carefully.

“what’s this?”

you pointed to a sketch that was you.

“that’s uh- nothing.” xavier quickly shut the sketch book. his tall frame was now extremely close to you.

“do you draw me, xavier?” you stared up at him through your lashes.

it was a new feeling inside of you, and you couldn’t tell what. but the way he had portrayed you in such a beautiful way, it made your heart… flutter?

you could see the embarrassment on his face. his cheeks tinted red and he avoided your gaze.

you suddenly were aware of the cologne he was wearing. the scent filled your nostrils as his big hand covered the sketch.

“you don’t need to be embarrassed. i’m quite a piece of art, huh?” you couldn’t help but tease him.

xavier smiled at you.

“look.”

you opened your own notebook and showed him the sketches you’ve drawn. not as well as xavier’s, but the creativity behind each one was evident.

there was a reoccurring theme of pain and torture behind each one that should’ve frightened xavier, but it only made him more insightful.

“is your mom and dad into all this stuff?”

you peered up at xavier.

“my father showed us all from a young age the beauty of pain and torture. i tend to focus on the physiological level rather then physical, unlike my sister.”

“you really are just like your dad, huh?” xavier started to tease you now.

“you could say that. i definitely take after him more than my mother.”

“can i help you with your sketch work?”

you hesitantly nodded. xavier grabbed his stool and sat down, you standing very close to him.

his knee would bump into your leg every time he moved. the motion was enough to send shocks into both your bodies.

xavier flipped through your notebook.

“the overall creativity is amazing. it really allows me to see what goes on inside your head, which is what art is supposed to represent. but the line-work could use some help.”

you watched him carefully, not noticing the way your eyes stared at his veiny hands.

with the flip of another page, xavier landed on the drawing you had completely forgotten about.

it was you, at the weathervane, smiling wide as you sat across from a boy who looked identical to xavier. to make matters even worse, there were little hearts above the two of you.

now it was your turn to be embarrassed as xavier looked up at you, a giant smirk on his face.

“thing must have drawn that-“

“oh yeah? because the way the lines connect is just like the other drawings.”

“i don’t know what you’re talking about.”

“how about you let me take you out to the weathervane?”

“like a-“

“date. a date.”

you stared directly into xavier’s blue eyes. his gaze was intimidating and you would be lying if you said you weren’t a little scared.

“fine.”