#stuff I might write

[callipraxia]

I want to read my books! But I can't decide which books to read. Do I read the Classics books for that essay I've been talking about for a year? Or those short, short old-school science fiction novels I keep picking up at Friends of the Library sales, to see if I really want to/have the skills to write that series about Gideon and Pacifica in the multiverse that I keep having ideas for? Or books about Renaissance magic, in the vague hopes of someday writing that thing I had an idea for like two years ago about Lorenzo de Medici being a gay wizard? Or the science books, just because? Or that weird little gaggle of books about prehistoric and Anglo-Saxon Britain I got last year and I can't remember why I did that? Or - ?

*bluescreens*

And so, therefore, I am reading the DSM-V online through a link I have access to because I am partially employed by a university. Because that's a logical conclusion to reach. is this more or less of a "...what?" moment than that time I spent hours on a Sunday reading the Online Nahuatl Dictionary?

[citrenecult]

Drew the Lamb, Narinder, and the Follower Bishops.

Some close ups.

[wardingshout]

Zelda goes mushroom girl

[secretagentspydetectiveninja]

posting this with absolutely no context

[idiopath-fic-smile]

this one goes out to all my Singin' in the Rain ot3 truthers—

Cosmo Brown had always known it would end like this.

Cosmo was a lot of things—in fact, you could argue he was too many—but he wasn’t dumb.

From the early years, when Cosmo and Don were just kids playing for pennies in pool halls, to their stint dodging rotten vegetables on Vaudeville stages across the very backwaters of America’s backwaters, to their first real breath of success in Hollywood (and then the second and the third and the fourth), Cosmo would catch a glimpse of his handsome, charismatic friend from the corner of his eye—a flash of dark hair, that perfect tooth powder ad smile—and know that for all Don’s protestations, someday the guy was gonna meet a wonderful girl and get married, settle down, and very gently slip off to the far edge of Cosmo’s life.

So yes, Cosmo had seen Kathy Selden coming. Not the details, not her sense of humor or her musical little laugh or the madcap way she really threw herself into dancing with them around Don’s place at 1:30 in the morning—and okay, certainly not the part at the beginning where she had jumped out of a cake at a party, but he thought a fella could be excused for not correctly divining that. 

The general outline of the thing, though, how Don’s eyes followed her around a room...he had been preparing for Don to propose to Kathy ever since she’d tried to throw a pie at Don’s face. And when the happy day came, Cosmo had been ready with his best man suit, his best man speech, a slightly updated version of “Here Comes the Bride” that’d had Don and Kathy laughing all the way down the aisle.

Don and Kathy would buy a house together. They would have a swimming pool and a dog and then inevitably, a small parade of adorable little snot-nosed kids who would call him Uncle Cosmo, and they would spend less and less time with him, not on purpose but busy with the rest of their lives, and ultimately Cosmo would learn to make his peace with it because he’d have no other choice and he would have to try to move on and not live too much in his memories. He could picture it so clearly, he figured if the songwriting gig with Monumental didn’t pan out, he could always return to the backwater circuit with a new act: The Amazing Cosmo of the Cosmos—ladies and gentlemen, he sees the future, he reads the stars, he silently pines for his best married pal and all the while tap dancing!

Don and Kathy inviting him along on their honeymoon, though—that part was a surprise.

“What?” said Cosmo, hands frozen over the piano keys. He’d been busy with a brand-new assignment; on the heels of The Dancing Cavalier, offers were pouring in and he’d taken the first one scoring a movie that didn’t star anyone he was secretly in love with.

Don had looked a little wounded when Cosmo broke the news last week, but a guy had to start making his own way in the world. Besides, orchestrating layers of strings to swell as the camera zoomed in on Don and Kathy blissfully locking lips in radiant monochrome, oblivious to the rest of the world—well, Cosmo knew that dance, he had mastered the footwork, and he didn’t especially feel like a reprise.

It wasn’t lost on him that Kathy had dropped by his rehearsal space alone today. Of course, he had no idea what this meant—he didn’t think it was about the new job; Don didn’t tend to stay sore at him for that long—but Kathy was acting perfectly natural, and so probably the smart thing was to follow her lead.

“It’s a two-week transatlantic cruise,” she said now, gracefully dropping beside him on the piano bench. “We thought it would be nice to see Europe, take in the sights, get away from all the cameras.”

“Ah yes, such a wallflower, our dear Don,” said Cosmo solemnly. “Besieged on all sides by the love of his public, a tragedy of our times, up there with Lear! Hamlet! Caesar! The one with all the Greeks and the giant wooden horse, nay, nay, neigh.” He played a tragic little trill, for effect. Kathy huffed a laugh and smacked his arm.

“You know that’s not it,” she said. “Being watched all the time—we can’t always do what we want. It’s rotten.”

Tell me about it, thought Cosmo.

He was sort of seeing a fight choreographer named Archibald, who came from old money and was a “the third” or a “the fifth” but nice enough Cosmo might even forgive him for that. Archibald was trim and athletic, with dark brown hair that was just starting to go gray at the temples and enough discretion that Cosmo didn’t think they’d get caught. The only problem was that he didn’t laugh at Cosmo’s jokes, seemed to just tolerate them.

“What do you two even talk about, then?” Don had asked, when Cosmo had let this slip over drinks the same night he’d explained about the new movie project. (Cosmo had been trying to spend less time with Don and Kathy since the wedding but Don had said, “C’mon, pal, we miss you” and Kathy had laid one hand on his arm and peered up at him with her big green eyes and Cosmo was only one man.)

Cosmo had frowned, because Don hated Archibald, for reasons that were frankly mysterious. Then he’d looked up and grinned a grin he didn’t exactly feel and said,

“Tell you when you’re older,” and then Don had choked on his dry Martini even though Cosmo knew Don knew about Cosmo’s tendencies. It wasn’t something they discussed, and Cosmo had never properly gone with a guy before, but whenever a big-shot producer started complaining about all the degenerate queers in showbiz, Don always sharply steered the conversation someplace else. It was all very gallant and noble and knightly, and someday Don would play King Arthur and Kathy his lady Guinevere—

“Honestly, sometimes it feels as if we’re living in a fishbowl,” said Kathy now, in the present.

“And so your solution is to relocate,” said Cosmo, “to the biggest fishbowl on this here magnificent earth. The mighty ocean!” He struck up a sea shanty. “Oh blow the man down, blow the man down / way ay, blow the man down…”

Not everyone appreciated his musical flights of fancy, but when Cosmo turned, she was leaning with her elbow on the side arm of the piano, watching him with her chin on her hand and laughing. 

“Just for two weeks,” she said. “So, are you coming?”

“With you two,” said Cosmo, just so there could be no misunderstandings. “On your one and only honeymoon.”

“Yes,” said Kathy.

“As what, your first mate?”

“Sure.” She grinned and threw him a quick salute. Cosmo was almost never attracted to women but in this case, he understood the appeal.

He swallowed. “You are aware of that ancient saying, ‘Two’s company and three’s a fast track to divorce court’?”

“You’re hardly a threat to our marriage, Cosmo,” she said, and he agreed, of course, in both directions, even, but it still stung to hear her say it out loud. For want of anything better to do, he gasped, clutched a hand to his chest and reeled backwards so hard, he threw himself off the piano bench, landing in a somersault on the floor.

Kathy spun around fluidly on the bench to face him, pleated skirt whirling a little, heels of her shoes clicking together. 

“Oh, I said that badly,” she said. “I only mean that it’s more fun when you’re around. We have a better time, Don and me both. Remember the night we decided to make Dueling Cavalier a musical?”

“Do I remember the best night of my life?” Cosmo peered up at her from the hardwood. “Why yes, madam, now that you mention it, I believe it might ring a bell or two.”

“The best—” She frowned for a moment, and he remembered then that as a newly married woman, a newly married woman to Don Lockwood, no less, she’d no doubt experienced any number of evenings that blew that one out of the water.

Even besides that, it felt awfully revealing all of a sudden. Cosmo threw an arm over his eyes. He felt naked. He wished he was naked, because that might at least distract from whatever his face was doing.

“So it beats your time with Archibald, then?” said Kathy shrewdly.

Cosmo uncovered his eyes. He forgot, sometimes, that new as Kathy was to the moving pictures business, she was still a city girl, with a city girl’s worldliness. Also, Don had probably told her; that seemed like the kind of second-hand secrets married people shared with each other. He wasn’t sure how to feel about that.

“Hardly a topic for mixed company,” he said.

There was a pause.

“So yes,” she said and smiled with a smugness that would’ve been unbecoming were she not as cute as a button.

“What do you and Don have against the poor man anyway?” he groused. “He’s never done so much as sneezed in your direction, and if he did, I’m sure he’d use a handkerchief.”

“For one thing, we know you could do better,” said Kathy, folding her arms.

Cosmo elbowed his way back to sitting, brushing himself off with dignity. “Well, better’s not exactly knocking on my door right now.”

“This town doesn’t have an ounce of sense.” She reached down to offer him a hand up, pulling Cosmo to his feet; she was stronger than she looked. “Listen, two weeks away, it’ll be good for you.”

“What about you two?” Cosmo protested as he reclaimed his spot on the bench, Kathy sliding to make room.

“What about us?” said Kathy with wide eyes.

“Two newlyweds might want some alone time?” he offered weakly.

Kathy shrugged. “I told you, there won’t be reporters or cameras. It’ll be plenty private.”

“What about your matrimonial needs?”

“Which needs?”

His eyes narrowed; she was a terrific actress but suddenly he wasn’t sure he was buying it. Kathy wasn’t dumb either.

“You have to know what I mean. Don’t make me play Cole Porter at you,” said Cosmo. She hesitated, and Cosmo began to pluck out a melody: “Birds do it, bees do it / even educated fleas do it…” He wiggled his eyebrows.

“Let’s do it,” sang Kathy, finishing the stanza in her lovely alto, “let’s fall in love.”

Cosmo stopped playing.

“I do know,” she said simply, “of course I do, and we’re not worried about it, alright? Listen, do you want to go?”

Cosmo, who had been carefully not asking himself that question, stared down at the piano keys. Did he want to go? He thought back to that night at Don’s, the three of them giddy with excitement and inspiration and sleep deprivation, running through the house, clowning around and dancing with no audience except each other—he hadn’t felt like a hanger-on then, like a third wheel or an extra limb or a chaperone. He’d felt like he was exactly where he was supposed to be, one note of a perfect chord.

Still.

“I can’t swim,” he said.

“They’ll have lifejackets,” said Kathy.

“I’ll have to work.”

“We’ll bring a piano.”

“All my houseplants will die,” said Cosmo.

“All your houseplants are fake,” she said. This was true, although he wasn’t sure how she knew since she’d never been to his house. She sighed. “Remember the night of that first screening, when you were about to expose Lina and instead of explaining what was happening, Don told me I had to sing, that I didn’t have a choice?”

He winced, thinking of Kathy’s heartbroken, tear-stained face before they’d pulled up the curtain and revealed who was really singing when Lina moved her lips.

“Yes, and I feel just awful about it.”

“Well, Don doesn’t,” said Kathy. “Because he knew it would take too long to convince me to do something that mean to her.”

“Mean?” Cosmo echoed. “She tried to trap you in a lifelong contract and steal your voice. A common sea witch wouldn’t stoop so low.”

“But there wasn’t time,” she pressed. “And anyway, he knew how it would end.”

“What’s your point?”

“We already bought your tickets,” said Kathy.

Cosmo gaped at her.

“We’ve cleared the trip with everyone at Monumental and anyway, like I said, we’ll have a piano on the boat.”

Distantly, he was aware his mouth was still hanging open. Kathy reached over with one light finger under his chin and gently closed it. 

“That’s better,” she said, folding her hands daintily in her lap. It was around this time she seemed to realize it wasn’t some routine, that Cosmo really was well and truly stunned. “Of course, nobody is going to force you to go with us if you truly don’t want to,” she said into the silence.

“These tickets,” he said at last, “are they refundable?”

“Gosh,” said Kathy easily, “I can’t imagine they are, no.”

The thing was, none of them were hurting for money or work anymore, so the fact that Don and Kathy might be out even a few hundred dollars didn’t catch at him the way it might’ve some years earlier. No, the thought that really seized his imagination was the mental image of Don and Kathy planning this together, Don and Kathy discussing the matter with each other, maybe over breakfast—toast and coffee in their dressing gowns, so sure it was the right thing to do that they’d decided to just go ahead and make preparations: oh and a ticket for Cosmo, of course.

He could do it, he realized. He could go. He wanted to go. It was foolish, but Cosmo was an entertainer; he’d been doing foolish things in front of a roomful of witnesses since he was in shortpants.

“I’ll pack tonight,” he said.

“Perfect!” Kathy hopped off the bench and straightened out her dress. “And bring something nice to wear at dinner for a night or two; it doesn’t need to be black-tie formal, a good suit will do.”

He nodded. “I shall leave the top hat and monocle at home. Two weeks, you say?”

“Yes, and another half-day on either side flying to the harbor and back.” She reached into her coat pocket, and pulled out a folded sheet of paper. “The itinerary,” she said. “Don and I are so glad you’ll be coming.”

“Uh-huh,” said Cosmo. “Say, where is that fella, anyway? What’s the big idea, can’t even stick around to ask his best pal to his own honeymoon?”

“He’s planning the trip,” said Kathy brightly. “Last-minute details. Anyway, he thought you and I should have a chat, one on one. He thought it might help.”

He blinked. “Help what?”

“Help us,” she said.

It was all starting to feel like a farce, like one of those old Vaudeville acts with a lot of fast talking.

“Did it?” he asked.

“I think so,” said Kathy warmly. She turned and began to walk towards the door. “See you at the airport tomorrow. Six AM sharp.”

“Six AM,” he said, and then, foolishly, “You know, I can see why he likes you.”

Kathy dimpled. “Oh, likewise!” She tossed him another smile and then she was heading out of sight down the hallway, shoes clacking rhythmically on the tile.

“Well,” said Cosmo to no one. He felt pole-axed, he decided. He wasn’t sure he had ever felt pole-axed in his life before, but there was no other word for it.

He played a chord, then another chord, then a few more.

“Pole-axed,” he sang, “out of whack, when you are near there’s only one drawback: I can’t be clever, no I lack the knack, Darling, I’m pole-axed, out of whack around you!”

It wasn’t exactly Cole Porter, but he’d take it, he thought, reaching for his pen. There was still an hour or two left before he’d need to race traffic home and dig out his suitcase. Apparently, he had early morning plans.

(ETA: if you didn't see, there is now a second part here!)

(ETA THE SECOND: the whole finished thing is now here!

[transmunsons]

Eddie kisses Steve because he thinks he’s dying. Guys like him don’t get a lot of action so he figures he might as well squeeze in a first kiss before kicking the bucket. And if he so happens to be harboring a massive crush on Steve, well, he won’t have to be around much longer to deal with it.

Except he didn’t die. And now Steve is hiding a deeply injured fugitive in his house and questioning his sexuality. And on top of that, he has to tell the poor guy that his dick is missing when he wakes up.

[dapper-lil-arts]

THAT'S RIGHT BABEY I'M WRITING A FIC OF SHREK 1 BUT IT'S RARIJACK LETS GOOOO And it's gloriously dumb. I love it.

[becca-e-barnes]

I've been way too into hot wife stuff at the minute, I blame Serenity Cox and it got me thinking about being Steve's wife but he's really into watching you with Bucky.

Most of the appeal for Steve is that you and Bucky really degrade him. He gets to watch his little wife cum on his best friend's cock while you both taunt him and he never thought he'd be into it the way that he is.

"Your girl's so fuckin' tight, Steve." Bucky pants, slowing his thrusts into you because if he keeps up his current pace, he'll cum faster than he wants to. "Does Stevie fill you the way I do? Bet he can't. He's not as big as me."

You shake your head, staring right at Steve. "Not even close. You're pathetic, aren't you Stevie? You'd rather watch me get fucked by your best friend."

You know it's mean but Steve fucking loves it. He's cum four times already and he's still jerking himself off. It's like he just can't stop and it's so thrilling to see him enjoy this as much as he is.

"I'm gonna cum in your girl, Steve. Gonna make you watch me stuff her so full. Just imagine your pretty little wife with my cum dripping out of her greedy cunt. If you're lucky, she might let you fuck her after I'm finished." Bucky's not usually so vulgar but God, it works wonders for both you and Steve.

"I don't know. I'm not sure if I'll ever want to fuck Steve again." Hearing you say that sends Steve over the edge, spilling a fresh load all over himself while he groans pathetically and even then, he doesn't stop.

"I can't blame you. Now you know how it feels to be fucked right. Felt you cum on me more times than I can count." Bucky's not wrong but his excitement is building and you feel his pace start to falter.

"Fuck, oh fuck." You whimper, feeling the first few pulses of his cock and the unmistakable feeling of his load splashing into your eager body. You've needed this. You were desperate for it and after a second you realise neither of you needed it more than Steve did.

"Good girl, fuckin' take it. I can't stop." Bucky groans, pressed as deep inside you as he can get, pumping his cum right to your cervix. He cums for what feels like an eternity and it's pure bliss.

By the time he's finished, Steve is trembling with need once more.

"If you don't want your wife knocked up with your best friend's baby, I suggest you get to work." You tease, pressing Steve back on the bed and repositioning yourself so you're sitting on his face, letting his best friend's cum drip out of you and into his eager, waiting mouth.

[sereniv]

Can someone who is NOT a zionist tell me why Jewish people have so much conspiracy and hate? when did it start and why? how and why did it spread?

Preferably someone who is jewish or really knows what theyre talking about answer

[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.

[jade-len]

i think it'd be funny if someone transmigrated as xin mo. the goddamn evil sword. instead of taking it seriously, they just really fucked around with bingge. and, somehow, ended up having the opposite effect of what it's supposedly rumored to do.

picture this: bingge, on the quest for revenge and power, comes across the almighty xin mo. this demonic sword killed everyone that dared to even try wielding it. and, the few who were lucky enough to have it by their side, eventually succumbed to the swords' will.

it is said that the sword is unlike any other, that it etches into your head and eats away your brain, until eventually it consumes you whole. it whispers, speaking in lust, greed, and hatred. it slowly beckons the wielder into giving in to the worst part of themselves and feeds off of pure sin. but to him, it is no matter; luo bingge will surely tame it.

and then he gets to the sword.

demonic qi practically oozes from xin mo. the aura surrounding it makes every part of luo bingge scream, "run; get away, away from that monster." his gut prods at him, begging bingge that this is probably a really bad idea. it's a little terrifying, how even luo bingge, the determined, vengeful demon, is now getting second thoughts about wielding xin mo from just being in its presence alone.

but luo bingge is too, a monster. so he ignores the screams of plea; pushing every thought of doubt in the back of his head, and tightly grips onto the handle. the world around him seems to spin and shake, tumble and crack, from the amount of force bingge needs to use in order to pull the sword of sin out of its place.

when bingge finally has it perfectly fit into the palms of his calloused hands, he hears whispering. he knows that the sword has accepted him as its new host.

the sword's language crawls up to him, as if it were feeling around his body and mind. checking every nook and cranny for it to settle into bingge's form, truly becoming one with the embodiment of sin. the words flow through his brain like a tragically broken guqin, a melody that holds him in a frighteningly familiar trance - all while simultaneously eating away at his brain in the worst ways possible, akin to a child and their favorite snack. it seems to beckon something, but even with luo bingge's impressive hearing, he cannot make out any words from the tone-deaf musical notes xin mo sings.

and then, it is clear. the land around him settles, and everything is still. xin mo itself seems to be.. content. at least, that is what luo bingge believes.

the language of this wretched sword reflects the state around these two monsters.

luo bingge expects it to demand for bloodshed, for the erotic ecstasy of multiple women, for bingge to steal the last of the finest gems of these horrible, vast lands.

instead, he hears this:

"yoooo damn that shit was crazy. did you see what i did there? man, you know, it feels so fucking good to get out of the dirt. hey, do you know if people can like, feed their swords or something? i'm kinda craving something spicy. we never know, in this wack world! wait, don't hold me like that, buddy. it'll make things real awkward."

but luo bingge is determined to get his revenge, so he puts up with the swords' constant rambling about.. whatever the hell it's thinking.

"wait, dude, did you seriously fuck a dying girl? that's wild. yeah, like i know she was dying but it doesn't sound like you wanted it. yo, listen to me, consent is very sexy."

"HAHA hey, dude, sir, man. you wanna play some 'i spy'? we don't have anything else to do. no? too bad, we're playing it. i spy a loser who doesn't wanna play i spy. hint: he's holding me right now."

"okay i know i'm supposed to be this super evil sword and beg to be used - woah that sounded real wrong - but can you at least clean me when you're done killing shit? if you don't, i'm gonna refuse to respond to you and you'll look like a dumbass trying to wield me."

"i can't hear you lalalalalalala you're not being very it girl right now lallalalaalalalla-"

somehow, this is worse than if xin mo was actually eating away at his brain.

weirdly enough though, as luo bingge starts spending more time with this weird ass, seemingly possessed sword, it starts to become more of a.. comfort to have it by his side than pure annoyance. he finds himself responding to it more, like, actually having full on conversations with it. it puts him at ease, wielding xin mo. the hatred doesn't consume him, instead, it seems to soothe the burning rage (and, admittedly, just replace it with small irritation) that holds onto his darkened heart.

xin mo is actually quite kind and caring, for a sword that's supposed represent and be the literal embodiment of sin. sure, it is a hassle to have it cooperate with him sometimes, and it does just ramble on and on about the most random things ever, not giving a single shit if bingge was in the middle of sleeping with maidens and slaying those who get in his way. for the first time, bingge feels so comfortable around something.

it's.. odd. what was supposed to be the turning point in his life, a big step in his plan for revenge, is now something akin to an... acquaintance. not like mobei-jun, or any of the women he's come across, but an actual, dare he say, friend.

sometimes, he finds himself thinking all of this delusional. is this what people were driven mad by? perhaps they simply could not handle dealing with a talking sword. he understands that xin mo was undoubtedly unbearable to be around at the beginning of their alliance, but it has never actually beckoned for blood, power, and sex. if anything, it does the opposite.

maybe he's the delusional one. maybe this is xin mo's way of getting to him.

maybe, xin mo should be considered a thing. the thought feels terribly laughable, as if he were witnessing a person horribly explain themselves. it also makes his teeth grind together in pure agitation.

"hey, you know, you didn't deserve any of the things they did. it wasn't your fault, binghe. the fact that you're half heavenly demon doesn't make you a monster, or any of that wild stuff.. uh, i'm here for you, okay? i know you don't really like talking about all of this or opening up, but i just want you to know that you can.. talk about it. it's not like i can tell anyone else, anyways.

hey- shit i didn't mean to make you cry! wait, wait it's okay to cry! you need to let it out anyways, i promise it doesn't make you weak. there, there. i don't have any hands, so me patting you on the head with my handle will have to do. there, there.. everything will be alright, you'll be okay. i'll be here every step of the way, even if you want to get rid of me."

xin mo, the demonic sword, is more of a person - a good person - than anyone he'd ever come across.

...and then bingge and the xin mo transmigrator become besties or he falls for the damn sword. knowing him, he probably doesn't even know the difference between platonic and romantic attraction anyways. maybe bingge gets a plant body for xin mo using airplane's wack writing. idk i typed all of this down in one sitting.

(plot twist: it's not that the transmigrator xin mo had the opposite effect, it was literally just a placebo effect. luo bingge thought that, and thus it actually did help him lmao)

[c0mbatchameleon]

@jegulus-microfic March 12, prompt: retire, words: 953

Aka optometrist reg au (part 1? maybe) loosely based off of this post

James is having trouble breathing.

The problem is, he can’t quite remember how to do it right now. His brain, rather impressively, emptied of all of its contents the moment the optometrist opened the door.

Right off the bat, the man had been straight to business; swift stride into the room, eyes glued to the clipboard in hand, a curt “hello” and introduction before he sat down and uncapped a pen with his goddamn teeth. James could only stare dumbly, mouth agape as he stumbled over half-sentient responses to the all routine eye exam questions (“See okay with your current prescription?” A black curl falling over the doctor’s otherwise perfectly framed face, cheekbones carved by the sea, like stones.

“Uh huh.”

“Taking any current medications?” Beautiful silver-blade eyes meeting his expectantly.

“Uh-“ James coughing and clearing his throat, “no. No medications.”)

Now, he's at least regained his ability to form sentences. But as James watches the doctor fiddling with machinery, silver rings glinting in harsh, sterile lighting, he is finding immense difficulty in breathing like a normal human being.

“So,” James begins, leaning to rest his elbow on the table and swelling his chest ever-so-slightly. He does his best to smooth out his voice as he speaks, going for casual with just a sprinkling of something sultry. “Dr. Black, did you say it was?” He may not be able to fully function but God help him if he can’t still flirt.

The doctor's eyes flick up for only a split second, but James counts it as a win. “That’s correct.” He maneuvers what looks like an avant-garde torture contraption towards where James is sitting. “Rest your chin on the platform.”

James does as he’s told, holding back from an absurd urge to respond with a Yes, sir. He's definitely not conjuring a medley of alternate scenarios in his head in which Dr. Black orders him around. “And what might your first name be?”

“It might be of no relevance to the matter at hand, Mr. Potter.”

“Call me James, please.”

Regulus sits on the other side of the torture-machine and begins turning dials. “You should see a red X on the right side, James,” he replies flatly. Still, the sound of his name on the man’s tongue is fucking intoxicating. It's echoing around his skull--James James James JamesJamesJames--he wants to hear it a million more times, every minute of every day until his last.

James usually hates these appointments. Hates the big machines he has to stick his face in, blowing air and shining bright lights in his eyes. Hates that stupid picture of the house that they make him look at a million times over while some old man who looks just about ready to retire asks “One or two?”

But Dr. Black is not some old man.

He’s new—James has been coming here for years and has certainly never been graced with the sight of this angel-fallen-to-earth before. He's young, too; despite the way he carries the poise of a man with years of experience under his belt, cool and confident and collected, there’s no way Dr. Black is old enough to be more than a couple years out of school. All sharp edges and smooth skin.

And god, his skin. It looks impossibly soft, stretched over slender hands and freckled cheeks, strong nose and cut jaw. As James runs his eyes hungrily over the landscapes of peach-pale skin--hills and valleys spanning the doctor's face and neck and fingers and knuckles--he considers how easy it would be to reach out and touch it, find out for himself if it's really as smooth as it looks.

“James,” Dr. Black's voice cuts sharp through his fantasy, one brow raised where he's clearly caught James drooling over him. “Please look into the eyepiece.”

It’s not like James can help it. He’s a bit entranced by the way the doctor maintains such a stoic expression, posture rigid and cold eyes unwavering, especially now. It’s all the beauty of a pointed blade, glittering in the sunlight, begging to draw blood.

But James doesn’t miss the light blush now in full bloom across the man’s cheeks. Silver-clad fingers have begun tapping a sporadic pattern on the table as storm cloud eyes sweep down and back up James' face, quick as a flash of lightning, and isn’t that just curious? Suddenly, James wants to know what it would take to get that stone-cold cast to crack.

He shoots back a sly grin. “Sure thing, nameless doctor.” He looks into the contraption. “Oh would you look at that. A red X.”

The doctor lets out a muted sigh. He fidgets some more with the dials and buttons on the other side of the machine as James watches the X shift in and out of focus. He breaks the silence only when it's stretched for just a moment too long. “My name is Regulus. There’s gonna be a bright flash now.”

Immediately, a blinding white light flashes directly into his eye, burning a goddamn hole into his field of vision. He swears he can see the inside of his pupil for a moment.

But James doesn't care. Once the shock subsides, he finds himself grinning ear-to-ear.

Now we're getting somewhere.

He looks back up from the eyepiece to where the doctor, Regulus, is still intently focused on the computer and equipment. Evading James' gaze. Cheeks still pink.

“It’s a pleasure to meet you, Regulus.”

[bleue-flora]

Ok, I recently wrote an essay [here] talking about the definition and duties of civil engineering as well as the ethics because of the brain rot @swordfright gave me with calling Dream Sam’s ultimate engineering project. So, because I actually am a civil engineer I took it upon myself to design the title and summary of quantities sheets just like I do at work for roads but with Dream as the project instead. And in honor of angst day sponsored by @sixteenth-day-event, I figured I’d share it because I feel like it kinda works for the prison of the mind prompt.

“Sam’s “ultimate engineering project” he deemed too damaged like a bumpy road or crumbling building that wasn’t worthy of patching and filling in the cracks or reinforcing, that’s too eroded to be fixed and preserved. So, Sam strived to tear him down to the bedrock so he could remake, remold, and reengineer Dream according to his design for the common safety, public health and well-fair.”

{These are very similar to the actual sheets I make day to day, which I shall not share for the sake of doxing my location, but yea pretty much everything has a significance. Some of it doesn’t necessarily make sense but that was because I was more so taking inventory of what we see in lore (so you know I counted ;) lol)}

[kelocitta]

In honor of the @rw-ship-showdown I wanted to write about Artihunter as someone who jokingly slapped them together pre-downpour and still thinks they are actually very compelling. Just not in the super soft love wins kinda way (Although I get why people like that more) And the only way I know how to do that is talking too much so heres a far too long slug essay-

Obviously the slugcats don't offer a ton of characterization but theres not nothing to work with. Their stories, whether by their roles in it or the overarching themes do provide a backbone to work with. Even gameplay itself can provide a bit. (for some more than others) Hunter, to me, is ultimately a story about selflessness. The goal is to revive Moon, which is very much an act of kindness from both Hunter and NSH. But the weight of that action is much more significant for Hunter- Hunter is deeply sick. They're on the clock, and for all their skill in combat none of that will ultimately help them to survive longer than their body can hold out. Moon is a close friend of NSH but that means little Hunter- Hunter really gets next to nothing out of helping them, and ultimately pays quiet a bit spending their limited time alive fighting to deliver that neuron so that someone else can live.

To spend ones limited days on helping another, in a game that very much stresses the unwavering cruelty of the world and nature- is pretty notable. (And you could even say that Hunter being the Hardmode of Rain World adds another layer to this)

And then we have Artificer. A storyline that very much stands out to people as more… villainous (so to speak) than the other slugcats. Artificer's story covers a lot of things. Trauma, violence, revenge, etc. Revenge is a bit of a selfish desire- That need to see someone hurt as they have hurt you. A punishment that ultimately does not fix whatever harm was done- but feels good to see because you were hurt and now those responsible share that pain.

Artificer's actions are founded in that need for revenge, their pups killed for overstepping boundaries they didn't know existed. Is it not fair for them to be angry at that, to punish the scavengers for their violence with their own? Why should the scavengers ever be forgiven when they and their pups were not? And that's how you get that loop- Harm for harm over and over.

The original action has been lost in a spiral of violence for violence. And here stands Artificer- their very spirit scarred. Not just because they sought revenge, but because they never ceased trying to scratch that itch for violence as an answer. Artificer only has two paths for their story- killing the scavenger king (Someone who, really, has little to do with the original 'crime' of the scavengers, but represents an important individual to them- as did the slugpups to Artificer), locking themselves as karma one for good and spending the rest of their life chasing creatures that no longer even fight back in a warped sense of closure- or to dissolve themselves in the acids of the void sea because they're too far gone to find any real peace.

They can't meaningfully recover from that state, not alone, twisting in on themselves. Even if they halt their actions, they've been using violence as a feeble defense against their own pain- violence that no longer has any real direction or basis. Artificer gets no real closure from killing the scavenger king. All they can do is continue the cycle, or try to scrub it away. No real peace in a prison of their own making. So you have a creature, who even with a strict timer on their life- a body that will crumble to disease, spends its last bit of time on saving another. And another who was so caught up in the pain of loss that were eaten alive by their own anger, poisoned their own soul on such a deep level even self-proclaimed gods have no solution for them. What peace can they offer each other? For Hunter, its only a fleeting moment of happiness- of selfish love, before their own body fails them. A bit of indulgence in something for themself. For Artificer, its a single, comforting thread to ground them again, something tangible to protect and care about again. But thats a thread that will ultimately be snapped under the cruel indifference of the world. Hunters timer will tick down regardless of if it takes another with it. Its a tragedy- its doomed to end badly. Whatever good it offers to either of them to find each other will only provide the fleeting comfort of a band-aid that will be ripped away too early. But all that can be worth indulging in anyway, if only for the moment. It doesn't change the ending, but the ending was never going to be happy. Its can so yuri

[civetfish]

Nerd-to-nerd communication

Something super pointless and self-indulgent I've had on the backburner for a while. I love trying to make the pieces they gave us fit together!

Al-AN and Robin would absolutely bond over learning about each other's biology. I could talk about this forever but I'll get into all of the headcanons I have for these two in another post eventually

Below the cut is another version with some extra bits and pieces and the transcription

Transcript :

Architect Anatomy A. Architect "Brain" - Doesn't "store" information so much as allow for easy communication with the network B. Brainstem - connects the information received to the central nervous/circulatory system C. "Heart" - Circulatory system pumps the bioluminescent fluid to other organ systems and surface veins. Each node connects to a vast vasculature network D. "Kidneys" - Organs that filter the bioluminescent "blood" and other bodily fluids, absorbing and distributing collected material E. Nerve Center - Receives raw sensory data and filters it. Filtering can be unconscious or intentional

F. "Respiratory" Tract - Intakes gases or liquids and filters out material for use. Disposes of waste on exhale. Provides cooling to internal systems

The respiratory tract functions less like a set of lungs and more akin to a computer's cooling system, with the ability to absorb material from the environment to use in other parts of the body. It also would likely help the architect's body analyze the environment it is currently exposed to on a molecular level. It is also truly unidirectional, with the intake vents near the "collarbone" and the exhaust vents on both sides of the abdomen

The architect organ cache in-game felt like it was definitely not a complete model of the internal organs, so I wanted to come up with something to fill some more space. I also just really liked the idea of Al-An being capable of something similar to breathing, without having a respiratory system in the traditional sense. Feel free to use any of this in your own headcanons if you would like :)

BONUS - a gif of all the layers!

[afewproblems]

Season 2 Halloween AU Part Four

Part One, Part Two, Part Three

A very big thank you to @strangersteddierthings for chatting with me today and being such a great sounding board for the next update!

Synopsis: What if Eddie had been at Tina's Halloween Party in Season Two? Featuring Steve!Whump, Stancy Breakup, and Eddie just trying to keep up with all these new revelations about who King-Steve actually is...

***

"So…I have to ask," Eddie blurts out, cutting through the awkward silence that has fallen between them, "how were you gonna pick up your car before you ran into me?"

"I don't think it counts as running into you, if you were waiting for me Munson," Steve side steps the question expertly, flashing him a strange smirk that seems out of place. It falls after a second and twists into something pained.

"I was hoping Nance would take me," Steve says eventually, his voice soft, "which was pretty stupid in hindsight, 'specially cuz she was counting on me to drive her this morning, which--"

Steve cuts himself, snapping his mouth shut with a harsh click of teeth, he shakes his head and lifts his hand to run roughly through his hair.

"Doesn't matter anymore".

Eddie holds his breath, feeling the conversation begin to shift. It's as though he's stepped onto a tightrope and any wrong move could potentially send him over the edge.

He settles for nodding once, turning the key in the ignition.

Steve sighs and lets himself fall back into his seat, "I know you know already, the whole fucking school does, Billy saw to that," Steve gestures to his face, "say what you really want to ask". 

Eddie's fingers tighten around the wheel as he turns them out of the parking lot, fighting the immediate urge to say, 'why did Miss Priss throw it all away?' 

"You think I believe the rumours that come out of that shithole?" Eddie lies, keeping his eyes on the road this time.

He can feel Steve's unimpressed stare as they continue down mainstreet.

"Right, so you had no clue I was in detention?"

Eddie chews the inside of his cheek to fight the sly grin that begins to creep over his face, "Alright smart ass".

He hazards another glance at Steve as they begin to hit the residential area, he looks so different from the night before.

His limbs are loose, tension free, if it weren't for the heavy bags under Steve's eyes and the nervous tap of his fingers on the passenger door, Eddie would think he was finally relaxed.

"I knew a fight definitely happened, it's Hargrove," Eddie says slowly, carefully weighing his words, "but I typically prefer to hear the whole sordid story from the source before I pass any judgements, ya know?" 

Steve doesn't say anything as they continue driving through residential  the houses getting progressively bigger as they go.

"Did you," Steve pauses and breathes out slowly before shaking his head and lifting his face to meet Eddie's gaze, "is that offer for something stronger still open?" 

Eddie smiles, "I think that can be arranged". 

***

Eddie pulls over beside Tina Cline's house, wincing as the right front tire rolls over the curb and bounces the van as it lands on the street once more, startling a snort out of Steve. 

"Yeah, yeah, laugh it up Harrington," Eddie huffs as Steve shoots him a grin.

"Didn't say a word," Steve hums, unbuckling himself from the seat. Eddie watches as he opens the door and hops out. For a moment Eddie worries Steve will pull the same disappearing act from last night but he simply stops beside his car door and motions for Eddie to roll down his window. 

Eddie cracks his door open instead, "window's broken, what?" 

Steve rolls his eyes, "whatever Munson, you know the way? It's north on 5th and--"

"Then two more rights, yeah man," Eddie says with a laugh in his voice, "I dropped you off remember?" 

"Fuck off," Steve huffs out, he's grinning though.

Steve swings the Beemer’s door open and slides in. He turns on the ignition and flinches at the loud burst of music from the stereo, the volume obviously set from the mood of the previous night. 

'I want to know what love is, I want you to show me--'

Steve slams his hand against the console, cutting off the song with a harsh crack. 

The van is parked just behind the Beemer so Eddie can't see Steve's face, but his head drops down onto the wheel for just the briefest moment before he slowly lifts it, turns on his signal and pulls away from the curb. 

***

Steve beats him to the house.

He's getting out of the car, which is parked on the long driveway as Eddie pulls up to the street. 

Eddie hops out of the van, hiking his backpack higher up on his shoulders, not bothering to lock it. Who would even want his shitty van among the BMWs and Mercedes parked down this street --hell, Eddie could have sworn he saw a Jag three houses down.

Eddie stops short of the lawn. The Harrington house is so different in the light of day, the strange emptiness that seemed to ooze out of the dark windows the night before has disappeared, leaving an ordinary house in its wake. 

"Well?" Steve calls out as he pulls a pair of keys from his back pocket and spins them once on his finger, "you coming or what Munson?" 

Eddie rolls his eyes and jogs to catch up to Steve who turns on his heel to stride up the walk. He stuffs the key into the deadbolt and swings one of the double doors inwards before shucking off his sneakers.

No shoes? Fucking rich people man.

Steve must notice Eddie's expression because he blushes and shrugs, "I know, I know, but my parents will be home for Thanksgiving this year so…may as well…"

He gestures around the sterile foyer with a tight smile, as though it explains everything. 

If anything, Eddie has more questions. 

Steve cuts off the thought by clearing his throat, "we should smoke outside, last thing I need is for you to burn a hole in the couch or something".

Eddie steps over the threshold and has to stop himself from whistling, were the ceilings always this high in this place?

He lifts his foot to unlace his left chuck, snorting at the strange little table in the middle of the foyer. A giant vase sits atop it filled with a mixture of what have to be silk flowers --no way they were real. He pulls the shoe off and tosses it to the side before lifting his right foot. 

Eddie never had the greatest balance so he hops back and forth with his right foot in the air before hopping as close as he can to the wall of the foyer and leaning back against it.

He finally gets the knot in his laces undone and throws the sneaker to the floor, dropping his right foot to the hardwood.

Eddie looks up to find Steve staring with a bemused expression on his face, he ignores the wide hazel eyes and removes the backpack from his shoulders -which can't have been helping the balance issue. 

Eddie unzips the top and yanks out the trusty metal lunchbox, sliding a wicked grin into place.

"You said something about outside?"

***

By the time they've settled, facing one another on a couple of pool loungers, the sun has begun to dip low, painting the patio and empty pool a warm glowing copper. It catches Steve's hair, which shines like gold in the dying sunlight, like some Autumnal Fae King--

Eddie wants to slap himself, suddenly thankful for the November wind that cuts through the backyard, forcing him to chillout.

He picks up the grinder from his lunchbox, unscrewing the cap to open it.

"You good with a joint this evening my good King?" 

He pours a handful of a new strain Rick let him try the other day into the grinder and starts twisting. It's not something he would typically share with anyone other than Jeff, but Steve seemed like he could use something a little more special tonight.

Eddie looks up after a beat of silence, "yo, Major Tom, you with me?" 

Steve's face is pinched, tilted towards the empty pool, "please don't call me that," he says quietly.

"Major Tom?"

Steve raises his eyes to meet Eddie's gaze, his mouth cuts a hard line across his face, the typical easy grin it usually houses is gone. 

"King-Steve," he runs a hand through his hair, letting the fingers linger to grip and pull, "I just, that's not who I am anymore, I don't--"

Steve swallows harshly, "that's all anyone could talk about this morning".

He drops his voice and octave, "oh, King Steve is so pussy whipped he let his girl fuck Jonathan Byers before she dumped him".

"Is that what Hargrove said?" Eddie asks quietly as he pours out a portion of weed onto a paper.

Steve shakes his head, "that was Tommy, but that wasn't why I hit him". 

Eddie nods, and lifts the joint to his mouth to run his tongue along the edge of the paper. Steve watches him from the lounger, his eyes follow the movement before he blinks and continues.

"Tommy and I had been best friends since we were five, he uh, he knows a lot about me," Steve lifts his hand to his mouth and chews the nail of his thumb briefly before dropping it back into his lap.

"Stuff I don't tell anyone, stuff he knows will hurt". 

Eddie nods, twisting the joint closed, he can kind of understand that, although the only person in his life that knew him like that was Wayne.  

And Wayne would never hurt him. 

Did Steve really not have anyone else like that in his life, someone he could tell anything to that wouldn't look at him weird or judge him. Someone safe.

"Anyway, Hargrove started in on me after that, but he's been fucking with me for awhile so," Steve shrugs again, "he saw his big opportunity here".

"Hargrove's been messing with you?" Eddie asks sharply as he pours more weed onto another paper. He lifts it and runs his tongue along the edge of the paper before twisting it into shape. When he looks up, Steve's ears have gone slightly pink and he's sitting strangely, slightly hunched and twisted.

"Yeah," Steve says after a moment, he clears his throat and straightens his back, "yeah, it's just been at practice so far, and I thought it was just because he wanted to one up me for my spot but," he shakes his head, "it's getting worse". 

"You know, I have a bit of a reputation around school," Eddie says slowly, carefully, watching as Steve freezes and looks at Eddie with wide eyes.

"The Hellfire club is more than just the game we're playing, it's also kind of a sanctuary for kids that don't have anyone to lean on, we look after each other," Eddie continues, ignoring the way Steve relaxes slightly, "you wouldn't need to play or anything but if you need somewhere to sit at lunch now…" 

Steve looks at Eddie for a long time, his expression blank, guarded, "really? Just like that?" 

"Yeah man, besides I get to use my 'Mean and Scary Guy' persona on these fuckers so it's a win-win for me".

Steve grins, raising one skeptical eyebrow, "mean and scary?"

Eddie bristles a little bit at the questioning tone in Steve's voice and can't quite swallow the urge to snarl, "yeah I mean you looked plenty scared of the town freak yesterday". 

Steve winces and immediately starts to shake his head, inching forward in his seat so he's even closer to Eddie, their knees are almost touching.

"That's not, I wasn't," he stops and takes a deep breath, "I was upset about Nancy and it was so dark outside, the trees--"

"You afraid of the dark Harrington?" Eddie cuts him off, the lingering irritation still simmers in his voice as he coos. 

Steve just looks at him, there's something strange about the haunted expression on his face that makes the hair on the back of Eddie's arms stand on end. 

"Things happen in the dark, in the woods," Steve says softly, his eyes drift to the empty pool again. 

Eddie opens his mouth to ask Steve what the hell he means by that, when a voice shouts across the yard.

"Steve? STEVE?!" 

The sound of someone running through the grass has them both of their feet, the joints forgotten on the pool loungers. 

"Dustin?" 

A kid, he can't be more than twelve or thirteen, skids into the porchlight that has replaced the last copper rays of evening light, the sun fully set by now. The kid's blue eyes are wide underneath a mop of curly hair and hat, he's breathing hard.

"I need your help".

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Part Five

and for some peeps that I think may be interested! @steddierthings @steddie-there @steves-strapcollection @outpastthebrakers @henderdads @stevesbipanic