#the more fun and easier and faster it is to draw

[dailydigidraw]

Halloweenie season is close!

[dorothywonderland]

wip of something that might never see the light of day

[carlyraejepsans]

Do you enjoy underfell? I thought you disliked aus /genq

i don't dislike the concept of AUs itself, I'm just not a fan of like... the subculture that spawned around them in the UT fandom specifically and how it eventually took over almost all canon content (especially when it limits itself to the bros)

i like aus visually! i am an artist at heart after all. it's just that, if I'm going to care about them as stories and not just fun design ideas, my bar is uhh almost impossibly high the further you move from canon lolol.

[happy-hokkyokugitsune]

Happy Pride!🌈💛☀️🌈

In celebration and preparation for the parade, Tendou gives his loved ones gifts so they are clearly represented at Pride. 💛

Part One:

Tendou got his girlfriend (or just friend if you like) a new hair accessory, sweater, and tights for Pride. And she is so freaking adorable. ☀️

Pride Fit Part Two: Ushijima

[the-potato-beeper]

i love pixel art SO MUCH, it is SO MUCH FUN 💜💜💜💜

[citranna]

There’s a new kid in Park Row.

Jason knows every single kid on the street, and this one is distinctly not one of them. Hell, judging by that scraggly bright red sweater, he’d be surprised if he’s even from Gotham. Still, the beat up sneakers and pants that are one size too small show he’s not gonna be a target for robbery.

He’s been here for about what, two weeks now? The kid’s been popping in and out of corridors and thin gaps between buildings, alert, without having a solid address. He hasn’t been seen with anyone consistently either. No parents, probably. If he had any Jason would’ve figured out where they live by now. The question is why he’s here. What could a street kid be looking for in Gotham that he wouldn’t get in his (most likely) better home city?

He’s careful when approaching him. The helmet scares the little ones, so he dawns his domino instead. Hands up and away from his body and at a respectable distance, Hood greets him.

“Hey kid.”

The boy turns his head around quick, eyebrows shooting to the top of his head before his eyes alight with recognition. Good, he knows him. It’ll make things easier. An uneasy smile spreads across the kids lips as he offers a small wave in greeting.

“Yeah, nice to meet you. What brings you to Park Row? You looking for something?”

The boy does nothing but shrug. Real helpful. Then again, it could be because…

“Can you speak?”

He brings his hand up and tilts it side to side. A symbol for ‘So-so, ish’. He could work with that, weirder shit has happened in this alley. He fishes into his breast pocket for a notepad and pen, thankful the kid doesn’t seem panicked in the slightest at the motion. Carefully, he draws closer to hand him the items.

Up close and directly under the moonlight, the kid looks around ten, but if he’s anything like the kids in the alley and himself at that age, he’s probably malnourished. He’s probably more like twelve, give or take.

The boy nods his head in thanks (cute that he has such good manners) and scribbles down a sentence in okay-ish handwriting, turning the pad to show Jason.

‘Can’t talk right now, lost my voice. I’m just looking around here.’

Jason scoffs. “There’s better places to look around, y’know, even if you don’t got cash. If this is just for fun I’d pick a better, cooler spot.”

Another line gets jotted down, faster than the last. ‘It’s cool, I think. It’s nice in its own way. I won’t be staying for much longer anyways.’

Interesting. His mouth opens to ask for more, but he finds itself quickly slamming shut. Although this kid is among the most friendly and open one he’s met (and oddly a smooth talker too—Jason feels compelled to just believe him and not question him further, but he’s able to push that weird feeling down) but it’s probably best not to push his luck and pry further.

“Cool, cool. If you ever need a place to stay for the night, there’s a new shelter right down the street we just built. My uh…office, is nearby too.”

The kid nods, a glint of knowing mischief in his eye. Jason waves, letting him walk calmly away from the direction of the shelter and straight towards the subway system where he disappears every night.

Yeah. Gotham’s definitely haunted.

[puppiesareperfect]

Book binding 101: Materials

I’ve decided to do a series of posts on how to book-bind since I talk about it a lot, and I think it’s a really fun process. This post will include various inexpensive alternatives to “professional” supplies, many of which you will have at home. Not everyone can afford a cricut and that’s ok! I will also be listing more expensive materials for people who want to invest a bit more into the craft, but they absolutely are not a must.

This first post will focus on a list of supplies you can use to make books, but will not yet get into the instructional part of it. That will come later!

Anyway…

Bookbinding Materials: Essentials

These are items you need to bind, but many you can find around your house!

Sewing thread: Any thread will work for bookbinding, though waxed threads can help reduce tangles. You can also double up thread as another way to prevent tangling if you so choose. Waxed thread is definitely more expensive, so it can be good to use what you have starting out. Here’s a link to the waxed thread I used for those that are interested. You can buy it in a lot of different colors! (White is good if want an “invisible” thread).

Sewing needle: A lot of people say to use a curved needle for binding, but I’ve never found it to be much different from using a regular needle. If you have one, I would recommend a larger needle, however, since it’s better for piercing through signatures (aka the stacks of pages you bind together). In other words: there’s no special needle you need to bind books.

Ruler: I’d recommend any metal ruler since it’s better to use as a straight edge for cutting. There’s a good chance you already have one. It’s just used for measuring and being a straight edge. Nothing fancy.

Paper: Any paper will work. What you wanna use depends on your project really: if you’re binding together a work of text you’ll want to use some kind of printer paper (of course). If you’re making a sketchbook, you can fold up some sketching paper. I like to get sketchbooks with perforated edges so I can tear them out easily if I want to use a blank page for bookbinding. You can also buy large sheets of paper made for any medium. For example, if you want a sheet of water color paper, just search “large watercolor paper sheet”.

Awl (or all alternative): An awl is a tool used to poke sewing holes. It’s nice because it’s sharp and ergonomic, but you can totally also use a pushpin or even a sewing needle.

Bone folder (or a bone folder alternative): A bone folder creates sharp creases when you fold your pages, making them lay flatter. It also helps define the hinge gap on finished books, making it open easier. You can use a ruler if you don’t have one.

PVA glue: PVA glue is what to look out for when it comes to binding glue. There are some designed specifically for bookbinding, which spread out a bit faster than ones that aren’t. You can also use tacky glue which IS a PVA glue.

Book board: Also sometimes called chip board, Davey board, or mat board. This is what you’ll use for hard cover books. It is important to use book board specially, as cardboard will warp. You can buy book board directly, or you can cut the covers off of old textbooks or binders, unwrap the paper/plastic around the board, and use that!

Box cutter or utility knife: for cutting the board

Decorative paper and book cloth: For wrapping around cover boards and for endpapers. Book cloth can also be used to cover boards. You can also draw your own designs on Bristol paper if you want (or any paper with a similar thickness/durability). When it comes to decorative paper I like to either get scrapbook paper or rolls of fancy handmade paper (you can get those on Etsy, through paper source, or through bookbinding websites).

Bookbinding materials: Optional (and not crazy expensive)

These are supplies that you don’t need for binding but that can make the process easier and/or help with the decorative elements of your books. I’d recommend these things for when you’ve been binding for a while and feel these things could be helpful!

Paper trimmer: can cut a few sheets of paper evenly—I find it really helpful for endpapers

Stencils: Super helpful if you want to add text on the covers

Stamps: Good for adding text and also great for adding illustrations if you’re not able to draw them on your own. You can buy ink pads for them or use markers by coloring over the stamp lightly and using the stamp immediately so it doesn’t dry (I’ve tested this with alcohol markers and it works very well)

Paint markers: great for drawing directly on the cover. Since they’re opaque they can imitate the look of vinyl. You can also get them super painterly if you want. The internet usually talks about poscas but there are tons of different brands. Do some research, figure out what you like & can afford.

Hot foil pen & heat transfer foil: Perfect if you want to add foil to your covers but don’t want to spend a ton of money on a cricut. A lot of binders uses the foil quill brand, but there are ones that cost less and work the same (I have both a cheaper one & an actual foil quill because I wanted some nib variation. As long as the pen has good reviews that aren’t from bots you should be good). Also remember: don’t use foil designed for going through laminators (I.e. decofoil) . It doesn’t work the same way.

Bookbinding Materials—Expensive

These are materials I’d recommend for people who have been bookbinding for a while & feel that it’s something they really want to invest in. To be fully transparent, I’m a college student and don’t own these and have little personal experience with them. However, I know a lot of binders who love them!

Cricut machine—Cricuts are cutting machines that can make precise cuts into paper, wood, bookboard, or vinyl. A lot of binders will cut designs out of vinyl and apply them to the covers using a heat press.

Book press—What it sounds like. The pressure helps the pages lay flat and stay even. That being said you can stack heavy books on top of your projects, it just may not have the same even pressure. I also know some people will DIY these, so if you’re skilled with power tools you can give it a go!

Paper guillotine—like a paper trimmer but bigger and can cut more sheets of paper at once. I believe really good ones can also be used to cut bookboard!

Those are all the materials I can think of! Hope this can work as a good starting point for those interested in the craft. I’ll definitely be posting more info about bookbinding for people who are interested :)

-Zoë💗

[zevrra]

same anon from before :3 but another thot

HEAR ME OUT. i saw a tictok the other day about how jayce just does what he’s told and oh em geeeeee commanding jayce to mess Vik up ie. kissing him up and down, jacking him off all while you watch. SCREAMING WITHOUT THE S

includes: [nsfw!!] [18+ only, mdni!!] jayce is an obedient little thing and does what he’s told! :3

ft. jayvik x gn!reader

extra(s): thank you so much for this request anon! this was a lil fun to write ;3 i hope you enjoy tho!! feel free to request for more! (i also barely skimmed over this so forgive any errors kshdjh <3)

“jayce, you’re such a good boy and you listen so well,” you muse, running your fingers through thick brown hair. his soft, hazel gaze stares up at you from his seated position before you, his head resting on your knee. “always so eager to please, hmm? but it’s not me who needs attention tonight.” you add as you rub your thumb across the high of his cheekbone.

jayce had been to another council party and had come back home to you and viktor rather…tipsy. honestly, he was actually really drunk and far more clingy than he normally was as his head rests in your lap. if it were any other night when you didn’t have reports to go over and present before 6 am tomorrow; you’d be all for jayce’s little advances to join in on his and viktor’s fun. but tonight he’d just have to enjoy viktor’s company alone.

“listen to me, pretty boy. i want you to make vik feel good, can you do that for me?”

jayce looks at you with slightly saddened eyes as you caress his face. his pretty, begging eyes were sure to work on you if viktor had not stepped in. “are you sure you cannot join us?” he asks, his own hand brushing along jayce’s bangs as he leans back against your desk.

“i’ll just have to watch tonight.” you respond with a smile.

and that was far easier said than done.

for jayce, he still wanted to have you involved in any way he could get you— and that came down to you ordering him around like a lost puppy. he wouldn’t move, kiss, or touch without your instructions. he wanted to obey every word you spoke while you watched from the sidelines. and vik was no help at all either; he wanted all of this. wanted your gaze to watch their every move while jayce followed your every order to make him feel good. wanted to know you were included just as much as jayce did. and after some pretty pouting and a mix of pleas, you finally agreed.

so between paragraphs breaks of whatever paper you had written up days before; you would take a glance at the men leaning against your desk. coming to said break, you look up from your notes as viktor is pressed against jayce’s chest while jayce trails kisses against his neck, his hands roaming over viktor’s thin waist. somewhere along the line you had managed to get them to strip their shirts off, without tearing any clothes thankfully, but jayce still refused to advance unless you told him so.

“kiss him baby.” you order jayce who happily obliges.

jayce turns viktor’s face towards him, kissing him eagerly as he caresses vik’s jaw with one of his big hands. their tongue’s clash together as they make out and jayce eats up every groan he draws from vik. you watch as jayce presses viktor back up against him, gripping his hips from behind, as the two kiss each other like they were both air they needed to breathe.

you glance briefly away to go over the next paragraph on your notes. you find yourself reading the printed words faster than before solely so your eyes can find the two of them just a little bit faster.

“blegh, i can taste the liquor you drank jayce.” viktor gripes as he breaks the kiss, sticking out his tongue a little. he could clearly taste the strong alcohol lingering on jayce’s tongue; and it almost made you want to taste jayce too, just to confirm.

“m’sorry v…” jayce apologizes with a little drunk pout before chasing after viktor’s lips once more. he returns to kissing viktor as you finally finish the paragraph as your gaze settles on the two once more, while their eyes fall closed as they kiss. you watch as jayce’s tongue runs over vik’s bottom lip before diving between his parted lips and you have to stifle your own whine watching them. you wish you could be jealous but you’re the one who declined in their activity so you’d just have to continue to watch, for now. thank god it was a tasty sight to behold.

“take his pants off, jay. he’s so hard.” you softly instruct, gesturing to the strain on viktor’s pants. even out of the corner of your eye you could see the bulge inside of his pants, begging to be freed. jayce is quick to have his hand travel down the front of vik’s thin torso, fumbling with the belt of his pants, as vik breaks their kiss once more to groan deeply at jayce’s large hand brushing up against his erection. and you can only watch for so long as jayce attempts and fails a few times to undo vik’s belt before you finally reach out with your free hand to unclasp the belt for jayce. who quickly does away with the it, muttering something incoherent about how horrible the design was, while smoothing a hand down the front of vik’s pants; giving him a firm squeeze. you smile at the noise vik makes.

“jerk him off for me pretty boy. make him feel really good.” you sigh, reluctantly turning your eyes to your notes once more.

you glance quickly over your notes while out of the corner of your eye you watch jayce practically manhandle vik. he’s unceremoniously yanking down the other’s underwear and by the sound vik makes you know jayce has wrapped his fingers around his cock. your eyes scan over the paper in your hand as your leg subconsciously bounces. and if listening to viktor softly whine wasn’t enough to distract you, the sound of jayce whispering sweet nothings while stroking viktor off was for sure making it a little harder to pay attention to the paper in your hands. and while you do manage to read the last few words of the paragraph (and you’ve probably had to re-read it a few times) you thank god; for there’s only one more paragraph left now. you debate going over it as quick as you can, finishing off the notes right then and there but before you can, viktor's voice draws your attention to the two once again.

“j-jayce!” viktor whines, throwing his head back. his fingers grip jayce’s forearms, while jayce continues to stroke him off, practically standing on the tip of his toes as he craves more and more from jayce. pleasure written all over his face as his amber eyes stare at jayce’s fingers rubbing over his tip. you knew how sensitive he was and so did jayce, clearly targeting his weak spot; even when drunk he was damn good with his hands. the sight and the noises slipping from both men made your thighs ache with need. you couldn’t deny your own growing want inside of you as you simply watch the two.

“your hand will not be enough jayce.” you mutter, eyes fluttering up at jayce’s drunk gaze. he glances at you just as he plants a heavy kiss against vik’s neck as his hand falters just a little at your words. realization breaks through the fog of his inebriated mind at what you’re telling him to do and he’s quick to act. he repositions viktor to take his spot on the desk and in one swift motion he drops down to his knees, adjusting viktor’s bad leg onto his shoulder to rest, while his hand wraps around the base of vik’s cock once again. without hesitating jayce is just as quick to wrap his mouth around the thick of vik’s head, swallowing him down until the very base.

at this point, you’d rather chew on glass than read these damn notes anymore but you manage to rip your eyes away from them one last time, skimming over the words as fast as you can, retaining absolutely nothing, just to finish off whatever paragraph you had left. finally done with these damn notes, you toss them onto the other side of the desk not being used, and hurriedly stand up. you strip off your shirt before joining viktor’s side. your fingers push through jayce’s dark hair while you capture vik’s lips and you eagerly get to swallow his moans this time. you can just barely taste the lingering liquor on his tongue from jayce but it’s still there; just enough as you press your tongue against vik’s.

viktor and jayce share a groan as you join their little entanglement. you press your other hand against vik’s thigh as jayce continues sloppily sucking him off. vik breaks your shared kiss with a whine. “thought you were just watching tonight?” viktor mutters with a sharp cry as jayce sucks, particularly rough, against his tip.

“yeah well, you two are gonna be the death of me.” you respond before diving back to his lips once more.

after the three of you finished fooling around for the night you’d definitely have to re-read over those damn notes again before tomorrow morning…you weren’t getting any damn sleep tonight.

[mistercrowbar]

What advice would you give to someone who wants to start draw comics?

Read comics. Try to absorb the layouts and lettering - there’s so many ways to tackle it! Also even in published comics you’ll see that the art is messy and scrungly and you can take that as permission to be messy and scrungly too.

Comics are about efficiency and Good Enough. If you try to make each panel a masterpiece you’ll be there forever. Reasons why I mostly do simple pencil comics.

Start small. Do a scene or gag comic at a time. Get a feel for the medium and all the steps you have. If there’s a step you hate, find a way to emphasize the steps you love. EG I hate laying down flat colours but love shading, so I make my page form comics painterly greyscale with a gradient map to spruce them up.

Thumbnail!!!!! Figure out your page or panel layout before you start pencils. It can just be chicken scratch and sticken figures but it will help make sure there’s a clean line of action carrying the viewer from panel to panel and that your lettering fits.

don’t skimp on lettering. you can have beautiful artwork but if your dialogue is time new roman on half transparent ellipses or somehow unreadable it’s gonna drag everything else down. Blambot is a great source for free and affordable comic fonts and even has guides from an industry pro.

There are a huge bajillion elements to making comics but once you’ve made like, literally 100 pages you’ll start just intrinsically knowing things like the 180 rule, how to place a speech bubble when the first speaker is on the right, and that you can draw one nice background and then have gradient colour blocks carry you through most of the page/scene. And then you’ll still keep learning. Always learning!

LOTS of example stuff under the cut, mostly for lettering and layouts:

thumbnails vs finished page. The detail is just enough to remind me who goes where. You can see I mostly played with the last part of the scene, going from three panels in one row to making each panel an entire row across three rows. Panels on the same row have less “time” between them as the eyes skips from one to the other faster, whereas there’s a little more gap skipping back to a new row (think resetting a line on a typewriter). Here, the first thumbnail may have fit the artwork more neatly, but I wanted to give Astarion more time to deliberate his decision.

You can also see that I changed the top panel from a close up on Aldiirn to a wider shot showing both. This sets the scene, and the rest of it uses simple/abstract backgrounds until the final panel, which makes a nice bookend while making the overall load easier. One good environment panel will carry you for a while, but don't leave your characters in the void for too long.

Make a script before you start layouts but don’t be shocked if you need to cut things out to have them fit a page. Less is more, generally. This also goes for visual elements - what's most important to the scene? What's just extraneous detail you find fun but is creating clutter?

For the 4-panel comics I don’t put time into thumbnails unless it’s a difficult panel, but I always put the lettering and speech bubbles down first so they have enough room and nothing important gets covered. If you do this much you’re a step ahead imo.

This one I’m working on now and there’s a lot going on with four characters speaking to each other! It’s important to keep a clear line going for the dialogue. Astarion’s first line has the top left corner and clearly starts the conversation. The tail of the bubble carries over to where he whispers to Aldiirn, and we pick up Aldiirn’s lines. The rock wall on the right then draws the eye down to Shadowheart and Gale’s bubble at the bottom. I don’t think the tails on the bottom bubbles are 100% ideal, but it’s Good Enough.

There’s also slightly different points in time going on in this panel, because the art is static but it’s a long convo going on. Gale’s signature finger isn’t in response to Astarion whispering, but to his answer to Aldiirn that comes after. Think of how time works in your panels, especially when you got a big one because size = time.

You can use all sorts of things to direct the eye across a comic page, but I find the strongest things are the bubbles & tails and where characters are looking. Here, Gale’s “stop by” line breaks the panel line to help draw the viewer to him in the last panel, since otherwise the eye was likely to end up at Aldiirn.

I generally like bubbles to be tucked into their panels, either fully inside or up at the edges like “my condolences.” It looks neater than when bubbles are willy nilly over the edges which I see as a sign of poor planning. And! it means when you do break panel lines it can be more meaningful.

the 180 rule is a film/stage thing for composition to avoid confusing the audience, but the simplest way to put it is: if a character is on the left side of the scene, they should stay there until the action or whatever moves them. You can see here that Aldiirn is always on the right facing left, even when the camera is a bit behind him or a bit behind Gale. the 180 line is the front of Aldiirn’s tent, and the camera never crosses it in a way that would put Gale on the right.

I find it distracting when a conversation is happening in comic and a character breaks the 180 for no particular reason, though are times I’ve done it because a panel worked much better that way. The book Framed Ink has some great guides on composition and how to change the 180 line.

You can also see in the above comic that it’s arranged so that Gale’s always the first speaker in the panels he appears so there’s no criss cross bubble tails. Buuuut what if the first speaker is unavoidably on the right?

Stack the speech bubbles. You want the first speech bubble CLEARLY and undeniably the closest to the top left corner and then other speakers can go below.

the middle example above also has some examples of playing with the speech bubbles. Wyll’s “square-y round-y” bubble is the standard, the boxy ellipse. The tail has a slight, lanquid curve. He;s comfortable teasing the poor vampire. Aldiirn’s bubble is pointy! the tail straight! with urgency! And Astarion’s bubble and tail are burbling and grumbling through gritted teeth and pain. Varsh Ko’kuu, even though he’s speaking with a standard shaped bubble, has a sharp point in the tail that speaks to his assertiveness in protecting the egg. And Shadowheart has some hesitation with that wiggly tail.

Either hand drawing or using vector shapes for bubbles is fine, but I recommend staying away from true ellipses because they look static. Square-y round-y is where it’s at. Just make sure there’s enough space between text and edge of the bubble, usually enough to fit a capital H or W, but you can play with that spacing too.

The second panel here breaks the “first bubble goes top-left corner” rule, so it’s ambiguous if Gale or Aldiirn speaks first. However! In this case everyone is giving their responses in a jumble to Rath, so order matters less. I’m pretty sure every rule I’ve mentioned has a time and place to break it, but it’s still important to learn the basics first.

Key thing about comics typefaces: the capital I will have bars and the lower case will not. The barred I is used for I, as in, “I am not inclined to share” where the unbarred is used everywhere else.

When choosing a font, I recommend grabbing one that has Regular, Italic, and Bold/Bold Italic typefaces. I use Milk Moustache for my 4-panel comics because it’s very casual and similar weight to my own handwriting, but it doesn’t have an italic typeface and that drives me nuts sometimes. For the most flexibility, choose a font that has lower case AND uppercase type faces. I stick to upper case 90% of the time but lower case adds more options, like Aldiirn’s “really?” being so small due to his stressed state.

There are some official guides on what should be bold or italic in dialogues but they don’t matter as much unless you’re working for a big publisher with a style standard. Italics for thinking and whispering are common. I go with my gut, like Astarion’s speech is so dramatic I use italics and bold liberally, whereas for most others I may or may not just choose a key word to bold.

I think some programs will let you make text to fit a bubble instead of a square box, but tbh I just spend a lot of time manually making the text fit nicely in that bubble shape.

[the-maddened-hatter]

Alright so I pretty much said all of this verbatim on a reblog of someone else's post, but I wanted to put it here on my blog too.

As I've mentioned before, I would *very* much like to see Peri canonically having a disability that causes him to use his wand/cane and not just have it be an accessory, and so I analyzed the episodes he's in that I've been able to see so far and came up with a few observations:

As much as I'd be unopposed to seeing it portrayed, leg issues don't really seem like a major deal to fairies in general given as Cosmo misplaced his for most of an episode and a pair of sticks were a good enough replacement for him to have fun at the arcade in human form (without even drawing human attention)

And Peri can apparently use his powers as listed above without his cane since he doesn't always immediately have it on his person (especially since Dev & Hazel took his cane in Lost in Fairy World and he didn't have any power or mobility problems)

But!

I *could* easily see him having some kind of magical fatigue issue or magical equivalent of hypotonia or balance disorder, since he's shown to be

very tired after a morning spent magically creating cupcakes (a probably small but very repetitive task that leaves him running low on energy)

When his stationary float is disrupted he remains seated instead of floating back up again

3. A minor contact/startle reflex is enough to disrupt his hover and cause him to immediately fall pretty hard if not very far

4. speaking of distance, he is shown to sometimes float a bit lower than his parents, which, while not consistent and likely just an animation choice, could tie in with the other points to support the diagnosis theory

However, pain may admittedly be more of a factor than the above images suggest,

he may not just be tired from shape shifting like I'd thought since right before that he was walking (albeit in horse form) and afterwards (low) cloud float is apparently easier and faster for him than just quickly trotting past his parents

He also didn't really seem to be having too much of a problem at all before he hit the ground

Where it goes to a definitely tired and possibly more pained look.

Maybe he didn't want to tell Dev that it was painful either out of pride or because he didn't want to potentially upset him and just went with "tired" because that was what he assumed. It'd be interesting to see if it happens again in a different form.

Personally I think it'd be cool to see both and have it be a chronic condition (directly magical or otherwise) that he already had before the series began (diagnosed or not).

If he's the first fairy kid born in a long time he probably would have been monitored very closely, but it may have taken a while for doctors to notice a problem since there was little reference for comparison and may have even caused some potentially serious problems that gave Comso & Wanda a bad scare, which could tie in pretty well with their developing a high amount of over protectiveness of him, and that in turn leading him to try and behave too far in the other direction (not seeking help when he really does need it, pushing himself way too hard and suffering the fallout which he then tries to hide, ect)

If he's undiagnosed but having the problems it could be interesting to see sort of an inversion of the "character must learn to accept their disability" storyline wherein he's more connecting certain events & symptoms and we get to see him adapting to accommodations and letting himself try different approaches moreso than to having new symptoms (though we as the audience may see these symptoms more or behaviors contextualized as symptoms where they weren't necessarily before).

Idk either way I just think it would be cool (and I've probably put away more analysis into this than will ever pay off lol)

also to everyone who draws him as a disabled mobility device user: ILY please draw more of it it feeds my soul

[dunmeshistash]

Interview to celebrate the opening of the Ryoko Kui Exhibition

About Delicious in Dungeon: Story making

Q1. Your first long-running series has lasted for about 9 and a half years. Has it been different from your previous experience drawing short stories?

A1. Compared to short stories, the series has been easier because the same characters appear each time. But I was surprised to find that I got tired of drawing the same characters too many times.

Q2. You have said before that the overall structure of the story was decided before serialization began, but how much of that had you communicated to your editor? Also, what kind of communication did you have during the series production?

A2. The goal was something we discussed and had decided on from the beginning. The goal itself was simple, but the path to get there was more difficult and took longer than imagined.

Q3. Regarding the overall story concept and development, did you write out or put anything down in writing (such as the plot)?

A3. I did, but it was simple.

Q4. Did you come up with the dishes based on the monsters you wanted in the story? Or did you come up with the monsters based on the dishes?

A4. It depended on the story, but usually the story came first followed by the monsters or food. I feel like that was most often the order.

Q5. As you progressed in drawing the series, what elements of the characters, story, or world expanded or grew in the most unexpected way?

A5. Nothing particularly unexpected perhaps. When I used to draw web manga, I tended to think up inconsequential settings. So, from the beginning I tried to restrain myself as much as possible and not expand too much. I was surprised when my editor said "Let's expand it more," in the second half of the series.

Q6. "Delicious in Dungeon" starts with a relatively simple setting, but as the series and the labyrinth exploration continues, the map slowly expands little by little in the readers' minds. It becomes more three-dimensional, revealing the secrets of the world, and taking on a multilayered structure. Are there any sources that you used as a reference, or which influenced you in creating this multilayered structure?

A6. A long time ago, when I was working on my personal web manga (fantasy), I drew it however I wanted, thinking that "Only people who can read this will read it," but I regularly received feedback that it was "unreadable", so I tried to make it as easily. accessible as possible.

Q7. The series combines many elements, including "fantasy", "gourmet", "battles", and "puzzle solving", but I think it's also important that it is a "comedy" which makes people laugh. Could you let us know if you have a creative commitment towards depicting humor?

A7. My hopes are that I can make it fun for people to read.

[page 5]

About Delicious in Dungeon: Drawing manga

Q1. Please tell us about the drawing tools you currently use, both digital and analogue.

A1. In terms of analogue tools, I use a light box, a G pen, a round pen, and a brush pen. And for digital, I use CLIP STUDIO PAINT and a Wacom LCD tablet. Screentone pasting is always done on the computer, so ultimately it all ends up as a digital manuscript.

Q2. Do you have any rules or reasons for using digital and analog separately?

A2. I'm always looking for ways to draw better and save time, so the exact approach is probably different for almost every chapter. Personally, I feel that analogue methods create more appealing lines, but I feel like digital saves time, so maybe I'll do a digital rough sketch and do the inking by hand… I might have been using a G pen, and maybe I'll try out a turnip pen, or this time I'm short on time so I'll draw it entirely digitally, but with digital I can redo it over and over, so maybe analogue is still faster, and so on and so forth. I'm indecisive in this way and so haven't developed a consistent process.

Q3. I understand that you prepare 3D data for your assistants to draw the backgrounds. What kind of data did you make for "Delicious in Dungeon" ?

A3. You could call it 3D, but it's not a proper model, just something to help with the rough sketching. I line up cubes to share the perspective and sense of scale, and they use it as a reference.

Q4. At the beginning of the series, the characters and backgrounds were somewhat simply drawn, and it seems like they became richly detailed over the progression of the story. What was your intention behind using these different styles?

A4. It's simply that my technique isn't stable. I thought I'd put a lot of effort in at the start. I remember being confused when my editor asked me to add more in to the drawing, and I wondered "Where…?"

Q5. Thinking about the food, were there any menu illustrations that you were particularly satisfied with, or which you struggled with?

A5. I've never liked my own food illustrations. But the times when I read other people's manga and thought "That looks delicious," I think it's been more an influence of the movement, the staging, and the situation than the drawings.

Q6. For the world maps and the terrain of each continent, did you refer to any maps of the real world? I feel like the shape of the 'island' is similar to the shape of Fukuoka Prefecture or Kyushu.

A6. I didn't reference any specific geography, but I did try to put thought into things like whether a developed city would be near a river or the sea, and what the coastline would look like. I'm pleased if it feels similar to a real place, because it means my interpretation was pretty accurate.

About Delicious in Dungeon: Other

Q1. Which is your favorite monster?

A1. Nightmare.

Q2. I'm sure you have received a lot of feedback from readers in countries and regions outside of Japan. Please tell us if there was anything from them that made you happy, was unexpected, or which made a lasting impression on you.

A2. When you play foreign games, there are times when you think "Why did they translate it into Japanese like that?" But having been on the side of having something translated, I've realized some things are unavoidable, or endless, and there are many things that don't matter either way from the author's perspective, so it was interesting.

About Ryoko Kui's short story collections and herself

Q1. Dragons are a consistent and important motif in your work. Was there any particular work or experience which inspired this? Also, are there points about drawing dragons which you find interesting or have had to work hard on?

A1. It's less about liking dragons, and more that I'm interested in the worlds in which dragons exist. When I draw dragons, the depiction in itself has a sweet feeling to it. I have never had a pet reptile, so I don't have a very good understanding of them.

Q2. Unomiya University in your story "The dragon's school is on top of the mountain" has a Faculty of Dragons, Department of Environmental Studies, and Department of Technology Studies, and a Faculty of Veterinary Medicine. If you were to enroll in the university, which department or faculty would you like to enter?

A2. I probably wouldn't be accepted….

Q3. The collection includes a short story staged as an essay manga. Are you a fan of essay manga? Please tell us about any genres of essay manga that you like.

A3. I love all kinds of essay manga. I read them often.

Q4. If you were to make your own game, what kind of game would you like to make?

A4. I prefer being a player when it comes to games.

Q5. When did you first start drawing illustrations (doodles)?

A5. I don't exactly remember when I first drew a picture, but I think I started drawing manga around the fourth or fifth grade of elementary school. in my notebooks and had my friends read them.

Q6. What is the most fun part about drawing manga?

A6. Every part is fun and hard in its own way.

Q7. Please tell us if there is anything you "just can't stop no matter what".

A7. My procrastination habit.

Q8. Could you please tell us if there's something you want to draw now?

A8. I've been working continuously since the serialization, so I'd like to take about 2 to 3 months to just draw whatever I want.

[hopelessrromantix]

Miguel having some Unholy ThoughtsTM about venom!reader and the fun they could have with readers new abilities (sub/brat Miguel anyone??)

mmm yes, I whole-heartedly agree

c/w: brat miguel, overstim kinda, Venom!Reader

"C'mon, pretty boy, you can do it." You assured, a wide smirk on your face. A tendril stretched out of your arm, pinning Miguel’s arms behind him. Your chest was flush with his back, sharp teeth grazing his neck.

While you tried to spend the day getting actual work done, Miguel spent it trying to distract you.

He'd unfortunately succeeded more than once, first by grinding himself against you in your lap, then by begging you to fuck him against your desk, then by trying to get under your desk to suck you off.

Eventually you decided it'd be easier to just finish tomorrow, when he was patrolling.

Miguel let out a whine, one that was surely unintentional.

"All you need to do is ask nicely,” You reminded. Your hips were firmly against his, black tendrils pinning him to the bed. While the stretch of having you inside him was nice, it wasn’t enough.

“If you can’t make me cum just say so,” He mumbled, not really expecting you to hear him.

Unfortunately for him, you did.

“You and I both know that’s a lie.” You scoffed. “You want me to prove you wrong?” You questioned, abandoning your effort to make him beg.

He wasn’t sure whether he was happy or terrified at that statement. Regardless, he didn’t have much time to think about it before his brain was overrun by the feeling of your cock slamming into him. He could feel a tendril playing with his chest, only adding to the fuzzy feeling taking over his thoughts.

You thrust hard, grazing his prostate with every thrust and forcing out a high whine.

Your tongue traced his neck, sharp teeth barely grazing his skin.

"Who knew you could make such pretty noises," you chuckled, your teeth sinking in slightly, drawing a few drops of blood that you licked off.

His hands struggled in Venom's grip, a black tendril wrapped around both hands and pinned above him. Your hips slapped against his, two other tendril teasing his chest as he let out another moan.

"Please please please please," Miguel's voice was hushed and high, much different than the Stern, commanding tone you were used to. By how he was trying to move his hips against you, he wanted you to go faster.

"Please what, baby?" You asked. Your hips slowed slightly, the exact opposite of what he wanted.

"Slow down," he whispered under his breath.

You tilted your head, "I couldn't hear that," you smirked. You thrust deep, making his back arch below you.

"Too much! Gonna cummm-"

You chuckled, “Already?” You stopped immediately, causing Miguel to let out a high whine.

“Wh-” He took a deep breath. “Why’d you stop?”

“Well I can’t make you cum, can I?” You smirked.

“No, no…” He mumbled, gasping when you started thrusting again in slow, deep waves. The coiled grip around his arms tightened, and he wasn’t certain if it was you or Venom.

He hesitated, clearly thinking over his answer. He was taking far too long for you though, so you fully stopped, your hips flush against his.

The tendrils on his chest made their way to his neck, wrapping around and squeezing lightly.

Still not receiving an answer, you slapped his ass with one hand, forcing out a whine.

“I’m sorry, I’m sorry, please just let me cum? I’ll be good, just please please go faster.”

“Good boy.” Your hips sped up again, a loud slapping sound echoing throughout your bedroom.

You caught his lips in a kiss, sneaking your tongue down his throat. The second he felt what you were doing he moaned again, hips thrusting toward you.

“I’m gonna cum, please can I cum?” He asked desperately, rutting his hips into yours as fast as he could manage.

“Go ahead.” You agreed, watching as he fell apart immediately after.

Quick, quiet mumbles of “thank you” fell out of his lips before he let himself relax, your thrusts fully stopping and the tendrils around his neck loosening.

“You alright, sweetheart?” You asked as he came down from his high.

“I’m fine, love.” He promised.

“Good.” You leaned down, the squeeze around his neck returning in full force just as you started thrusting.

“I haven’t cum yet, don’t think I’m forgiving you, that easy, pretty boy.”

[e-vay]

Heyo! Do you have any tips for making comics? :)

I've been meaning to get back into the swing of it, but concentrating on such a commitment that takes so much time is tough sometimes haha.

How do you make it work? Are there things you avoid/make easier for yourself just to make the process more fun and do-able?

First of all, I’m very happy for you! I think it’s very exciting whenever we return to a craft we were once passionate about. I wish you the best of luck!

This is a big question and I don’t think there’s really one simple answer since all artists are different and have their own strengths and weaknesses.

One of the biggest issues I face is that I have a million ideas but I simply don’t have the time to do them all. I want to share all these ideas but if I gave each and every idea the same amount of attention and detail, I’d hardly get anything done. So here are some things I've learned through my own comic-making experience, but keep in mind it may not be what you're looking for. Also remember this is NOT career advice. I make comics for fun, not for a living. If you’re looking for professional advice I would suggest looking elsewhere 👍

1 - A comic doesn't have to be fully rendered to be entertaining. Although I love to draw and line and color my work, it’s not always necessary. If I feel a punchline is strong enough to stand on its own, I’ll just make it into a doodle comic. In fact, I’ve found that some of my doodle comics perform better than the fully rendered ones! The doodle comics are still very fun for me to draw and they also serve as gestural drawing practice, so in the end it doesn’t feel like I'm making a sacrifice. I'm still getting my ideas out there and I'm still drawing, I'm just prioritizing what gets more attention so I can better manage my time.

2 - Not every panel needs an illustrated background. You definitely need to show backgrounds for establishing shots and when characters are interacting with the scene. But sometimes the focus needs to be entirely on the character and/or what they’re saying. You can choose to have a solid color background and maybe add a few textures to keep it visually interesting. You're still putting in the effort to make your art pop, but you aren’t losing a ton of time by drawing dozens of backgrounds. Color is also a good way to convey mood. I do that a lot in my comics, like this bit from “My Gal”:

^ I was trying to show a progression in excitement here, so having the colors change from cool to warm does a better job portraying that than if I just had a standard, scenic forest background for all the panels.

3 - Use resources: That's what they're there for! Because I make all these comics by myself, I have had to find resources to help me get through some of the steps faster so I can focus more on the story writing and the artwork. For example, to help me save time on lettering, I use the Onomatopedia font and the Manero Panels, SFX and Bubbles brush set for Procreate. I’m still selecting the sound effects and choosing the appropriate bubbles and tails to suit the mood and scale of the text, but this has saved me a ton of time because I’m not drawing each individual element by hand over and over again. Personally, I purchased these resources but I'm sure there are plenty of free tools out there that you can use.

As far as making it more fun... Honestly, I just love comics as an art form so much that learning about all the 'rules' and techniques and 'SOP's behind comics makes it more fun for me to make them. I recommend checking out tutorials and tips (even if you think you already know it all) and you might be surprised at how much it might ignite more of your comic-making passion. For example, I've spent hours on Blambot's "How-To" page and on ComicDevices.com just to try and soak up as much as I can. They're full of fascinating reads that make me want to try out different things!

I hope this helps! Good luck with your comics!

[thebigbadbatswife]

OCT 19th - Hand Job

Pairing - Bruce Wayne x F!Reader

Title - This'll Be Fun

Summary - You grow bored during a League meeting and you decide to test Batman’s resolve.

Warnings - Hand Jobs, Public Hand Jobs, Exhibistionism. (if i missed something lmk)

Word Count - 970

You glance at the time and internally groan. It’s been three hours and this meeting continues to drag on. The longer that you have to sit still, the more that you want to move around and do something else, but all you can settle for is bouncing your leg. 

Out of the corner of your eye, you catch Bruce looking over at you. You glance over at him. The two of you have never really needed words when it comes to each other. The smallest look or touch says everything. It’s not great for long, complicated conversations, but it works just fine for simple questions.

‘Are you okay?’

‘Bored.’

The corners of his lips twitch as he returns his focus to what Dinah is saying. Anyone else would miss it, but not you. It’s the advantage that comes from knowing each other for your whole lives. Which also means that he knows you. Which also means he really should have suspected this.

Your chairs are so close together you may as well be sitting on his lap. If you were anywhere else you would be sitting in his lap. Until you can do that, you’ll just have to settle for this.

Slowly and carefully, as to not draw attention to both of you, you bring your hand to rest on his thick, muscular thigh. He very quickly glances at you and back to Dinah again. Your fingers graze the inside of his thigh, slowly trailing upwards. 

He makes a half hearted attempt to try and bat your hand away, while also doing his best to not draw any attention toward the both of you. You’re not so easily deterred and, to your surprise, he gives up rather fast. Is he curious to sit back and watch how far you decided to take this?

When your fingers finally brush against his cock, you find that he’s already semi hard. No wonder he gave up so quickly. Bruce, apparently, likes the idea of getting off in the middle of a League meeting.

You adjust your position in your chair, making it look like you’re stretching. Your new position makes it easier for you to palm him through his suit. He swallows thickly and you can feel his cock twitch beneath your hand. Other than that, you see no other indication that any of this is even affecting him. 

Oh, so this is a challenge, is it? Challenge accepted. You really want to see if you can actually get him to crack. 

Though your eyes are focused on Dinah, you’re not hearing a single word she’s saying. All of your focus on Bruce. You can feel him growing harder and thicker beneath your hand. The thought of his cock almost has you salivating. If it wasn’t for everyone else in the room, you would happily be on your knees with his cock halfway down your throat. You’re glad that J’onn isn’t around right now to hear your thoughts. Though, maybe, that would move things along faster and you would be left alone with him to do whatever you want. 

You stop palming him through his suit and your hand moves higher up. Out of the corner of your eye, you see him glance back over to you. You ignore him, focused on your new goal. Freeing his cock from his stupid suit. If he was wearing one of his armoured suits, you wouldn’t have a chance to and you’d have to settle for just palming him. Fortunately he’s not, so you don’t have to.

As soon as his cock his free form his suit, you wrap your hand around it. There’s still no reaction from him. Just another quick glance over at you while his face remains completely neutral and his breathing barely changes. His cock is a completely different story. Fully hard now, with the head red and with the tip already leaking, it’s begging for you to touch it. 

You wrap your hand around his cock and begin to slowly stroke him. As you do so, you pay close attention to him, looking for any cracks in his straight face, but there’s nothing. He continues to remain neutral, even going as far as to answer a question Dinah directs toward him. His voice doesn’t sound strained and he doesn’t waiver or crack slightly when you swipe your thumb across the tip. You may have known him your entire life, but now you’re wondering if he’s been replaced with some sort of android. How else is he not reacting to what you’re doing?

The longer you touch him, the more you’re convinced of the android thing. He continues answering questions and putting his own thoughts forward while also taking the time to berate Hal for something. All the while you’re getting him off and he’s acting like nothing is happening at all. 

As much as you dare to, as to not draw attention over, you quicken the pace at which you’re stroking him. You can feel him growing harder and thicker in your hand as he draws closer to his orgasm. Maybe you’ll finally get the reaction you’re looking for when he cums. 

You don’t. Instead all you get is a deep inhale, followed by a deep exhale as his cock twitches and he covers your hand and himself in his cum. You tucked him back into pants and wipe your hand on his suit. 

Moving away from him, you cross your arms across your chest. You’re disappointed that you were unable to make him crack. Maybe you’ll get him to crack next time. If there is a next time. As he adjusts his cape to cover himself, he catches your eye. There’s a promise in his eyes. 

‘You are going to pay for that.’

And you really hope that you do.

[vacz]

HUNTER IN A DRESS! Inspired by @myobsessions247 drawing!

I really loved your drawing. The way you drew him ✨~s l a yi n g~✨ made me question how it would be if Woodsman Wirt wore it too, would he be as glamorous?

The answer is no, but he is indeed killing it in that dress

I feel Woodsman Wirt wouldn't be very comfortable wearing any other clothes that are not his own, if he is not wearing his usual clothes he would feel like he just lost the only physical thing that keeps him to view himself as Wirt, and if he is not Wirt, he is just a crazy maniac of the woods

So Wirt wearing a dress would mess him up badly to the point that he would force himself to view his self as a different person, because he will do anything that is imposed on him even if he hates it, that's how he started to kill in the first place.

I liked the idea so much that I couldn't resist and made some more drawings

Remember the Beast mentioned in the ask that Wirt got some muscles? Well there they are! Wirt has been training so he could do his tasks more easily, like carrying more ellewoods, cutting the ellewood quickly and easier, and becoming faster in general. He does that all for Greg's safety.

There were times that some freak came to the unknown and they thought Wirt was a girl for his long hair and even tried to flirt with him. At first Wirt would be disgusted, but at one point he was so lonely that he tried to disguise himself as a girl so more people would try to have a chance with him, and at least he could feel wanted by a human being, even if he chomps them after (yeah, hella mess up)

Of course, he didn't know how to flirt before the unknown, less he knows now, and is worse when he is actually in a very unstable state of mind.

Anyways! I hope you guys liked it!

For those who don't know, the dress is the same that Wirt is wearing in the comic "Circus friends"!

Now, where did he get it in the AU? No idea but it was fun!

[heretherebeturtles-comic]

How long does the process take you to get one (or more) comic page done? I love the idea of making comics but i suck at structure, you know with the script and posting/layout. I was wondering if you had any tips or what you wish you knew before you started.?

Sorry if this had been asked before

OOOooooo a fun question for me!! I love talking about comic creation :D

I do my best to keep the full process under 2 days (or 12-14 hours of work) per fully coloured page. I'm trying to get faster, but speed comes with time and experience.

Hmmm as for tips and things I wish I knew... so many things... I should let it be known that I am an artist and not really a writer, but your questions are focused on script/planning/structure, so I'm going to focus the advice on that.

Start with something small - Learn about making comics and find a comfortable style through making a couple smaller comics and then try your passion project. Writing and planning smaller comics with fewer pages takes a different kind of puzzle solving and thought process. Smaller page limits can force you to try new things which you can then apply to larger projects to save time; limitations breed creativity after all. Every attempt made (even an unfinished project) is knowledge gained that you can apply again for future projects.

Study comics! - It's hard to create if you aren't feeding the mind and giving it things to learn and create from. Read comics made by professionals and study how they handle pacing. How many pages are they dedicating to each moment? What do you think of their pacing and what would you change? Take a sketchbook and make small rectangles and draw out the panel layout from that comic. What are they doing that works and what don't you like about it? How would you do that differently? ... I think this is me assigning homework... i am so sorry.

Set a hard page limit - Try to get your story told within that limit, and then add more pages if necessary. More pages = more time you have to spend working on it. Most standard single issue American comics are roughly 24 pages. I try to work inside that limit using a rough 5 page per scene structure.

Condense or Cut - I struggle so hard with this one, but comics aren't written in the same way as a novel is. They have a slightly different plot structure and a much more limited amount of pages to tell the story in. Obviously it depends on the story being told, and what kind of scenes are important to that genre of story, but in general, unnecessary scenes should be cut out. examples...

CUT! Having the characters go out to get ice cream is cute, but you don't need to show them each ordering their ice cream unless the flavour they choose is an important plot point. Skip to the last one receiving their ice cream and turning to the others who already have theirs and are having that deep discussion. OR skip that scene entirely and have a quiet panel of them sitting in the park at sunset, already holding their ice cream, before delving into the deep emotional conversation they will be having.

CONDENSE! You can combine two scenes if you need to. If you have one scene where two characters are having a casual conversation and another where they are sneaking into a building? Stick them together. They can sneak AND talk and now you've only used up 5 pages instead of 10.

Comics take a LONG TIME to make!! - you have to make peace with that _(:Ⅰ」∠)_ Comics, especially full colour ones, are an extremely labour intensive and time consuming way of telling a story. If one page takes 1 day (8 hrs of work) and you have 24 pages, that is 24 days of working on one comic.

Thumbnails! - Draw the pages small and rough first! It's easier to plan things and mess around with the layouts when you don't have an emotional attachment to how the art inside looks. Once you have a layout you like, you can then draw it again in full page size and work on it from there.

Page and panel layouts are my favourite part of the whole process, I could talk forever about it, but I do not have the energy for it right now. I'll save panel/page layout for another time.

It doesn't have to be perfect!!! - IT DOESN'T HAVE TO BE PERFECT!!!! (shouted with excitement btw). Panels can be boring! A page can be extremely simple! The art can be messy! The dialog can be simple! The plot can go nowhere! In fact it is really really fun to make a messy imperfect comic on purpose. Destroy the perfectionist in you, because they will always and forever hold you back from actually creating things. "what if it's bad?" what if it's fun? what if you learn cool things?

Anyway, those are my tips/advice, idk if I actually answered what you were asking... sorry about all the time commitment ones, that is something I really wish I had figured out a few years ago lol.

Comics are fun to make and a lot of learning how to make them is just jumping in, encountering a problem, and then learning how to solve it.