#this is not how the scene goes in the comic but well

[yakichoufd]

Saw the answer about struggling with your art and I just wanted to say that I'm trying to learn how to draw and your art is inspiration for me , I want to be able to draw like you someday I really love your style and I think you're really funny.

Everyone goes to times they struggle with their creations but I just wanted you to know that I look at your stuff and it's a goal for.me to get this good.

I'm trying to pick it up in my late 20s so I struggle a lot with lack of progress but looking at art like yours makes me think "I wanna do stuff like that someday" so it's a huge motivation an a big part of the reason o haven't quit yet.

Thank you so much for your message, dear Anon! I started drawing again in my late 20s too (now I'm 33 and I picked up drawing again around 27. I used to draw in college but once I started working, I thought I shouldn't draw fanarts anymore (I only draw fanarts. I am not interested by original creation)...I used to work for TV animation and I thought my coworkers would get mad to know I make shipping fanarts LMAO (just so you know, people who works in animation love making fanarts!!! I blocked myself for a stupid assumption. And people don't give a damn if you draw shipping fanarts. Most of the time people who works in animation are super chill and open minded!)) Drawing after a very long break is really hard and to be honnest, I never see my improvement until I look at my old art. I try to remind myself I didn't know how to draw multiple characters in a same scene 4 years ago. I didn't understand composition either. I thought I would never be a smut fanartist cause my anatomy was wonky and now that's how I make a living. Last year I thought I would never be able to draw comics and here I am haha! Maybe I'm feeling down about my art because I am scared of disappointing people? Having an audience is so awesome but a little bit intimidating too! I also think my expectations are too high for my current level, but that's also how we keep pushing ourselves to get better! If you don't notice your mistakes then you never improve, right? Making art is an endless journey of frustration hahaha! Few things that helped me greatly lately is to study from pictures and also to stop trying to make everything "perfect". Maybe it could help you as well! Good luck with your art journey. It is hard and painful but it is always very rewarding to know you created something <3

[bittybattybunny]

Hey everybunny! I finally released the video I've been working on continuously on stream the past few weeks! A cover of I like you I love you with a PMV staring my favorite idiots!

Also I see tumblr changed how they insert videos. that's. fun. Anyhow please watch it!

This is because @eclipseofthehat is 4 years old now! what the fuck!

[hecksupremechips]

Honestly though I think it’s really a bad sign when I look at Shin Tsukimi and literally feel like he’s a self insert 😩

[daydreamerdrew]

Supergirl: Woman of Tomorrow (2021) #2

[bixels]

Learning that fans hated Applejack and called her "boring" is crazyyy to me because I genuinely, unironically believe AJ's the most complex character in the main six.

Backstory-wise, she was born into a family of famers/blue collar workers who helped found the town she lives in. She grew up a habitual liar until she had the bad habit traumatized outta her. She lost both her parents and was orphaned at a young age, having to step up as her baby sister's mother figure. She's the only person in the main gang who's experienced this level of loss and grief (A Royal Problem reveals that AJ dreams about memories of being held by her parents as a baby). She moved to Manhattan to live with her wealthy family members, only to realize she'll never fit in or be accepted, even amongst her own family. The earlier seasons imply she and her family had money problems too (In The Ticket Master, AJ wants to go to the gala to earn money to buy new farm equipment and afford hip surgery for her grandma).

Personality-wise, she's a total people-pleaser/steamroller (with an occasional savior complex) who places her self worth on her independence and usefulness for other people, causing her to become a complete workaholic. In Applebuck Season, AJ stops taking care of herself because of her obsessive responsibilities for others and becomes completely dysfunctional. In Apple Family Reunion, AJ has a tearful breakdown because in she thinks she dishonored her family and tarnished her reputation as a potential leader –– an expectation and anxiety that's directly tied to her deceased parents, as shown in the episode's ending scene. In The Last Roundup, AJ abandons her family and friends out of shame because believes she failed them by not earning 1st place in a rodeo competition. She completely spirals emotionally when she isn't able to fulfill her duties toward others. Her need to be the best manifests in intense pride and competitiveness when others challenge her. And when her pride's broken, she cowers and physically hides herself.

Moreover, it's strongly implied that AJ has a deep-seated anger. The comics explore her ranting outbursts more. EQG also obviously has AJ yelling at and insulting Rarity in a jealous fit just to hurt her feelings (with a line that I could write a whole dissection on). And I'm certain I read in a post somewhere that in a Gameloft event, AJ's negative traits are listed as anger.

Subtextually, a lot of these flaws and anxieties can be (retroactively) linked to her parents' death, forcing her to grow up too quickly to become the adult/caregiver of the family (especially after her big brother becomes semiverbal). Notice how throughout the series, she's constantly acting as the "mom friend" of the group (despite everything, she manages to be the most emotionally mature of the bunch). Notice how AJ'll switch to a quieter, calmer tone when her friends are panicking and use soothing prompts and questions to talk them through their emotions/problems; something she'd definitely pick up while raising a child. Same with her stoicism and reluctance at crying or releasing emotions (something Pinkie explicitly points out). She also had a childhood relationship with Rara (which, if you were to give a queer reading, could easy be interpreted as her first 'aha' crush), who eventually left her life. (Interestingly enough, AJ also has an angry outburst with Rara for the same exact reasons as with EQG Rarity; jealous, upset that someone else is using and changing her). It's not hard to imagine an AJ with separation anxiety stemming from her mother and childhood friend/crush leaving. I'm also not above reading into AJ's relationship with her little sister (Y'all ever think about how AB never got to know her parents, even though she shares her father's colors and her mother's curly hair?).

AJ's stubbornness is a symptom of growing up too quickly as well. Who else to play with your baby sister when your brother goes nonverbal (not to discount Big Mac's role in raising AB)? Who else to wake up in the middle of the night to care for your crying baby sister when your grandma needs her rest? When you need to be 100% all the time for your family, you tend to become hard-stuck with a sense of moral superiority. You know what's best because you have to be your best because if you're aren't your best, then everything'll inevitably fall apart and it'll be your fault. And if you don't know what's best –– if you've been wrong the whole time –– that means you haven't been your best, which means you've failed the people who rely on you, which means you can't fulfill your role in the family/society, which makes you worthless . We've seen time and time again how this compulsive need to be right for the sake of others becomes self-destructive (Apple Family Reunion, Sound of Silence, all competitions against RD). We've seen in The Last Roundup how, when no longer at her best, AJ would rather remove herself from her community than confront them because she no longer feels of use to them.

But I guess it is kinda weird that AJ has "masculine" traits and isn't interested in men at all. It's totally justified that an aggressively straight, misogynistic male fandom would characterize her as a "boring background character." /s

At the time of writing this, it's 4:46AM.

[yusiyomogi]

i actually think there's some significance in the fact that mithrun wears oversized shirt with open collar (it most likely belongs to laios) in the final arc of the manga. i mean, not just that kui simply wanted to draw him in oversized clothes, lol.

in all instances we see young (pre-dungeon) mithrun he's wearing clothes that hide his body as much as possible. which seems normal, until you see what other elves prefer to wear: most of them wear light short tunics with no sleeves and they don't usually even wear pants. here's a comparison to his brother's outfit, for example, as they stand next to each other.

it's not like his fashion choices are unique, but it certainly feels deliberate. he doesn't add any variation to his canary's uniform either, but that's not especially notable, i guess, because a lot of canaries don't do that (i mean, it's still their armor).

but in his perfect world he's also one of the few who always wears this type of clothes. never revealing himself. sitting a little further from everyone else.

he even lies in his bed fully clothed, like he can't ever bring himself to let his guard down, never showing his "true" skin to anyone.

btw notice that his bed is a single bed, even though he's been living with his partner for 5 years at that point.

and that's the idea, isn't it? he never lets himself be truly vulnerable with anyone, even in his dungeon, where people are supposed to like him unconditionally. i think it adds something to the horrible scene with the demon: it's especially disturbing that the demon literally doesn't care how much of yourself you wanna hide, it sees (and eats) right through every protective layer. and we all know what the allegory of this scene is.

when mithrun loses all his desires, he no longer cares what clothes he wears. and in some twisted metaphorical sense it's heartbreaking to see him in a simple elven tunic when he's recovering, the one that doesn't hide any of his injuries or scars or terrible physique.

he doesn't care to hide himself anymore, but it isn't on his own volition. it's something that was ripped away from him, as well as his privacy (a lot of people have to go through this when they're in medical care actually).

when he recovers and enlists to canaries again, he starts to wear full uniform again, but i don't think it holds much significance to him anymore. or at least he thinks it doesn't. we can see that cithis forces him to wear frilly dress at some point and it's implied that he goes along with it (cithis is still an asshole for that btw).

at this point he's fully focused on finding the demon, but i think the sad reality is that he's always been capable of developing new desires. i'd argue that there are already some things he cares about without realizing it, in the main story. but what's stopping him from actually realizing it at that point is that he's clinically depressed. his disability makes his life difficult; he lives with the idea that he's completely "broken", he accepted the reality of living like that and always goes along with what others make him do. so, he doesn't believe in his own privacy anymore. it’s actually something kabru talks about in the adventurer’s bible comic, when he tries to help mithrun to figure it out again, to help him see the value of privacy, of choosing what he wanna reveal of himself. mithrun needed a reminder that he still has this choice like anybody else.

i think the scene where kabru asks him about his past for the first time is interesting in that sense. first of all, i like the symbolism of kabru unbuttoning mithrun’s collar and cuffs, revealing the scars underneath (a good amount of them is self-inflicted). he does so unthinkingly, but in his defence he doesn't know anything about mithrun yet. another interesting thing is that the first reaction mithrun has is covering his eyes with his hands. he's trying to hide. he supposedly has no desire to hide, but this reaction is almost instinctual to him. i think kabru notices this as well (of course he does) and i think it's one of the things that prompts him to voice his concerns about mithrun's privacy later. 

so, what about that laios' shirt he wears in the final arc of the comic? he has to change his uniform's shirt for something else because it's covered in spider's guts. it's unclear if someone puts laios' shirt on him or if it's something he chooses to wear himself. regardless, it's still symbolic for his change. it's not particularly revealing or anything, but it's different from the type of clothes he usually wears, and it's tallman clothes. and in this final arc we can see a lot of his true feelings as well. he's visibly mad at kabru, he shows concern and tries to help marcille, he helps kabru to break out of his spiral. and obviously, in chapter 94 he reveals a lot of what he actually feels and think and shows genuine emotions other than anger. and I think it’s the first time he decided to be open and vulnerable on his own volition, probably in his entire life.

we can see him wearing variety of clothes post-canon and it’s ambiguous how much of it he picked for himself. pattadol probably helps him a lot with choosing outfits and she also prefers high collars. but mithrun knows he can choose now; even if he doesn’t want anything in particular, he always can express his opinion or feeling, like he did with kabru’s food. he always can choose how much he wants to be seen. i’m just glad to see him wearing similar shirt with open collar and rolled-up sleeves on the cover of daydream hour book.

[killlerfang1]

So apparently Across the Spider-Verse has MULTIPLE different versions of the movie out in theaters right now???

This reddit thread by Hohoho-you goes into the details but so far all the differences between the versions include

During the opening of the film one version has a "cough" text before the Sony logo appears and added comic frames during Gwen's monologue

Lyla either takes a bunny selfie of Miguel or offers a fist bump after he calls for backup

When Gwen asks who Miguel is he either says "that’s classified” or “isn’t it obvious”

Miguel either says "that's funny" or "No" when Gwen calls him the blue panther

The build up from when Miguel was going to bite the Vulture is cut

When Jefferson fell through one of Spot's spots he either groans and looks around, or has a quick frame reaction of his face

When the Spot is going to put his finger in the mini collider he either says "-which would... not be good" or "oh what the heck."

In the chai tea scene Miles either says "no! no." Or "sorry! im sorry" after getting called out by Pavitr

When Hobie first comes on screen and Miles says "Hobie" a little text saying "Hobie" popping up above Miles’ head may or may not appear

One version has Gwen's lines when she's looking for Miles in the rubble removed

At the spider society, when Jessica asks if "anybody else got jokes" the text boxes that show up can either be yellow or blue in color

During the canon event scene Hobie has different coloring and lighting depending on the version

When Ben Reilly grabs Miles during the chase scene he either says “I’ve got you trapped in my well defined musculature so don't even-“ or “This one’s called the sleeper hold, I’m using my bicep to constrict your-"

During the chase scene Miles rides Web-Slingers horse through the villain prison and receives cheers from said villains all while the other spiders get boo’d. This scene is cut in an alternate version

In the same chase scene when the spiders cross the tightrope they either fall or get launched in the air, with the falling scene being a slightly extended version

When Miles venom strikes Miguel the line where he says "sorry man I'm goin' home" is cut

When Peter B. Parker returns home MJ either says "Hi" or "How was work" upon his return

during the Prowler!Miles reveal one version has him with more lines and details on his face (thank you @cannibalgal for pointing this one out to me)

I've only seen the film once so far but based on other people's comments online the changes seem to be mixed and matched depending on when and where you go to see the movie

(edit: added more changes)

[sixosix]

SLEIGHT OF HAND | LYNEY

summary you will not let lyney get to you. unfortunately, lyney already got to you the moment you met eyes. after all, what is a magician if not an expert in stealing hearts?

or, local sumeru architect goes to fontaine looking for inspiration and comes out of it with three rainbow roses and a crushing magician.

warnings 13+, gn!reader, follows the fontaine archon quest, so there are major spoilers throughout the entire fic! MURDER (lyney trial spoilers) + feminine french pet names ough + bff!Aether loml + sweet talker lyney + KISS SCENE (suggestive)

notes 8K words. thank u to my french bff art @aanobrain who said lyney is a magician he would say mon lapin 🤧❤️ + other various french pet names. thank u to ellie hyomagiri & earthtooz too for hyping this up, my supporters…

“500,000!?”

Sumeru streets are always bustling with its people—from children skipping around the neighborhood to frantic scholars who zip back and forth before returning to their homes when the moon is high. However, the sun is beating down on everyone right now: street vendors are making a profit, dogs are barking as they play fetch with laughing children, and you stand across the blond traveler and his floating companion.

You wince at the volume of Paimon’s shrill voice, inciting bypassers to send miffed glances your way. Embarrassed, you cover the side of your face with a hand, whispering, “Is—is that not enough? I can—”

“No, no, it’s not that!” Paimon’s arms flail around, eyes blown comically wide. “It’s just, you know, more than what we earn from our daily commissions combined!”

“Oh, I see.” you nod, relieved. “Well, I can lower—”

“No, no, no, no,” Paimon interjects hurriedly, and even the traveler shakes his head. “Pleasure to do business with you! Paimon and Aether, at your service!”

“Really?” you can’t believe your luck—the traveler himself agreed to escort you to Fontaine! Or does it count if Paimon agrees on his behalf? “That's a relief. Even Katheryne of the guild had a strange expression when I posted my commission.”

“It’s probably because of the amount of zeroes you might’ve accidentally put,” Paimon murmurs.

Aether tugs on her foot as if warning her. “We'll be leaving soon. Are you prepared?”

“Oh, yes. My stuff’s over there by the bench, you see?”

Aether and Paimon’s faces simultaneously fall. “All of that?” Paimon starts counting it, gaping when she has four little fingers held up.

They sure complain a lot. “You can still back out.”

Aether takes a deep breath, making his way over to your luggage. When he brushes past, you hear him chanting 500,000; 500,000; 500,000 under his breath. He wordlessly carries all of them, his chest puffed and expression grave.

“They’re heavier than I thought,” Aether wheezes out as Paimon flits worriedly around him. “How long are you going to be staying in Fontaine?”

“Oh, just a day or two, maybe,” you say, taking pity and taking one bag from him. “Most of what’s inside are art supplies.”

“Ah,” Aether says.

“500,000,” Paimon reminds him.

“We’re close,” Paimon says, flying back to where you and Aether are still walking behind, him heaving and you offering water now and then. “I saw a huge ravine-looking view! It was like a city on a waterfall!”

“R-Really?” Aether puffs out a breath, sweat rolling off his temple.

You tried prying some of your bags away from him when it seemed like there were monsters up ahead, but he refused instead to fight them with one hand on his sword. He still won. You guessed that he was trying to make traveling easier for you, yet all you felt was immense worry.

“Are you feeling okay, Y/N?” Paimon asks, floating beside you. “You look unwell.” You should ask your companion that, instead.

“I’m a bit nervous. After all, it’s my first time traveling outside of Sumeru.” You smile, patting her head. She doesn’t seem to mind, beaming back. “But I need to get out of my comfort zone to be better, right?”

“That's right! Paimon has a feeling you’ll enjoy Fontaine!” You and Paimon glance at Aether when he heaves a heavy breath, yet he only waves the pair of you off with his free hand. “Before you know it, you’ll be itching to travel again once you’re back in Sumeru.”

“I'm only there for work. I just need to learn a lot, and then I'll enjoy it.”

“Still a student through and through, huh…”

“I can see it,” Aether chimes in, looking all too relieved to rest his arm finally. “I can see Fontaine up ahead.”

You feel the cool breeze brush against your face, a refreshing change from the past hours you and the other two have been trudging through the desert. You could strip off layers and dive if you could. You can make out the harbor even miles away, pouring water out like an endless waterfall stretching for miles.

Arriving in Fontaine is introducing yourself to the rustle of layered skirts, the water-kissed smell, and citizens left and right babbling about tragic endings and thrilling climaxes.

Aether sets your bags on the floor with a heavy exhale. Paimon feeds him with another jug of water.

“I guess we’re here now.” You pull out a heavy pouch you’ve been keeping in one of the bags Aether had been holding over his shoulder. Paimon takes it with greedy, greedy hands. “Thank you for keeping me safe and carrying my luggage, Traveler— are you even listening to me?”

“There’s a girl over there,” Aether says, now staring ahead.

You and Paimon turn to look; sure enough, someone is standing by the edge, looking forlornly over the water. Half of her foot is off the platform, making Paimon fidget.

She gasps. “She isn’t going to jump into the water, is she? Maybe we should go check on her…”

Halfway through Paimon’s sentence, you gathered the courage to speak to the girl with the cat ears.

“Hey, miss.” Her ear twitches. “Is something the matter?”

She turns, looking faintly surprised. If you weren’t so close to her, you wouldn’t have been able to tell there was a change in her expression. “I'm fine. thank you.”

“Oh.” Now things are a little awkward. “Is there something in the water you’re looking at? You might slip if you keep tipping forward.”

She peers below, unworried—silent.

“As long as you’re okay, I guess,” you sigh, awkwardly hovering above her shoulder when realizing it might come off strange if you touch her. “I’ll leave you be.”

Her lips twitch, something close to a smile. You don’t stick long enough to admire it, heading back to Aether and Paimon and shrugging at their inquisitive looks. “She says she’s fine.”

“I think it’s time for me to separate,” you say. “I want to take all of it in as much as possible. Paimon has my payment. Thank you both so much for keeping me safe.” Mostly Aether, though. But Paimon was there, emotionally.

“It’s no problem,” Aether says, his smile warmer than when you first met him. “Stay safe out there. You can look for us if you need anything else.”

“I don’t always pay 500,000 for each of my commissions.”

Paimon wilts. Aether flushes, stammering, “Not what I meant.” You laugh heartily as they wave when you walk off to the aquabus, hopefully, prepared for what Fontaine will give you.

Your sketchbook is a page away from completion when you hear about a magic show at the Opera House. Not that it was hard to miss—everyone and their grandmothers were prattling about nothing else but the entire day.

Fontaine is known for its love for dramatics, but the twins they keep mentioning must be a one-of-a-kind spectacle to have half their region’s population speak about them so reverently.

After wandering for hours, taking in the endless sights of fresh water streaming and grand castle-like modern buildings, you find yourself in the Fountain of Lucine. You’ve heard of Fontaine being somewhat titled the ‘City of Love,’ but seeing couples surrounding each nook and cranny of the tourist spots was still astonishing.

(You console yourself by thinking that there’s something romantic in sketching frantically while the rest of the crowd are sucking faces.)

To your luck, you spot three familiar heads in the fountain plaza.

Aether senses you before you can even say anything, glancing to the side and smiling when you wave at him.

Paimon flutters excitedly. “Y/N! We didn’t think we’d see you again this early. You look like you’re glowing.”

“Was it that obvious?” you laugh sheepishly. “Fontaine is beautiful; I couldn’t even stick too long in one place before I see something else that catches my attention.” You look to the girl you met earlier, who nods politely. “Hello. Are you three acquainted now?”

“Mhm!” Paimon says, hands on her hips. “This is Lynette! She’s inviting us to the show they’re holding here!” She gasps, “Speaking of—”

“Ah,” Lynette says quietly, “I couldn’t get an extra ticket. I’m sorry.”

Lynette is the magician you keep hearing about? With her seemingly reserved personality, you wouldn’t have guessed it. “Oh, no, it’s fine. I wouldn’t want to impose.”

“Paimon,” Aether speaks up. “They gave you your ticket, right? Why don’t you just float next to me or sit on my lap?”

Paimon’s eyes sparkle. “Great idea! That way, I can give my seat to Y/N, right?”

“You guys…” Your chest feels warm as Aether hands you one of the two tickets in his hand. “You really didn’t have to.” Is this what 500,00 gets you? The loyal companionship of Aether and Paimon?

“It’s a good idea,” Lynette says. “My brother wouldn’t want you to miss the show. He’d be devastated.”

“If you insist, then I suppose I can’t refuse.” Aether and Paimon do a cute little cheer. “But I need to return to the hotel; I can’t be watching a magic show carrying all these.” Surely Aether can understand.

Later, with your hands finally empty and charcoal-free, you rush back to the Opera Epiclese, the person standing guard kind enough to open the doors despite being a minute late.

“Welcome, one and all, to the Opera Epiclese!” The audience roars with cheers as the spotlight illuminates a figure on the center of the stage. You hurry to your seats, brushing past Aether and Paimon. “I am the star of today’s show, Lyney.”

Lyney bows, then stands upright with a Cheshire cat grin.

The thunder of the crowd’s applause is deafening. If you weren’t able to see it, you’d think that you hadn’t been clapping at all—senses numbed and your fixed stare all on the boy on the stage.

Your eyes catch on the small braid on the side of his head before the gleam of his eyes hypnotizes you.

He’s handsome, you think dizzily at the back of your head.

“Don’t blink,” he says, his voice lower as if meant to be a whisper, “or else you might miss it.”

The show proceeds. A dove soars away from inside as he flips his hat; you flush at hearing the soft laughter that slips from him after. The cards that materialize out of nowhere descend to the floor. His fingers shuffle the cards while talking to keep the audience satiated; they fly off his hands, yet he doesn’t lose focus, stretching them mid-air with a sleight of hand. They fall apart and come together neatly and precisely.

His stage presence is demanding. It would be as if Lady Furina herself would accuse you of committing a crime if you were to look away for even a second.

Then, when he scans the crowd, busy twirling his cards in his fingers, his gaze catches your awed ones.

Something in the air shifts. Or maybe it’s that it slows.

A card slips from his grasp. A mistake. He blinks and breaks eye contact, laughing heartily to play it off. But you don’t believe it—not when you swore your limbs locked in place as well when lilac drilled into your soul.

You breathe, hands bracing against your chest. What was that?

You would’ve played it off as something you imagined if not for Lyney continuing to glance at you occasionally. His slip-up had been forgotten, as though it was all part of the show.

(Is it also part of the show when it seems he’s unable to tear his eyes off of you?)

Of course, the twins prove their worth. They showed you exactly why the people of Fontaine adore watching them through theatrical magic, cards in their sleeves, and defying logic.

You’ve shuffled to the edge of your seat as Lynette disperses into bubbles and comes back alive. You’ve held your breath as Lyney emerges from the box across he was in a moment earlier.

You’ve also been witness to the murder of Cowell.

CRASH.

The shatter of glass resounded along with the horrified gasps of the audience. Sickeningly enough, you could almost hear the crack of bones if you hadn’t been crying out in alarm. Yet, as they gape and shriek over the sight of a limp arm popping out, you find your gaze tracing back to Lyney, who stands motionless in front of the box.

When Lady Furina points fingers and has everyone siding against him, the guards escort the audience from the Opera House. All evidence presented left Lyney in a spotlight unlike his performance: with a disgusted and unamused crowd. Even you have to agree that it isn’t looking well for his case at all.

Yet all you can think of as you leave the room is that Lyney looked as terrified as everyone else was—much too raw of an expression for someone to accuse him of anything at all. He looked young and scared.

(His hands were shaking.)

The rest of your Fontaine trip is admittedly duller when you’re a little more familiar with its city and don’t have a yapping little fairy and a capable Traveler by your side. It’s hard not to hear chatter about the events that went down: Lyney’s trial, Aether volunteering to be his lawyer, and the truth behind the real murderer.

It solved a case beyond the murder of Cowell. Fontaine sure has its mysteries, and the crowd sure loves them as they would a magic show.

You keep your hands busy. Last night, you found yourself thinking back to the magic show, to deft fingers weaving through cards, to violet eyes that kept on flickering to you. By the time you snap back to reality, you’ve subconsciously drawn shapes and lines that suspiciously look like the magician himself: the curve of a smile, piercing eyes, and you entranced by it all.

Flustered, you crumple his face staring back at you out of sight. Yet you can’t bring yourself to throw it away.

You shove the last bit of garlic baguette in your mouth to furiously bat these unwanted thoughts away.

“Isn’t that Y/N?” Paimon’s voice is unmistakable, a short distance off.

You jump out of your skin, spinning to see Aether and Paimon waving and walking over to you. You thought they'd already left Fontaine after that; you wouldn’t blame them if they did.

“Y/N! We haven’t seen you since the Opera House performance,” Paimon exclaims, twirling around your head like a thrilled fly circling a trash can.

You hold onto her back, hoping she’ll stop making you dizzy. “We were escorted out before I could say goodbye. I couldn’t watch the court trial but heard it all turned out fine.”

“That’s right!” Paimon nods proudly. “Paimon helped a ton during it; you should’ve seen it! What have you been doing?”

“I found a fellow architect while visiting the cafe nearby, and we chatted for hours,” you say, remembering that your voice is hoarse for that reason. You also don’t tell them you couldn’t get a certain magician off your mind. “I learned a lot. I don’t regret coming here one bit.”

Paimon says something else that you’re sure you’ve nodded absentmindedly at while your gaze wanders over to the two familiar people a few feet behind, watching you three with cat-like eyes—and it’s not just because of Lynette’s unique features.

“Those are the magicians, right?” you gesture behind Paimon and Aether as if you haven’t already familiarized yourself with their faces.

Paimon nods. “Uh-huh. You should introduce yourself! They look like they want to talk.”

Something about that feels foreboding. “Um, no, it’s fine. I don’t want to be rude and interrupt your conversation.”

“No,” Aether says firmly. He seldom speaks; you might as well play along if he says so. “Besides, Paimon is right. Lyney wants to talk to you, you know?”

“Oh, yeah! He kept mentioning seeing someone sitting beside us! And it couldn’t have been Neuvillette because he said it was an unfamiliar beauty that bewitched this weak magician’s heart.” Paimon nods, even recalling how he’s enunciated each syllable theatrically.

“I’m sorry?” you blurt. “Lyney recognizes me? What did I do?”

“Paimon thinks it’s because Lyney is curious about who Lynette met! He was like that with us, too.” Paimon changes her pitch to match Lyney’s. “Are these your friends, Lynette?”

Aether’s eyes feel like they know something you don’t. “It won’t hurt to strike up a conversation with Lyney. He’s been shaken up since the trial.”

There’s something unspoken hidden in his words. “What does that mean?”

Paimon doesn’t wait for an answer, grabbing you by the arm and dragging you to where the twins are waiting. Aether chuckles as he jogs behind.

“Paimon, Aether,” Lyney says, almost sly, “You haven’t introduced us to your friend here.”

“Paimon can do it!” She floats on top of your head and does a bit of jazz hands. “This is Y/N, the one who commissioned us to escort them from Sumeru up to Fontaine.”

“Generously,” Aether adds.

It’s a little embarrassing to have the legendary Traveler and Paimon introduce little old you to a famous magician such as himself, but his grin is still excited.

“From Sumeru?” Lyney repeats, smiling wider when you nod—as if that crumb of attention is enough for him. “I see.”

He performs a bow around the same height as where your hands rest; he takes one, kisses the back of your palm, and smiles against your skin. “I’m Lyney, and she is my sister, Lynette.”

“It’s nice to see you again.” You smile at Lynette, who nods in return. Lyney straightens to look at his sister.

“We met when the Traveler and Paimon just arrived at the harbor,” Lynette sighs even without looking at her brother.

“It’s a pleasure to meet you,” you say, meeting Lyney’s eyes. The spot where he kissed is still warm—tingling. “Your show was incredible, despite what happened. I’m glad that the truth revealed itself.”

“Thank you.” Lyney’s gaze sharpens. “I saw you at the performance, yes. I was worried for a second you might steal the show if you were to come up on stage.”

You blink. “Are you saying—”

Lyney grins, “I apologize that the night had to end that way; it must’ve been horrifying. Say, what if I give you a little show right now to make it up to you?” Did he make it up to each one of his audience, too?

This is not a man acting “shaken up,” as Aether put it.

“You really don’t have to.” You glance at Aether and Paimon, silently asking for help; however, they’re too far gone, urging you to say yes with gestures and encouraging nods.

Lyney tilts his head, demanding your attention on him once more.

You sigh. “I would love to see it if you don’t mind.”

“Of course!” Lyney looks like he’s the sun bursting personified. “It would be a pleasure, ma chérie. Not to worry, it’s nothing life-threatening. I just need you to focus on me.”

Not that it’s hard. The others have become a dull buzz in your mind as Lyney holds your gaze. “Okay.”

Lyney smiles, much softer, satisfied. “Good. Now,” he tips his hat, “recently, I’ve received a little lesson from someone about the language of flowers. Are you familiar with them?”

“Not in Fontaine, no,” you mumble, watching his hands closely. You were expecting a rabbit to hop out of that hat any second now.

“Shame. But I suppose I wouldn’t want to spoil the fun.” Lyney snaps his finger, then deposits his hand inside his hat. “Hmm… Oh? Something’s not quite right. Would you mind looking into this hat for me to see if the flower is here?”

You hesitate. The hat is so close to him.

Swallowing, you nod, leaning in to inspect his hat at a careful pace. All you can sense is the faint scent of heat Lyney is emanating, the breath you two share, and the pounding of your chest. You swear you could also hear his, matching yours.

“The hat’s empty.”

Lyney smiles wider. “Yes, perhaps because you already have it.”

You jump back in surprise, your hands patting your body to see where he could have snuck the flower in. With your frantic movement, the flower falls off from what seems to have come from your head—Lyney catches it.

His mouth carves into a smirk, leaning to invade your personal space, his free hand coming up to tuck hair behind your ear. “Careful.”

Your face is burning. Plucking the flower out, the delicate and tender pink sears into your palm. “What does this flower mean?”

“What does it, I wonder?” Lyney whispers thoughtfully. “I suppose you’ll have to tell me once you find out.”

And when he inclines backward, it feels like you can breathe again. Time flows normally, and the people passing by seem much louder than before—as though you’ve surfaced from underwater.

Lyney clears his throat. “Shame I haven’t prepared myself a grand show for you, but I suppose that would call for another time, wouldn’t it?”

Lynette is looking at Lyney as if he is stupidly amusing.

“Thank you,” you say, burning, burning. “For the show, I mean.”

“That was a little weird,” Paimon whispers to Aether, but she is terrible with keeping volume and has everyone turning to her with varying expressions. “P-Paimon means that was good! Wow, Lyney! Isn’t that a different flower you gave us? That’s the flower Charlotte was talking about, right?”

“Rainbow rose?” Aether supplies.

“Yes! It means—”

“Ahem.” Lyney is quick to interrupt. “Lynette and I must take our leave now, if you don’t mind. It was fun catching up with you two.” You have to hold your ground and not look away when he hones in on your figure. “And it’s a pleasure meeting you. Don’t be a stranger. Look for me if you want more.”

His smile is a little devilish, you now realize.

“Bye,” Lynette says blankly, following after her brother, who seemed to be hurrying to exit.

His ears were red.

“You’re still staring.”

“I am not,” you rebuke hotly, flailing to cover Aether’s mouth with your hands. Yet all it does is bring your attention back to where Paimon and Aether are staring—the rainbow rose on your person.

Paimon and Aether yelp when you drag them away despite Lyney having already left the scene.

“Hey—! Don’t just go dragging Paimon around like a balloon like that! Did Lyney get to your head that much?”

“He did not.”

Paimon tilts her head, frowning. You shy away from her worried gaze, glaring at the flower instead. You still don’t know how Lyney managed to get it there; you hold it to your chest, where your heart is racing miles per minute because of his stupidly smug smile.

“What does this flower mean, Paimon?”

Paimon seems elated to be of help. “Easy! Charlotte told us that Rainbow Roses mean ‘passion’ and most notably ‘romantic encounters’!”

“Passion,” you curse. The rose seems as if it is staring back innocently, unknowing of the turmoil you’re going through because of it. “Romantic encounters.’ ugh.”

You can still remember how Lyney’s eyes twinkled as you felt his breath against your face.

“Ooh, he thinks he can trick me. He thinks he can affect me just because it pleases him to do so. I’ll show him. I’ll show him! I am not a blushing maiden!”

“You’re already very affected by this,” Paimon says, yet it’s lost by your newfound determination. Two can play at this game.

You’ve definitely been staying in Fontaine longer than what you told Aether and Paimon, but you can’t leave yet. Not when you found yourself walking to a flower shop to purchase a vase, fiercely digging through soil, turning gentle when your fingers reach for the Rainbow Rose. Not when you see it in the corner of your eyes as you try to sleep, and you find yourself daydreaming about a charming violet-eyed virtuoso.

It’s for research, you excused lamely at the hotelkeeper who didn’t ask why you’re extending your stay. In truth, not that you’d tell anyone. It was because you were hoping for another grand show from him. A farewell show for you—closure.

If you were to travel back home and get too drunk to think straight, Kaveh would learn about your crisis (romantic awakening?) and laugh at your face.

In hopes of looking for your Fontaine architect friend, you spot Lyney instead, on the side of the street surrounded by cheering kids. They clap and jump, and Lyney laughs. “One more, one more!”

“Again?” Lyney does an exaggerated sigh. “I’m starting to run out of cards in my sleeves. I’ve guessed my entire deck from your hands by this point!”

“But, Mr. Magician,” one of them whines, pouting up at him and blinking, “we want to see more! We want to know how you do it!”

“Alright, how about this, hm?” And then Lyney peers right at you. Ironically, you’re the one startled when you’ve been watching that entire spiel, and he hasn’t acknowledged your presence beforehand. “Y/N, would you mind giving these children a little show with me?” He gestures for you to come closer.

“What show?” you ask suspiciously, taking slow steps in case he pulls out another flower out of nowhere.

“You don’t have to worry,” Lyney laughs. “Will you be my assistant for this show? You are very familiar with this trick.”

“Please, we want to see!”

You falter at the little kids’ excited grins, especially when paired with Lyney’s pout and round eyes. “Okay, tell me what to do.”

His eyes do the little gleam again. “Stand in front of me, mon lapin.”

Your heart is skipping beat after beat, making itself known as you shuffle until Lyney is directly behind you.

“Relax, chérie, you just need to stand still.” It’s a little hard to relax when you feel his breath against the back of your neck, but you won’t give him the satisfaction of admitting that, so you keep your chin high and relax your shoulders. “Good.” 

He begins to speak louder to his awaiting audience. “I know it’s hard to keep your eyes off this beauty before me, but watch the hat for a surprise, alright?”

He flips it for his little audience, one hand resting on your waist and the other extended to hold his top hat. The proximity is almost suffocating. You watch with bated breath, and they complain about it being empty.

“Oh, is it?” Lyney hums, twirling the hat until it’s flipped upside down, presented right before you. “Perhaps I need my assistant’s help.” You snap out of your daze when you realize he’s talking to you. “Y/N, do me a favor and show them the flower inside.”

You reach inside the hat and, much to your surprise, feel a stem. You pull it out; the Rainbow Rose stares back at you, almost mocking you, saying he did pull out a flower out of nowhere. It's this trick again.

The kids gasp in awe and confusion—it’s all the same for Lyney, who snaps his fingers and creates magic like he was made to. Like magic was for him to summon with his hands.

“What? It was empty!”

“Where did that come from? I was watching Mister Magician’s hands the whole time!”

“Are you a magician, too?”

“No,” you say lamely, holding the rose, feeling Lyney still patiently standing behind you. Heat crawls up your neck. “No, I’m not. It’s all Lyney.”

“It’s all me,” Lyney echoes in amusement. “You’re quite magical yourself.” Finally, he spares you, pulling away to stand beside your figure. He doesn’t take the rose back—maybe even give it to one of the children. He knows exactly what he’s doing. “That’s enough for today. The sun is setting, and your parents might get worried.”

They pout and slump their shoulders, but Lyney has this older brother's sternness to him that has the children scurrying back home anyway.

You then realize having to stand in front of Lyney was unnecessary.

The flower is warm. Lyney’s eyes slip to yours.

“I didn’t even have to stand in front of you like that,” you complain, heart inclined to race off your body.

“Yes, but I feared that I would slip up again if I were to catch a glimpse of your face,” Lyney admits smoothly. His lips curl into a smirk when you stare wordlessly. “What? Don’t believe me? I had to improvise when I saw you watching from afar.”

“A great magician such as yourself? Making a mistake? I doubt it.”

“You already have such high expectations placed on me, chérie,” Lyney says, his smile easy, but his ears are a little red, poking out from his hair. “That’s no good. With no audience, I’m just plain ‘Lyney’ to you.”

“No trickery? No cards up your sleeves?” you play along.

Lyney doesn’t miss a beat. “No, though I do have a few more roses begging to be held by your hands.”

“They can keep begging.” Lyney grins wider when you glance down at his hands. “Do you give them off to everyone you meet?”

“Who do you take me for?” Lyney isn’t offended; he laughs, delighted. He is preening under the sunset—or maybe it’s your attention. “Of course not. At least, not like this.”

You stare, unimpressed. “Sure.”

“So cold, chérie,” Lyney sighs, plucking the stem from your fingers to slot it behind your ear. It seems he likes doing that. “Here I am, trying to get you to warm up to me, and you treat me like this.”

“You don’t have to. I’ll be going back home soon anyway.”

Lyney’s expression shifts into something more unrecognizable, his eyes dipping down to somewhere below your nose. “Oh. Avoiding attachment?”

You nod.

He grins, and he’s still so close. He knows how to entrance his audience, pulling you in until you forget to resist. Always watch the hands; yet Lyney could be digging a dagger to your side at this moment, and you wouldn’t even notice.

“I’m flattered you even want to avoid me because you know you’d get attached,” he purrs, tilting his head. Is Lyney just big on personal space? 

“Don’t assume,” you retort. “I know how guys like you think. Even a magician as great as yourself can’t trick someone who’s already seen through it.”

“It would be easier if it were just a trick, wouldn’t it?” Lyney sighs, much to your confusion. “I take it that someone has told you what this flower means?”

You’ve nearly forgotten all about it. “Yes.” You find yourself unable to look directly into his eyes. “I know.”

But even with that, you can still feel his heavy gaze, pinning you down and threatening the strength of your knees. You suppose it comes with being a performer—watching his audience carefully, pinpointing each micro expression to say the right words.

“There doesn’t have to be any attachments.”

“What are you trying to say right now?”

Lyney’s reaches for your hip, sharing your gaze like he doesn’t know how to do anything else. “That you enamor me. That I am holding back from wanting you. I know you feel the same—you can never hide anything from a magician. But if you’re concerned,” he mumbles, “then this doesn’t have to mean anything. You may call it infatuation.”

You want to laugh. Or maybe you want to cry. Most of all, you want to nod helplessly, wrap your arms around his neck, and give in. It’s hard not to when he looks at you like that. “You want me that bad?”

“I almost want to disagree.”

“Almost?” Lyney gets closer, and you stop him with a palm on his chest. “We’re outside.”

Lyney grins. “Have you forgotten what Fontaine is also known for? No one would bat an eye. Love is in the air, and all that.”

“Absolutely not.”

“So still you’re letting me?”

You laugh this time. Letting him, as if you aren’t the one itching to pull him close and find out what he’s like behind the curtains. “Are you asking me as plain old ‘Lyney?’”

Lyney brightens, clearly pleased there wasn’t a ‘no’. “Yes.”

“No tricks?”

“No tricks. No strings.”

You let him lead you away into some dark alleyway. He kisses you like he was longing to do so all his life. You have only met him that fateful day, not even a week ago. But you claw at him like you get it—like he’s ruined you for anyone else the moment you shared gazes in the Opera House.

Romantic encounters, you quietly recall as Lyney swipes a thumb over your aching bottom lip.

You don’t see Lyney the day after that. And for some reason, it makes the itch worse. (Perhaps it’s because you’ve gotten a taste and can’t get enough.)

It’s mostly your fault, the sudden disappearance—you’ve cooped yourself up in the hotel room, buried your face in pillows, and screamed. You berate yourself for giving in, but another part of you—one that’s louder than any other thought in your head—wants to do it again. Wants to hold his handsome face in your hands and have him kiss you breathless. That was nothing like you had ever felt before.

You groan. It’s another new day. You might as well make some progress with your portfolio.

There’s a Café you’ve been visiting more often than not. Ordering a drink and spending a good chunk of your day sketching the view. Instead, you find yourself staring at Aether, Paimon, and Lynette seated at one of the tables.

Lynette’s eyes flick up to yours as she sips tea. She murmurs something to the other two, and you watch with amusement as Aether and Paimon’s heads snap to face you.

You let your gaze wander, eventually landing on Lyney, who is reciting his order with his charming-act-on smile, who is present because of course he is. You want to turn and run away, but that’d be letting Lyney win, and you’re nothing if not stubborn and prideful.

“Y/N!” Paimon greets once you’re within earshot, kicking her feet happily. “Good morning! What are you doing here?”

“Breakfast,” you reply, waving at them. Aether pulls a chair from the other table and gestures for you to sit. “Did I interrupt something?”

“Nope!” Paimon swipes a fork from the table and digs in on the Ile Flottante, leaving nothing for Aether. “Lynette and Lyney told us about another show they’re holding to make up for the previous one.”

“Mouth full,” Aether reminds her, a little too late as the Ile Flottante spews from her mouth.

“Really now? Maybe I can pay properly for a ticket this time,” you laugh, nodding at Lynette. She smiles faintly, hiding it behind the rim of her cup. Lynette sure is the polar opposite of her twin brother.

A shadow looms from behind, the silhouette of a figure with an unmistakable top hat. You tilt your chin and see Lyney peering down at you with a sweet smile. You will yourself to keep your gaze focused on his eyes only and nowhere else below the nose.

Speak of the devil…

“Sweetheart,” Lyney says instead of exchanging pleasantries like a normal person.

“Lyney,” you reply in kind. Then you look away upon realizing that Aether, Paimon, and Lynette had been silently watching the exchange with muted, stunned expressions.

Lyney, holding a tray of drinks and food in both hands, scoots the chair next to yours with his ankle. “I wasn’t informed that Y/N would be joining us,” he says, setting the drinks and plates down like a waiter with a flourish. “You can drink mine. Let me order another.”

You hold onto his wrist as he makes his way back. He turns to you, surprised. “Let me at least pay for my own breakfast.”

Lyney grins, delicately withdrawing from your grip. He places a loud kiss on your hand. “Don’t worry about it.” And then leaves, because he can’t take no for an answer.

“Is it just me,” Paimon starts as you resign yourself to finishing Lyney’s drink (It’s your favorite, the one you always order), “or is Lyney acting weird around Y/N?”

Aether laughs. “There's definitely something going on. Don’t end up staying too long in Fontaine, now. What was it you told us? ‘A day or two’.”

You huff, your face turning unbearably warm. “Shut up, you two. I am here to do research, not to find a summer fling.” You’ve already failed, but they don’t need to know about that.

If you were to touch your lips with your fingers, you’d think of no one else but Lyney’s hands on your hips and his mouth swallowing your words.

Lynette clears her throat, a quiet but noticeable thing. “Don’t be fooled by my brother, Y/N.”

“Oh, don’t worry. I’m still keeping my safe distance.”

She shakes her head. “That’s not what I mean. Don’t be fooled by my brother.” She stares at you from the rim of her cup—something about that has you listening obediently. “No matter what he tells you, he always cares too much. No matter what you may think, he always gets hurt first.”

“That’s not…” You can’t imagine that. From the start, it’s always felt like he was the one who could do what he wanted.

No tricks.

Lynette is his twin, after all. She knows him best.

No strings.

Defeated, you sip on the straw with the same fervor of an aggravated hilichurl, and that’s the end of that.

Conversations during breakfast are much lighter when Lyney returns with a full meal as his treat. Celebration, he says. Celebration for what? Who knows? Lyney winked, but his glance directed to you said enough.

“You say that you don’t want to get attached, but you’re awfully close to the Traveler, of all people,” Lyney says offhandedly once the others have left for their own matters.

You lean against your seat, grinning. “Are you jealous?”

He doesn’t say anything, instead upturning his nose as if scrambling to regain control. You laugh, oddly endeared. Lyney turns his head away, trying to hide the smile that curls his lips upon hearing it.

“Hey,” Lyney says seriously, reaching for your hand. “Where have you been yesterday?”

“Why? Missed me?”

And because he’s Lyney, he takes his time kissing each of your knuckles. It’s more intimate than the whole ‘no strings’ arrangement you agreed on, but you suppose Lyney thinks that any physical attention is free reign. “What would you do if I said yes?”

“You’ll be fine,” you say slyly. “You’ll have to get used to it if you want to risk your heart just to get laid.”

He rolls his eyes, tugging you closer. “I’m not risking anything to get laid. Do you think so lowly of yourself, chérie?”

“Isn’t this all there is to it? Physical attraction,” you ask, genuinely confused.

Lyney blinks. “Of course, but—” His eyes flicker down, and his words trail off.

When you speak, you feel your breath bounce back from his skin—a testament to your proximity. “Lyney,” you whisper. For what? Urging him to continue? Urging him to close this distance? You’re not sure, either.

You have so much to ask. What do you mean? Why can’t you finish your sentence? Why don’t you just kiss me already? But it’s hard to speak; Lyney’s name is all you can think of. 

You whisper his name again. His grip on your hands tightens and loosens, a frustrated frown creeping up his brows.

Your hand shoots out to reach for the back of his head and give in. He flinches for a second before relaxing completely.

His lips almost taste sweeter than his words. Almost as sweet as how he finds purchase on your waist and holds your chin during every kiss.

You pull away to breathe, missing how he leans closer to chase after you and pouting when he can’t. “Yeah. That—That didn’t have to mean anything. I just wanted to know what it felt like again.”

“Yeah.” Lyney licks his lips, his gaze unable to tear away from where yours are swollen. “Yeah, I know. You taste like my drink.”

Really, no one’s surprised you gravitate towards each other again, feeling like you’re soaring and melting into a puddle at the same time. Lyney doesn’t touch you where you both know would cross the line, but he grips near possessively to what he can, as if breathing you in and worshipping your skin.

You know after this, he’d go back on stage, fooling his audience with what’s invisible to the average eye, as if this never happened. You know this because this is your deal: satiate the feverish attraction you have with each other and leave once you’re satisfied. (But you also know that you’ll be thinking of his touch and his lips while you stare at the vase beside your bed.)

Lyney is a magician, first and foremost.

He hooks you in, and keeps all your attention to himself like he’d die without it. Then he disappears with a snap of a finger. He’s finished his trick, leaving you befuddled in your seat with more questions than answers.

As you drift off to sleep, all you can think of is that there are two roses now.

“Brother.”

Lyney looks up from where he’d been entertaining Rosseland, seeing Lynette with a stern face. “What? What happened?”

Her tail flicks. “You said you weren’t going to get attached.”

Lyney exhales softly, his eyes slipping shut. “I’m not.”

Lynette finds herself smiling softly. “I may just be your assistant, but you can’t lie to your own twin.”

He buries his face in his hands. With his sight gone, images of your face while whispering his name flash in his mind. His eyes fly open, mortified, his whole face red. “I don’t know how it happened. I didn’t think it’d be deeper than that.”

He was the magician in this, but it felt as if you were the one who tricked him instead.

It’s been two weeks since you first arrived in Fontaine. By this point, you’ve grown more familiar with its views than your own city. Having Aether, Paimon, Lynette, and even Freminet around doesn't make it any easier for you to feel at home.

And then there’s the Lyney Situation. You meet up most nights, more than that when he’s free from shows. He keeps seeking you out, and you keep letting him in. There was one night where Lyney spent the night instead of heading straight to the door—and those nights turned into two, then three, and then he finds any excuse to keep doing it.

It’s not like you could stop. He told you look for me if you want more, and you always want more, because how could you not? Lyney treats you like he’s never had to take care of anything more precious but still manages to render you breathless like you’ve never experienced thrill the way he gives it to you before.

But you still have to go back home. And Lyney still has his own life, has his secrets. He feels untouchable even when your arms are wrapped around his neck.

No strings attached can still work for summer flings, doesn’t it? And what are summer flings, if not just that?

Lyney hovers above with his hands caging your face. He’s grinning so wide—and you’ve seen all kinds of smiles on him with your time spent together, but it was never this genuine.

“You’re bad for me.” He says it like a confession, a prayer.

You raise an eyebrow. “What did I do to you?”

His hand trails down until he’s rubbing shapes on your hips. “Make me feel like I’m myself whenever I’m with you.”

At your silence, Lyney clears his throat. “But it’s not like that, don’t worry. I just mean—”

And how does that even make sense? He pours his heart, then later reveals it’s nothing but a decoy to keep this facade realistic.

“Oh,” you say.

That was the final act you’d been waiting for. The final trick—the farewell show.

And so you pack your bags—shoved your sketchbook back inside, face forward, and promise not to look back. Leaving Sumeru hasn’t even been this hard.

Aether and Paimon shouldn’t be surprised if they find you missing; they’d been the first to know that your stay in Fontaine isn’t meant to last forever. And you’ve warned Lyney about this. Avoiding attachments? It felt more like running away from your problem.

Lyney is a busy man on his own; you’re nothing but some architect from a different region who happened to get caught up with him at the right time.

You sigh and call for the aquabus.

A hand clasps around your wrist, pulling you to collide against a familiar chest. Lyney’s eyes are wide, almost insane. Sweat clings to his forehead, and his breath comes in frantic pants.

“W-What—”

Lyney’s eyes search your face. Or maybe it’s him trying to convince himself that you’re right there, in front of him. “You didn’t even tell me.”

“I—I’m sorry—”

“Were you just going to leave like that? Don’t you think I at least deserve a farewell?”

“Lyney, I’m sorry. I know, that was stupid.” You haven’t seen him with an expression like this before—so raw and broken, begging to be glued together with your hands. “I didn’t want to formally say goodbye because I knew I'd want to stay.”

“That’s stupid,” he repeats in agreement.

You breathe shakily, eyes scanning the stunned crowd. What’s The Great Magician Lyney doing here? Holding some stranger in his arms? That must be what they’re thinking.

“How did you even know I was leaving?”

Lyney’s eyes cut down to his hand, gripping a crushed rose. “I was paying a visit to an empty room.” Embarrassed, he tries to toss it away, but you take it before he can.

You wordlessly place it in its home: the spot behind your ears. You don’t tell him that the two other roses he gave you serve as bookmarks in the sketchbook you’ve used all up in Fontaine. Where you’ve drawn his face more often than not.

Lyney groans in frustration, his hands curling around your waist. “Is staying so bad?”

“It’s not like I’m leaving forever.”

And then you notice Lyney’s hands. They’re shaking uncontrollably, not unlike how it did during that incident—and with it came the frantic exhales, as if natural human breathing alone is already hard enough for him.

“Oh, Lyney,” you say softly. You drop your bags and embrace him fully.

He doesn’t hesitate in pulling you closer, burying his face on your neck. “Don’t—don’t,” he gasps, “don’t just try to leave like that.”

It’s hard seeing Lyney like this. He’s usually so composed and easy-going. He gulps in a deep breath, and his voice cracks as he calls for you. This must be something out of his control—something deeper than the back of his stage.

“Y/N,” he whispers.

“Lyney,” you call back as gently.

He swallows your surprised noise with his mouth, moving against you like you’re his last meal on Teyvat. He’s still shaking, but it has subsided the longer you stay pressed against each other. You’re not sure if it’s his Pyro vision or if it’s your skin burning at the thought of Lyney’s skin against yours. It’s searing.

This is different from the last kisses you shared.

Passion, you think dizzily, breathless from his hunger. This is passion.

“What was that for?” you ask, embarrassingly winded.

Lyney brushes his thumb over your bottom lip. He looks sad. As though he only comes alive when you’re with him. “A kiss to make up for your absence in the following weeks.”

“I can always come back,” you say. “No, I will come back. I promise. I just need to get home for a bit.”

“Okay.” Lyney nods, exhaling heavily. “Yeah. I know, I understand. Once you come back, come straight to me, alright?”

“Of course.” You lean in to kiss his cheek. You’ve never done it before because it always came off too intimate. And judging by the blush that explodes on his face, he thinks the same.

It all doesn’t matter. The line has been crossed days ago; you’ve just been turning away from seeing it.

He kisses you again. Then again. “Have a safe trip,” he says in between kisses. “I almost wish you commissioned me to escort you, regardless of the price.”

“What, you want 500,00?” The aquabus has arrived; Lyney grips you a little tighter, childishly willing himself not to see it.

“500,000 kisses, and more.” Lyney rests his forehead against yours, his captivating eyes keeping you still, the way it always does. “But you can give me that when you come back.”

( Before they were taken away from the stage for an investigation, Lynette comes up to her brother and asks, “What happened back there, Lyney? I thought you were about to twist your own fingers.”

He is unsure how to tell his sister that he saw your awed expression and nearly lost his wits.

“It was nothing,” Lyney admits, his face growing hot at recalling his slip-up. 

It wasn’t out of embarrassment, no—not when the memory of your wide-eyed beaming expression and how his mind blanked along with the skip of his heart plagued his mind.

“It was nothing,” he repeats numbly. It’s not. It was the start of something. )

a/n ok just a quick rant this fic BROKE ME. it was like every other day i hated then loved writing this fic. im not used to writing fics this long so pacing is not my forte </3 but i just feel proud of myself for finishing this so HOPE U LIKED IT. if ure still reading until here ily ❤️

more a/n two lyney fics and two kissing scenes. i can’t even lie to myself. everyone can tell.

more more a/n it was halfway through writing this fic that i rewatched the magic show and only noticed lyneys hands were shaking and i GOT SO SAD OMF 😭😭😭😭

[aveloka-draws]

I'm not even that interested in boyfailure squid but

ngh

anyway.

(Pre-apology for the ramble, but you seem to enjoy these, so.)

Another ask was about how in this comic Kallaboy could've been suddenly feeling love from a mortal perspective, and I agree, but also disagree.

It's not that I think CotL gods don't experience love the same way, but that when mortal lives are so short compared to their own, it's hard for that love to be practiced the same way. It's a bit different when you love someone who may as well be gone the next day to a god, vs when mortals decide to spend a percentage of their limited lifetime together with a partner.

I could see this scene as Kallamar being uncomfortably and forcefully aware of mortal instincts and how it likely strengthens his natural cowardliness and fears of death, and him assuming that's also how all other mortals feel due to lack of or outdated experience being one.

I bet Kallaboy was planning this whole scenario out before enacting it, deciding that since he's experiencing mortal fear of death, that Saleos would be experiencing it the same way. He's not taking into account how Saleos has acted towards his own death before, nor the ways in which others loyal to a god might offer their lives to their god.

In short, Kallamar is being incredibly mortal, by forgetting that mortals vary wildly based on personality and other things like devotion.

Before this scene, I bet he'd likely expect some posturing, a bit of threatening, but no actual follow through happening. Either assuming his own threatening/words would be enough to get the result, even if Saleos was unwilling--or he's expecting to not have to care about the follow through. Just because he loves someone doesn't mean their eventual death isn't just something mundane and expected to a god, which is still sees himself as, right? He might have been expecting some feelings around betrayal, if he had to really push Saleos to shift back to worship of him, but nothing like what actually happened in this scene.

How Saleos immediately goes for the sacrifice, so quick that Kallamar barely has time to make the injury nonfatal, slams it home that Kallaboy 1) miscalculated BADLY, 2) almost lost someone who is incredibly useful to him, but also he cares deeply for, and 3) oh shit, he CARES like a mortal cares about whether someone lives or dies--which again, another miscalculation. His OWN death isn't the only death he's worried about now.

I think Kallamar here is experiencing a ton of mind/body betrayal in this scene, I mean his heart is probably going a mile a minute when he's unused to it reacting at all. I'm sure this is all hammering home that he is mortal, but woefully uneducated in How To Mortal.

Basically, imo Kallamar is:

[NEW FEAR UNLOCKED: LOVER'S DEATH] "--WTF????"

Eating this eating this devouring it yes yes y

[phantomarine]

Clam's Quick Tips for Starting Your Very First Webcomic

Howdy! Here are the three bits of advice I tend to give people who ask me about getting into webcomic-making. Maybe they can help you jump into the fray with a little less fear.

1) Make Your First Chapter a Pilot Episode

You will be told by webcomic veterans to start with a short, simple comic idea first - which is wise - but if all you can think about is your big magnum opus, then you might as well hop in, right? Otherwise you'll just be glancing back at the other cooler project forever.

But if you can't start with a small simple story, start on a small, simple part of that larger story. Your first chapter should be a snapshot of the main conflict - show us a simple scene with few characters, ease us in slowly, keep things clear and focus on emotion/impact/clarity. Get the audience to care by offering something easily digested, but full of promise.

Once you're done with that 'pilot' chapter, and you're feeling more comfortable with the whole comic process, you can open the gates and show us the larger world. At that point, you'll be way more ready.

2) Simplify Your Art Style For Your Own Sanity

Always try to make your webcomic's art style as simple as possible - the standard rule is to use only 75% of your artistic skill for every comic page you make. Otherwise you will burn out quickly and terribly.

But you also need to be PROUD of your art style. If you're really feeling itchy, add a couple bells and whistles to your style so you can look at the finished page and say "Yeah, looks cool." You'll find the right balance the more you draw.

Also, don't be afraid to change your art style as you go along. Ultimate consistency is often impossible in webcomics anyway - so embrace your desire to try new things, streamline your work, whatever you feel needs to happen to be happiest. Sometimes the coolest part of reading a webcomic is noticing that style change - so don't hesitate to embrace it!

3) Resist the Reboot! RESIST!

The curse/blessing of drawing the same things over and over is that you'll inevitably get better at drawing those things. The trouble comes when you look back at old stuff and start thinking "Damn, I could draw that way better now."

You must recognize that this feeling never goes away. Not after a hundred pages. Not after three hundred. Not after a thousand.

I think everyone should be allowed one soft reboot for their first webcomic. Redraw some panels that bother you. Change up some dialogue if it doesn't make sense with your new story ideas. Do maintenance, basically. One of the beauties of webcomics is that they can be easily edited, without reprinting a whole book or remaking a whole game.

But if the ultimate purpose of a webcomic is to tell a story, then constant reboots will just be retelling the same story - slightly better each time, but the same at its core. We've heard it before. Most audiences would rather you save your strength and just keep going, rather than circling back year after year and going "Wait wait wait! I'll do it better this time."

Reboot early, not often, and only when you absolutely must! You're a storyteller, and you're constantly getting better at telling your story. Don't be ashamed of it - look back how much ground you've covered, and keep walking!

---

That's a good start. Happy webcomicking - don't be afraid to jump in, but be prepared to learn a lot very quickly. And if this advice doesn't work for you or adhere to how you did it, that's absolutely fine - webcomics are diverse by nature, and so are their creation processes. Feel out what works best for you, and good luck!

[jelloooverse]

in my yhk stupid era

[ID: An Omniscient Reader's Viewpoint comic. Kim Dokja says curiously, "I wonder how Lee Seolhwa and Yoo Joonghyuk are doing..." and Shin Yoosung perks up and exclaims, "Ah!" She pulls out her phone to show a picture of Seolhwa smiling and holding hands with a blank figure labeled Y/N and exclaims, "Ahjusshi! I heard that Seolhwa unnie is dating someone! they went on vacation. "I don’t know about Joonghyuk ahjusshi though...)"

Dokja, a shadow stretching from him, says, "Oh. I see." Behind him is a collage of imagined Dokjas looking despairing over a broken heart containing a smiling Joonghyuk and Seolhwa, overlaid with the all-caps text "OTP is dead?"

Shin Yoosung cheerily waves, "Bye ahjussi!" and Dokja pensively contemplates, "..but if Yoo Joonghyuk isn't with Lee Seolhwa then..." He imagines Joonghyuk surrounded by sparkles and with his chest bared and thinks, "Maybe his personality could use some work.. But with his looks he'd be dating someone by now, right..?"

He then looks with surprise over a corner to encounter a sparkle-surrounded scene of Joonghyuk and Han Sooyoung with their heads leaned together. Joonghyuk looks down at Sooyoung soulfully while she laughs with a hand on his chest. Dokja hides behind the wall and wonders with shock, "With... HAN SOOYOUNG?!" Behind him, the real Joonghyuk and Sooyoung are arguing, looking annoyed and aggravated.

Dokja, sweating, goes, "No, that's... hard to imagine working out.." and envisions Sooyoung crossing her arms and exclaiming "Yoo Joonghyuk! You're an annoying prick!" plus Joonghyuk glaring "Han Sooyoung. You are intolerable." to equal cartoony versions of them being "lovey dovey" and sharing a censored kiss. A cartoony, flustered Dokja waves the thought away.

Then he looks back and thinks, "Well, if they're happy then.. I'll be a little lenient on our company's no dating policy..." He later walks in behind them to catch Sooyoung saying, "Blah blah that's fucking dumb. Right, Kim Dokja?" Dokja, looking disinterested, replies, "ugh, leave me out of your lover's quarrel."

Sooyoung turns to him with incredulous disbelief and raises a middle finger. "Shut the hell up??" Dokja grins, laughs, and returns her middle finger while Joonghyuk emits a question mark.

Then Dokja looks at his phone before beginning to grin increasingly obnoxiously as he says, "Should I leave you two alone this time, haha. Am I your guys' third wheel again? It's okay, I don't wanna get between you two! (Get a room alreadyy.)"

Sooyoung and Joonghyuk look at each other silently, Sooyoung looking bewildered and exasperated and Joonghyuk with his eyes coolly raised. Sooyoung runs a hand through her hair and says, "..Kim Dokja, did you develop a new strain of idiot?" Joonghyuk, looking put-upon, says, "A common case for him." Dokja looks offended before they both move around him, and Dokja goes "What-" as Sooyoung takes hold of his coat.

Sooyoung kisses Dokja on the cheek, leaving him blank with shock. Joonghyuk takes Dokja's chin to kiss his other cheek. Dokja is left standing small and comically stunned against a white backdrop.

The last panel simply shows icons of their heads. Sooyoung asks, "Hey, can we just order chicken for dinner this time?" and Joonghyuk frowns, "No. I already prepared for tonights dinner." Sooyoung shouts an incoherent "UGHGGH" of frustration. Dokja still looks shellshocked. End ID]

[bairdthereader]

Nick gets a lot of (well-deserved) credit for being an amazing boyfriend to Charlie, and we know by now that he's a great friend, too. But what's almost more interesting to me is the underlying core personality trait that enables him to be both of those things--his emotional intuition and intelligence.

You see this in the comics mostly through Nick's facial expressions (no one can look worried like Nick Nelson can), but the show takes it a bit further. He's incredibly in tune with Charlie almost from the get-go. Nick watches him for small emotional cues and recognizes what they could mean, most notably before the confrontation with Ben after rugby practice. He reads between the lines of Charlie's deflections and falsely cheerful texts and pushes (with trademark Nick Nelson sensitivity) for the truth. He notices when Charlie is beset with intrusive thoughts, even if he doesn't know (at least early on) what they're about, and proceeds to interrupt those thoughts. He can read Charlie so well not only because he pays attention, real attention, but because he already has the emotional intuition required to interpret Charlie's inner complexities.

There are many moments throughout the show where we see Nick display this keen insight with everyone in his life, not just Charlie. When Elle, who he barely knows at this point, is upset about being set up with Tao, he immediately seeks to alleviate her distress by offering a true explanation of why she and Tao were invited in the first place--to be part of a triple date. He wants Elle to know that it was important to him (and Charlie, Tara, and Darcy) that she and Tao be there not just to try to set them up, but because they wanted to include them in an important step for both couples (Nick and Charlie just beginning to share their relationship, and Tara and Darcy trying to find acceptance after coming out as a couple). Nick knows that Elle values truth and honesty, and he gives her that so she can feel comfortable with her friends again.

Nick is also incredibly understanding of Tao, who, it has to be said, barely even understands himself for much of the show. There are a lot of scenes where Nick is trying to connect with Tao but maybe oversteps just a tad because he sees more of Tao than Tao is ready to have seen. The moment outside Charlie's house when Tao tells Nick about Elle's art college ambitions, Nick cuts through to the heart of the matter--Tao's concern about missing Elle if she's far away. Nick is the first person in the friend group to connect the dots about what Elle's college acceptance might mean for Tao, and immediately tries to help Tao process those feelings. He's met with anger, but only because he managed to hit a lightning bolt of a nerve in Tao's emotional storm.

And of course there's Imogen, who Nick has known for a long time but begins to understand and appreciate on a deeper level as their relationship moves from superficial connection to true friendship. He sees how sensitive she is, how lonely in some ways, and is always looking out for her, keeping a concerned eye on her. He gives her the space she requests, but also comfort when she lets her walls down enough to ask for it. His innate understanding of what people need--especially when what they need is just someone to be there--is impeccable.

It almost goes without saying, but Nick's emotional wavelength with his mom is similarly strong and nuanced. When Nick comes out to Sarah, he makes sure she understands how important it is to him that she knows--not only that she knows that he's bi, or that Charlie is his boyfriend, but that she knows him. That their relationship is so important to him that he can overcome his fears to share this most vital part of himself. Nick's value of Sarah extends to caring for her when she's dealing with the stress of having his dad and David around. Of course, Nick is still a teenager and there are a lot of scenes that show Sarah's deft handling of Nick's emotions, but it's a two-way street. Nick takes care of her in his own way too.

Nick starts his relationship with Tara and Darcy leaning on them for advice and guidance, but by the end of the show they're leaning on him. Nick sees their struggles, especially Tara's, possibly more clearly than anyone else does because he recognizes some similarities between their situation and his with Charlie. When they're in trouble, he knows Tara needs care and honest advice, even if it's not the most comforting advice. He knows that what they both need is strength and security and tries, in his careful way, to give them those things.

Nick Nelson, always looking out for everyone he loves, keeping them safe as much as he can, hugging them when he can't.

[sevenofreds]

Angel revealing the exact wording of his contract with Valentino (and how he can take advantage of it) recontextualizes so much about his and Val's relationship, his friendship with Cherri (and why it's ultimately toxic for him despite them clearly caring a lot for each other), and his reasons for staying at the hotel.

(Buckle up bitches this is gonna be a long one and I spent way too much time thinking about it)

SO, according to Angel, he only has to do what Valentino says while at the studio. Pay attention to that wording. Not "while working". "While at the studio".

Val's rant to Vox implies that, before Angel moved into the Hazbin Hotel, he was basically LIVING in the studio, which means that, by the wording of their contract, Angel was Val's to control 24/7.

While it doesn't really recontextualize Val's whiny bitchbaby moment in episode 2 (because regardless of the contract's exact wording, he clearly wants to be in total control of Angel), it does give us more information about it; Val was upset that he couldn't physically MAKE Angel do any thing at any time anymore, and Angel KNEW that, too.

So why didn't he ever just leave before? That comes back to Val's treatment of him, and how he views himself (or at least DID view himself until his husband friend Husk came along). Val almost definitely got it into Angel's head that nobody would WANT to take him in or help him, which is (one of, at least) the reason why he didn't trust Charlie at first during the prequel comic.

He wasn't just staying at the hotel because it was rent-free; it was because, as long as he "played nice", he was free of Val outside of work.

It does seem like taking advantage of the wording like that goes both ways (Val can apparently extend his hours on a whim without breaking the contract), but if you wanted out of a situation like Angel's, you'd take anything you could get.

And then we move on to Cherri, and her relationship with partying compared to Angel's.

Cherri Bomb is an anarchist. A chaotic partygirl. She's not trying to escape from anything. She parties so hard because she ENJOYS it. It's her way of having fun, of recharging, and it seems like throughout most of episode 6, she thought that Angel was partying with her for those same reasons.

But as we learned in episode 4, that isn't the case. Angel gets drunk and high to escape, to forget how fucked up his situation is, to forget how much he hates and blames himself for being the way he is. And once he found a functioning support system, and people who cared about him beyond his persona, he didn't need that anymore. He learned to accept that yeah, his situation is fucked, and there's not much he can do...but that doesn't mean that there's NOTHING he can do. And he's not alone.

This leads us to view Cherri as a toxic friend towards Angel, at least until she sees that he's getting serious about the hotel; she's perfectly happy with what she does, and was only goading Angel into it because she thought he was, too (she would thrive in Beelzebub's scene if she were able to go there; Angel would fall into the same category as Blitzø). Once she saw for herself that wasn't the case, she said she was glad for him, and that she'd be there if he ever needs her.

It's evident by that point that they care deeply about each other. But Cherri lives a lifestyle that wasn't ever good for Angel Dust; for Anthony. And that's okay.

Whether he was truly aware of it or not, Angel needed friends. He needed a support system. He wanted to be better than he was. And even if he doesn't quite realize it yet...he's well on his way.

[periwinkla]

Maya Fey's character is written in such a charmingly, heart wrenchingly subtle way. She has to face all manners of tragedy, but she always has that smile on her face and presses on, feigning happiness and lightheartedness. It's honestly somewhat disturbing. How can someone smile so seemingly easily after such tragedy? Can you imagine going to your sister’s workplace, expecting to spend a quiet evening together, and instead... you see a slumped silhouette against the wall of the window? She spawns the most crazy things out of her mouth just to fill the silence sometimes. Why? Sure, it may be for the game's comic relief… but sometimes it appears a tad forced? Like it’s because she wants to build a relationship with Phoenix - like her sister asked her - and doesn't quite know how to. He’s the only person that can understand what she’s going through. She’s suffering. He’s suffering. So she needs to fill the silence somehow. And she drags him along most times, she is the one that decides they should take Power’s case, after all. After Edgeworth's trial she feels useless (even though she clearly was the reason Phoenix could save him... can you believe she just charged in against Von Karma? that's insane) and goes back home to resume her training so she can help Phoenix again. After Edgeworth's ‘death’, Phoenix didn't keep in touch. Although she didn’t know about Edgeworth, she knew that the whole year had been hard on them both in the first place... so she grew worried, and basically bargained with her client to go and get him and drag him to Kurain. Phoenix can get back into taking cases just because she's there to cheer him up. So she needs to be strong! Even though she's suffering tremendously as well. Mia isn't there anymore and now she also needs to take care of her cousin because apparently she can’t even have her aunt to rely on, because for some reason the universe decided to give her the most complicated family drama imaginable. When they face Franziska? She's awfully perceptive. She's only 18, and instead of being angry at Franziska's behavior, she wonders how she can be so strong? And she seems to admire her? Would a 18 year old accused of murder think that of the accuser? That's frankly baffling. It shows maturity far beyond her age, to think of the true feelings behind people’s behavior despite what it means for her situation. And then she gets kidnapped. And still, she feigns being fine… Then then Hazakura happens. All that and she's still thinking about other people! She tries to protect Godot, even though it's a moot point. She tries to be strong for Pearl - as Edgeworth points out - and she tries so hard to not make everything affect her. She takes everything in stride but also suppresses her feelings. And she's very very good at it, even. She seems fine. Franziska is baffled at her nonchalance, and somehow Edgeworth is the one who needs to explain it, perhaps because they had similar experiences and their tragedy is linked to the same root. Edgeworth tried to repress his feelings as well (although he is, by contrast, very very bad at hiding them) so he knows what he's talking about. I quite like that scene at the end of AA3 because that makes it deliberate on Takumi’'s part that he wanted to write her that way from the start. (it also adds to the development of 3 characters at once: Maya, Miles and Franziska) Her misfortunes don’t end here, either. SOJ happens. Kidnapped again, accused of murder again. People she trusted betray her and she finds it in her heart to forgive them? And now she also has a ton of responsibilities. And she needs to appear even stronger now in front of other people, because they depend on her. She’s still cheerful though. Because she needs to be. She first needs to be strong for Phoenix, then Pearl, then for the whole village of Kurain. And she manages to be, somehow. I love when characters are written this way. Once you have all the pieces together, if you go back and analyze their behavior, it makes the experience so much richer and so much more meaningful.

[habken]

Izuku and Katsuki Hospital Comic - Thoughts and Process

I wanted to talk about the process and my thoughts while making this comic! Cause it was A Lot of planning and I feel like talking about how I went about it could maybe be helpful for other people who wanna make comics too ?

Also I just like talking and I've had So Many thoughts about it over the last few months, I just need to get them all out lol

everything is under the cut (it's Very Long) ↓↓↓

Initial Thoughts

I started planning the comic in January, around the time the chapter with the second user's plan to transfer ofa to shigaraki came out. I remember feeling so anxious and sad seeing how devastated Deku was to lose the 'gift' that All Might had passed to him :'((

It made me start thinking about what it would be like to not only go from having all this insane power at your fingertips back to nothing, but also how it would feel to lose the vestiges, which had been his advisers, yapping in his ear and keeping him company for months. How it would feel to go from constantly having people looking over your shoulder back to silence.

Then I thought about what that would mean for his and Bakugou's relationship, which has developed so much over the series. How Bakugou would feel about Deku no longer having ofa, how the two of them would wrestle with old feelings now that Deku would be quirkless again. Bakugou having to face the kid he bullied and Deku going back to a state where the world saw him as "useless" with dreams too big for somebody without a quirk.

I feel like sometimes it's not really taken into account how Deku's past affects him in the present, and that goes for in the actual series as well. Considering he's the main character, it's funny that we never really get too much of a peak inside his mind lol, especially not recently, which is most likely intentional, but I digress.

What I really wanted to do for this comic was circle back to Deku's question to All Might at the start of the series, "can I become a hero without a quirk" because while yes, deku can be a hero, he had to get a quirk to do so. So what happens now that he no longer has it? After all of Bakugou and Deku's development, would Bakugou's opinion on deku pursuing his dreams while quirkless change?

I really didn't want that answer to be no. I didn't want to believe that Deku would have to give up and "be realistic" again, it just didn't feel right for that to be the answer after 400 chapters.

So I wanted to make something that would encapsulate those thoughts! And I felt like the best way to fully get that out was through a scene in the aftermath of the battle, the two of them in the hospital with nothing to do but talk about their feelings.

It was important to me that the doubts they both felt about the future were stomped out, and for there to be reassurance that things between them wouldn't snap back to how it was before UA. That Deku could still reach his dreams even if they did become harder to obtain.

I also felt like narratively it would be a good parallel if Bakugou were to lose something tied to his power too, and with his arm being so bad off in canon, I thought it made sense that there was a chance he could lose it forever.

So it's like they're both coming out of the final battle worse off with huge losses, but no matter what, they're going to fight to achieve their dreams, and they're going to do it side by side :')

At its core, it’s very self indulgent lmao, I didn’t think that we’d get something that sappy and gross in canon (😳) so I wanted to make something for myself :')

Planning

So then I made a first draft!

When I’m making bigger comics, thumbnails are super helpful! They help me see the full picture of what it could look like, and let me change things without putting in too much commitment. So most of the drawings are loose, but occasionally I’ll put in a little extra detail into things that I want to make sure are included in the final work.

There’s three main things I consider when thumbnailing for comics; expression, composition, and dialogue. Each of these things have a huge influence on each other, so keeping them all in mind when roughing out your drawings is important!

How it usually works is I play out the scene in my head like a movie and roughly come up with dialogue, then I draw characters and expressions based on that dialogue and the visions I had. Simultaneously I plan out approximately where those drawings will go/how much space they'll take up and finally, I add in the dialogue and move things around as needed so everything fits nice together.

Having the dialogue there in the draft lets me know around how big the speech bubbles are gonna be which is a massive help when figuring out paneling. It lets me plan around the bubbles and make sure nothing is too squished!

General tips:

Something I learnt from storyboarding is that establishing a setting for your scene at the start is really important! Most of my comics will start with a long shot or include one early on for this reason. It’s good for making sure readers aren’t confused on where everything is taking place!

Having a variety of shots is good for keeping your story engaging! This comic has a lot of closeups, but I tried to add variety where I could and used a lot of different angles to keep things entertaining even if there isn't that much going on

Final thoughts on this draft:

At this stage, the ending was really different from the final version I ended up with. It was a lot more focused on Bakugou's losses too and the vibe was kinda "well we're both nerfed now but that's chill we can still be heroes." I axed most of that cause I thought it was dumb and wasn’t really the conclusion I wanted lol

After the rough draft, I started sketching everything out and adding in panels based on the composition from the og thumbnails. I also changed the dialogue as I went, focusing on making it sound more natural and easy to read.

This is where the nuances in movement and expression became a bit more refined and speech bubbles where better planned out.

At this stage, establishing clarity and imagining how readers are going to move their eye along the page is really important. Comics are generally read left to right, but you can’t just assume people are going to automatically read it in the order you want, which is why panels and speech bubble locations are so important.

Tips:

A general rule is that along with going from left to right, speech bubbles should be in descending order. This can be broken a bit, but it’s important to remember that the rule is there in the first place for clarity's sake. So if you do plan on breaking it, make sure it's not at the sacrifice of legibility. The human eye is lazy and will jump to whatever seems most logical, so planning things out in a confusing manner is going to make your comic hard to read!

This is another thing I picked up from storyboarding, but keeping in mind the 180° rule is good for clarity as well! In the simplest of terms, if you have two characters in a scene, it’s good to keep character A on one side and character B on the other, and not switch those sides willy-nilly, otherwise it can get confusing. This isn't as important in comics as it is in film/television, but I still like keeping it in mind.

Final thoughts:

I hated the original ending but I couldn't exactly figure out how I wanted it to go, and I was too busy at that point to dedicate the time I needed towards it, so it stayed as these four panels for while :’)

During the period I stopped working on it, Deku lost his arms which had me panicking lmao, so much of the comic was devoted to his emotions and body language, specifically in his hands. I just went "am I gonna have to redo everything? Do I give him prosthetics?" and I was fully ready to rework the entire thing but Eri came in clutch for Deku (and me) <3

After Deku started getting hurt, I didn't really like the idea of him being discharged and sitting with a still injured Katsuki, and wanted it to be clear that they were both still in the hospital, so I had to axe poor Deku's "hospital gown" shirt for actual hospital garb </3

At some point during april-ish, I finally added in a new beginning and end, which took the comic from four pages to seven. I felt like the new parts added a lot more levity and humour which were needed, and I think it helped make Izuku and Katsuki feel closer than before.

For these pages, I skipped the thumbnail stage and jumped straight into full page stuff, which felt easier because they were kind of just add-ons.

Something I specifically liked were the first two panels in the last page. Fun fact, but a few days after I sketched those out, horikoshi released that art of to two of them smiling together and I went !! That's the vibe I wanted !! Me and Horikoshi are on the same wavelength! That was a good day lmao.

At this point, though, while new parts added a lot more to the story and brought it closer to the vibe I wanted, they also messed with the tone and overall pacing and it ended up feeling really off. Deku was now doing this weird 180 from being super sad and upset to then immediately joking around and goofing off with no acknowledgement of anything Katsuki was saying, which had been fine enough when it was just 4 panels, but very off-putting once I made the comic longer

...So I decided to add even more panels :')

I went back to my original ideas, and part of what I wanted to get across originally was the doubts about Izuku's future from here on out, and the worry that things would go back to how they were before he got ofa. I realized those initial things which had fueled the comic were no longer really part of it, and I wanted to change that.

When I thought up the idea of visuals surrounding their middle school selves, I felt so smart LMAO. I think it ended up being the thing that brought the entire comic together.

Izuku reverting back to that anxious, unconfident state, spiralling into himself, and mumbling out all his insecurities, including his fears about losing Katsuki's friendship (and yet still somehow more worried about Katsuki's feelings than his own). And in turn, Katsuki remembering and seeing Izuku as that kid again, and his own fears of becoming a bully once more.

It better explored what I wanted to originally get across and delved more into their feelings, so that the jokes and levity at the end felt like they were earned, rather than being a rapid shift in tone.

(The only other thing that changed was the some of the panels in the first page. I changed up the speech bubbles and got rid of a panel so it would be less cramped and easier to read.)

At this point, I was still having trouble figuring out how to tie everything in and segway pages 6-7 into the ending organically, so it sat like this for around a month.

Then chapter 423 released and the battle was over and I realized how little time I actually had to get the comic out. I knew that the next chapter could possibly make my entire comic obsolete, so I hauled ass :D

These were the final plans before I cleaned everything up! I changed around some of the panels to make the story flow better, I figured out how to tie everything in, and I finalized the dialogue!

At this point all the panelling was redone because I wanted more space in between them. Before, it felt really cramped and I think adding in more breathing room made it feel slightly less overwhelming for readers.

The biggest changes from the previous draft:

First, obviously, I finished the middle school stuff and figured out how to get from one part to the next. This was the hardest part of the planning, but I ended up deciding that Deku would spiral, Bakugou would kind of bring him out of that, they'd hug and then Bakugou would reassure him. I also included motifs relating to their childhood to be reminiscent of The Apology, and Katsuki's thoughts going back to them sharing the special All Might cards, them at the lake, etc. As if this was another healing moment for each part of them; their current selves, their MS selves, and their childhood selves too

I then changed some of the panels in the first page. I switched the direction of the diagonal line in the first few panels because I thought it made it more clear which way to start reading and made the comic flow better.

In the fourth page, I added a panel after Deku starts crying, because I felt like it worked better with the dialogue, and brought in more of Katsuki's POV into the story

The sixth page doesn't really look different, but there was a lot of resizing going on panel-wise. The bottom panel doesn't take up as much space and the panels up top are a little bigger

The final big change was the eighth page. I added in an extra panel and changed up a lot of expressions/dialogue so there was more of a natural transition between the heartfelt moments and the two goofing off

I then made some final changes and drawover notes before I started a week of cleanup and colouring!

Cleanup/Colouring Stage

Cleaning up my sketches usually just means duplicating the layer, putting the original layer at 5% opacity and.. cleaning it until it looks nice lol. It's the easiest way for me to work because I hate doing lineart.

This is what my sketch vs final usually looks like. The biggest change was adding in bandages into all the drawings lol.

For speech bubbles, I drew them all by hand, created a flat colour layer underneath in white, duplicated that and filled it in with black and shifted it with the transformation tool to make a drop shadow effect.

It took me two days to colour the whole thing :')

Usually when I colour, I work in a pretty painterly way, but I thought flats/cell shading would be a lot faster for this. I was right but it still took Very Long.

The smartest thing I did was put colour swatches of each colour I was using on a separate layer above everything else so I could easily use the eyedropper and get the right colour without having to reference them from another page. It was a big time saver!

I colour all on a single layer so I don't have progress photos to show, but for each drawing, I roughly added in all the colours in the approximate locations they'd be, and once I did that for every single panel, I went back and cleaned them up one by one.

And that's that! After colouring was done, I added my signature, posted it, and took the nap of the century.

Final, Final Thoughts

I worked... Very Hard to get the comic out before leaks night and even if it was just a few hours, I'm so glad I was able to do it cause when I saw the actual chapter I lost my mindddd

I feel like as the comic progressed, Katsuki's feelings took a backseat and if I was to redo it, I'd probably put a bit more emphasis on that than I did in the final version. I feel like his ~inner turmoil~ didn't fully come through the way I wanted it to. I didn't want it to be an immediate acceptance — I wanted the fact that he was struggling with his past to be evident too — but with the focus being so heavily on Izuku, Katsuki's inner thoughts get a bit lost which is too bad </3 Good thing is Horikoshi had the exact opposite idea as me, so it all worked out :D

I'm really proud of how the comic turned out, and I'm so happy to have gotten such a positive response to it! Thank you for reading if you got this far and thank you for reading my silly self-indulgent hospital comic :)

[ohnoitstbskyen]

Do you think Riot will make more seasons of Arcane in different regions post-s2, make more shows with different names that are set in the Arcane universe, or secret third option?

Yes and no.

To start with, yes: Arcane has been by far Riot's most mainstream successful media project ever (even outstripping K/DA), and there is literally no way in hell that the company isn't going to want to keep milking it until it is as dry, stale and withered as the PROJECT skin line.

So I predict that, absolutely, we will see new seasons of shows set in the League of Legends universe, probably animated, and hopefully with some of the extremely good animation partners Riot has managed to cultivate over the years.

The ARCANE branding is incredibly valuable now, and I wouldn't put it past Riot to do something stupid like name a show set in the Freljord ARCANE: True Ice or something unbearably stupid like that, even though the name relates extremely specifically to the setting and story of Piltover/Zaun and the Vi/Powder/Viktor/Jayce character group.

On the other hand, Riot might be the company on earth I trust the absolute least to effectively capitalize on and carry forward a success in creative arts that can't be monetized with skins and event passes.

Riot has an absolutely astounding history of tripping on their dicks when it comes to telling stories about their characters, in no small part due to its leadership quite simply never valuing storytelling as an end in itself. If it doesn't sell cosmetics or drive Engagement™ with the core League of Legends product, good luck getting Riot management to spend a fucking dime to make anything real.

Passionate people inside the company have to go to war, every single time, to make anything good happen. Legends of Bilgewater, the Spirit Blossom visual novel, the Marvel comics collaboration (RIP), Riot Forge, and very much Arcane, were absolute passion projects pushed over the line by people who literally put their jobs (and in many cases their health) on the line to make them happen.

Alex Yee and Christian Linke are old hands at Riot with a lot of clout, a lot of friends at the company, and a lot of goodwill to cash in, and if that hadn't been the case, there is literally no way in hell anything like Arcane ever gets made.

The behind-the-scenes documentary Riot themselves produced obviously goes out of its way to let Riot leadership suck themselves off about how much they contributed and how much they believed in the project, but make no mistake, they would have axed Arcane on the spot if there wasn't creatives fighting pitched battles every other day to keep it alive.

This is true of K/DA as well, by the way, there was a lot of internal resistance at Riot to that project - and to Star Guardians, and to Heartsteel. Anything cool Riot has ever made? Just assume that someone internally was shitting on it in meetings and trying to get it shut down.

Which is why I am intensely worried about Arcane in the long term. Not so much about Season 2, since it is mostly being produced by the same group of people, as far as I know, but that project is also going to be absolutely besieged by C-suite jackoffs trying to worm their names into the credits, making themselves Stakeholders™ and offering Feedback™ and voicing Concerns™, and I don't envy the showrunners the battles they are going to have to fight to keep these vultures away from the product.

But I am fucking worried about whatever Season 3 becomes. I am fucking worried about what happens the moment any of the key creatives behind the first two seasons resign, or get headhunted to new jobs. I am worried what's going to happen when Riot decides that the showrunners are "being difficult" and standing in the way of what leadership wants to do with the now very valuable ARCANE branding, and either corporately mandates them into roles of diminished influence or just outright fucking fires them (it'll be publicized as a mutual decision of course, it'll be publicized as a much celebrated retirement or "it's time to move on to new adventures").

Riot is a company with absolutely infinite capacity to fuck up a perfectly good thing for absolutely no fucking reason except some kombucha-chugging, suit-jacket-over-a-graphic-tee-and-sneakers-wearing, keeps-his-job-despite-multiple-sexual-harassment-allegations-because-he's-bros-with-the-C-suite, motherfucking "I am a player so I know what the players want" platitude-spouting "themes are for book reports"-ass Silicon Valley libertarian piece of shit decided he knows better than the artists whose work are the reason he takes home six figures a year.