#those are my go-to's usually

[charmre]

Maybe tmi but I smell sooooo good rn

My new body wash smells soooo good and it makes me v happy 😌

[foldingfittedsheets]

So one thing I’ve noticed is that people’s DnD characters may vary but there is usually an underlying thread that they all have in common. This thread is typically related to what that person struggles with the most.

For instance, my betrotheds DnD characters: a bitchy warlock we had to bust out of two different pacts, a sassy barbarian, a reformed drow cultist, and a sunshine fighter cleric.

All these characters were wildly different but at their very core struggle was them grappling with their self worth. My betrothed struggles with their worth a great deal and even with different facets showing their characters all have that too.

Mine all tend to contend with different themes of loneliness and acceptance. Surprise, surprise, the little autistic gremlin yearns to have been met with more love and lasting friendships.

So we’re at breakfast. I am meeting a new friend of my betrotheds for the first time. It’s been twenty minutes since I’ve met this man. I say my theory. He laughs. He starts to describe a few of his characters but specifies that he often has healing aspects. He gives a very broad overview of their character arcs.

I ponder for a moment then said, “Would you like to have my assessment?”

He laughed, “Sure!”

“We’ve just met. It’s gonna get real.”

“Bring it on.”

“I think your struggle is that you feel you must offer something of value or service to people to be worthy of their love.”

His jaw dropped. His fork froze midway to his mouth. A potato fell. He stared into space as this sank in. Quietly he said, “Oh.”

[merrigel]

I want it back = I drag its dead weight forward

[andminnequin]

PRIDE MONTH’S ALMOST OVER AND I JUST REMEMBERED I HAD TO DO THIS

SPEEDRUNS IT

[basslinegrave]

pin-up

b&w originals

[cubedmango]

「安達が魔法使いにならなかった世界線の話」 + 「もしもの話」 — english translation

[crustyfloor]

A new pop-up store dropped for ALIEN STAGE's 2nd anniversary and wow. It's so sick.

It's Interesting what exactly these experiments are focusing on and monitoring.

Instrument practice

I found it interesting earlier that Till was so tame, more so than he usually is when he's going through experiments, but music, and making music is what he loves doing, So he was fully in his element here. This was probably the only thing he was made to do by the aliens that he at least tolerated.

(Additionally, judging by his collar (orange), he was at least calm. maybe he just isn't fazed anymore.)

//Side note, that head contraption looks familiar BUT this most likely isn't related at least i hope

(It puts me at ease, at least..)

Dance practice

This surprised me, but I suppose Mizi needed more skills.

She looks very startled here, and nervous(?) +It looks like she's doing this while singing. And with that face covering I assume this was a test monitoring her dance balance, precision, etc. At first, I did think it was odd, "Why would Shine put her through that" But alas I was reminded that even though Mizi is the flower of the group she was never untouchable, to Shine, this was the equivalent of teaching your dog to sit and stay.

(seeing this it reminded me of those scenes in movies where the people are dancing, and the music gets faster and faster until they fall. I wonder if she was doing through something similar to that)

Singing practice (?)

Similar to Till she also looks quite calm outwardly, if the machine around her neck is an iteration of the collars they have, then this process wasn't something she liked, or given how intense this experiment looks, this was a test of high-pressure to ensure she always stayed calm during performances (?). Then again this could also be a posture practice given all the structure focused on maintaining her position.

(What I believe was another form of this test was shown before so I think so)

(With her hands in a praying stance I wonder if she was praying to herself or singing a religious song (sweet dream?) It's also interesting that the machinery around her looks like a halo, and she looks so...angelic? holy?)

Image making practice

By image making, I think they made Ivan replicate expressions with his face. Whether this process was painful for him or not...I'm not sure. But it looked visibly uncomfortable, maybe that was the point. (His expression, even in this circumstance is so dubious..)

Ivan, among other things, needed to have a spotless appearance to be successful, his image was a priority given his skills were certainly guaranteed.

I assume the aliens eventually took note of his lack of expression, in the real world this can be a detriment to one's career, so the Aliens had to ensure quality was perfect. (To a more...dedicated level)

Superiority test

'Superiority test' Is very vague.

HyunA is very calm here too, likely sedated in that water with all the tablets on her. I guess this was a test to get an idea of a pet human's strengths and weaknesses, endurance, and temperament to compare and contrast them with others, testing who is more viable for Alien stage?

Another interesting, and sad part about this is that HyunWoo was there, watching his sister through her experiments.

(Also, it looks like both of her legs are normal, no alien leg yet.)

Heart rate variability

And finally, the most visceral of them all. The wording 'variability' makes this all the more sickening, the Aliens were testing his heart hours, testing it at different rates, speeds, and states. And he was in agony the entire time. Even the way he's clutching his chest, it gives me chills. This would've been a completely harmless test in a normal setting, as something quite similar to this can be performed efficiently in real life. But he's being tortured in the process.

This is one of the first times we've ever seen Luka's face so truly clear and unprotected, (understandably so.) He's even crying.

[cathodecreature]

Costume for a friend's masquerade :D

[kimdokjas]

@animangacreators challenge ⟡ spring 2024

↳ WIND BREAKER

You haven't given up on others yet. And you don't need to give up. At the least I'm looking your way, Sakura. So why don't you look this way as well? If you do, I'm sure… you'll become what you want to be.

[naamahdarling]

You know what? You know what I think?

I think that if we lived as we were meant to, in larger intimate ("extended family") groups and with more shared labor and time to do it (UBI NOW) people like me would not feel so useless and burdensome because there would be people around to help and to do what neurodivergent people can't while making valuable space for the neurodivergent to do what they ARE good at.

The way we live right now, all right, the way we live right now forces units of two adults to be able to do EVERYTHING or PAY to have someone come do it for them. I have to do the housework. I have to do it! But I am having to do a million different things and most of them I am not good at. I suck at them.

I wouldn't feel like shit, okay, if I had more than one other person around who was not a child and who could do the things I can't, like do the yard and cook and do repairs and basic maintenance; and someone else to split everything else that I like but is too much for me. It would free me to do what I am good at and enjoy. Cleaning, as in the sink and toilet, the windows, the blinds. Taking out trash. Folding, hanging, and sorting laundry.

But because all the shit I can do often relies on other shit being done first, and I can't do or have trouble doing those things, the shit I can do often can't be done. And even the shit I can do, I can't do ALL of it. So I can't keep up, and things get very bad.

We aren't meant to live like this. We are not meant to live like this.

That thought hurts so much because being able to flee the birth family is integral to survival for so many people. I'm so afraid that living in larger family groups would create more opportunities for, say, queer kids to be isolated, rejected, bullied, and abused. But if we gave people enough money to survive, and stopped considering children the property of their parents with no system in place to help them escape bad situations except a system that is often just as bad, just different.

I'm aware that communes and collectives aren't all that successful and are kind of a joke. I don't mean that. I mean a fundamental shift to multigenerational families where taking in "strays" (which my family did) is also normalized so people escaping abuse into existing households was accepted, with these families centered in maybe a couple of different larger residences so not everyone has to buy and maintain their own fucking washing machine and vacuum cleaner, and so people can benefit from large group meals that yield leftovers, and so child and elder care can also be centralized.

Then disabled people and the neurodivergent and sick and injured people, and pregnant people, and grieving people, would not have to either labor through all those stressors or consign themselves to living off an unlivable pittance or being put under legal guardianship.

I'm not saying anything new. People live like this in other parts of the world and maybe it sucks and I am wrong. But I'm just really mad right now because I can either do laundry or clean the sink but not both, and I really think we could improve society somewhat by making it so I did not have to choose one without sacrificing the other.

[stevebabey]

Eddie has a test.

It took some time to formulate, a few too many times with guys careless with his heart, who leave behind more heartache than happiness littered in their memory. It’s fucking hard to tell.

More than once, there’s been a dude who promises between kisses i’m not going anywhere and takes more than his fill during a night which Eddie desperately hopes is passion and not some misguided lust. Only to wake a familiar empty side of the bed, them gone — skipping town, back in the arms of their parent-approved girlfriend, or back to spitting his name out with the word freak.

It’s what the test is for.

It’s specific, purposeful, all intending to weed out the straight boys who liked to dip their toes in the pool of queerness and leave Eddie to any consequences of the heart. Eddie doesn’t want to turn cruel, to be too jaded after feeling used too many times. It’s what the test is for. Protect the heart, see what interest is genuine.

Right now, he’s putting the test on Jared. New in town and in Eddie’s life, he’d captured the metalhead’s gaze from the glint of his pierced ear and light eyes that lingered. Kissed a little mean, and with too much teeth, but Eddie chalked it up to excitement. Jared seemed good. Nodded and smiled when Eddie found himself wrapped up in yet another DnD spiel. Said he found it endearing.

The test is simple.

A bid, a nudge, for attention. Never anything big or too exciting— that always got him specifically warped smirks designed to lead him along. Just something minuscule, like will you come take a look at my notes? or can i play you that riff once more? to see if it gave.

The pattern runs deep in Eddie’s dating history; same ol’ jerks who couldn’t bother to come and look at his new DnD sketches are always the ones who are only leasing a new sexuality for a month. It’s like setting a minefield and seeing who stumbles on a landmine, the bids getting ignored is as early as a warning sign he’ll ever get.

He tries the test on Jared.

It’s a Thursday night and Jared’s round at the trailer, lounging on Eddie’s sheets and still a little flushed from the night’s earlier activities. Usually it’s a good sign when the guys stick around after sex, not flying out the door once they’ve got what they want. By now, Eddie has drifted away from his bed, skittish thoughts already off and away with new campaign ideas.

He’s scrawling in a character design, some new boss, half troll, half hellhound, that requires a lot of finicky details worked out. The page is covered in scribbles, nothing in any semblance of lines and a crude first sketch is in the middle. It’s not quite the vision he had in mind but it took him an hour, so he’s hardly going to erase it. Besides, it looks pretty fucking metal to him.

“Hey,” Eddie calls out, a bit soft. No pet-names used— most of the time boys didn’t like them and wrinkled their nose. Those that didn’t mind, never returned them. “Can I show you the sketch I’ve been working on?”

He pauses, then launches into an explanation without waiting for a response, “It’s for the new campaign I’ve been planning, one of the bosses, and honestly, those little shrimps have no idea what’s coming for them.”

Jared, still slouched on the bed, peeks up a bit at the noise. He hadn’t really been doing much, just leafing through some of the junk beside Eddie’s bed. If Eddie let himself hold any hope, he would say it’s because he wants to know more about Eddie.

“Huh?” Jared asks, genuine enough that Eddie thinks maybe he didn’t hear him.

“A DnD boss?” Eddie says, eyebrows raising. He barrels on, thinking about how Dustin had helped propose the new boss, with a grin spreading across Eddie’s face. “Dustin, the little twerp, challenged me to pick a random combination of creatures and mash em’ together- see what crazy abilities come from it.”

“Who’s Dustin?” Jared asks, failing to sound like he cares. His eyes have wandered elsewhere, head falling back on the pillow and Eddie’s initial question about the sketch is long, long gone.

Oof. And that’s like 3 failed bids at one time because Eddie talks about Dustin all the time. Jared clearly isn’t interested in Eddie Munson, just what he can offer. Eddie’s heart grows a little colder.

“Look, I think I’m gonna get going, yeah?” Jared says, maybe sensing Eddie’s mood change as he begins to sit up and tug his shirt back over his bare skin. His sticks his feet in his shoes, laces them up. Eddie nods, tucks his notebook behind him and walks him out, plastering on a smile the whole time.

After ambling down the stairs to the trailer, Jared turns back, after searching the surrounding area for leering eyes, and he reaches out and gives Eddie’s hand a squeeze. Just a split second, before it flies back to his side.

Eddie would like to believe that he’s at least worthy of a goodbye kiss. Even if some wicked part of his brain says he’s not, that boys like Eddie Munson don’t get sweet goodbye kisses. Don’t get good relationships, just mindless flings.

The thought makes hurt flares in his gut, Eddie so desperately trying to protect his hope, and so before Jared can say anything, some pitiful goodbye, Eddie leans out the doorway and says, “Don’t call me.” then slams the trailer door.

It follows him around for the next week, his own personal storm-cloud to keep his head grey even when it’s sunny out. He mopes to Robin about it during her shift, probably the only other person he can talk to about it.

“So, you tested him? What does that even mean? Is there a gay test you know about that you haven’t told me about? That would be so uncool, man.”

She’s talking as she types, half paying attention to the computer. Steve is out in between the shelves, putting out a new batch of films— Eddie knows because he’d instinctively sought him out when he came in. Harrington was a pretty boy, sue him for wanting to enjoy the view.

Didn’t help he was also decidedly declared not-a-douchebag by Eddie during the whole upside down spiel and had the duality of biting off that bat’s head and somehow being the world’s biggest sweetheart for his friends. Friends that now included Eddie.

 What can you say? Going through that much together, including killing a death wizard and getting dragged out of an alternate dimension certainly forms some strong bonds. Plus, Steve was hot.

(Eddie denies the crush on the basis that would. never. happen.)

At the reminder of Vecna, Eddie winces and supposes he should be lucky he gets any sort of attention after that whole scandal. But it doesn’t stop him from draping himself across the front counter, laying pathetically with a pout on his lips. He shakes his head fervently at her question.

“Not a gay test, Robin.” He stresses. “It’s the Eddie-Munson-is-this-boy-gonna-stick-around-test.”

He rolls up onto his elbows and props his head into his waiting palms. “Gotta make sure I’m not being treated like some common whore.”

It’s meant to be a joke, a usual joking lilt to his voice, but the end of the sentences comes out a bit too bitter to land that way.

Robin’s sympathetic expression makes Eddie’s chest twinge in a way he doesn’t like. He waves her off. Slumps back down a bit before deciding he’s done enough wallowing in the public eye.

Robin doesn’t say anything as he pulls out his usual notebook, pages weathered and filled. Eddie usually hangs around the store on days without plans, flits between Robin and Steve, and scribbles in his notebook. She bites her lip, gaze moving between the book and the resigned expression on Eddie’s face as he turns to the latest page— the strange hellhound troll mashed up boss.

“Okay, I’ll bite—what’s the test involve?” She asks, pausing in her typing for a moment. Her hands don’t stop moving, still stressing the fabric of her pants twitchily. Eddie perks his head up, clutching his pencil a bit tighter and rolls right into it.

“It’s not even really a test, technically, but doesn’t matter- that’s just what I call it - it’s like a bid?”

Robin raises her brows and they disappear under her fringe. “A bid?”

“Yeah! A bid!” He waves his arms around as he speaks, gesticulating a bit wildly. “It’s like— like asking them to come look at something stupid and small, just to see if they’ll give your interests time of the day, yanno?”

He punches a finger down into his sketchbook. “A guy who can’t even be bothered to look at a sketch I worked on for an hour? Douchebag.”

Eddie’s tone turns a bit sing-song as he continues, like it’ll somehow distract from the bleakness of them. “Ergo, not sticking around.”

Robin’s hands finally stop their messing, becoming completely still against her legs. She finally swivels her body to face Eddie, a furrow between her brows. Her lips are quirked up, just a bit, like she knows something Eddie doesn’t. He feels his apprehension grow as he slumps his chin back into his hands.

“You mean, like how Steve is with you?”

Eddie stands a bit straighter at that, some flushed combination of disbelief mixing with delight flooded his body.

“What?” It comes out a bit more squeaky than intended. Eddie clears his throat, waves his hands, anything to stop that smirk from spreading across Robin’s face — he can feel his cheeks glow a bit warmer at the mere idea. “What is that supposed to mean?”

Robin smiles a bit and nods over to where Steve is. “Try it, test him.”

Eddie follows her nod, casting his eyes across the store to find Steve. He finds him situated in the romance section, a pile of cardboard box stacked beside him, the top box open and ready to be unpacked.

But Steve’s clearly been distracted by the first film in the box — he’s sunk deep into his mom-stance with one hip popped, one hand on his hip, the other holding the film as he reads the back cover of it very intently.

Eddie watches for just a moment, watches Steve squint and pull the case just a bit closer, wrinkle his nose adorably, snort a little laugh at whatever he’s reading — and dammit, this is just a fast track to insanity if Eddie watches him any longer.

“Steve,” he calls, too hesitant and too quiet. Steve’s head doesn’t move, he just flips the cover back over, marveling at the front. Eddie tries again. “Harrington!”

Steve’s head pops up, eyes skirting about to see who’s calling him. He doesn’t move when he sees it’s Eddie calling, just raises his brows. “Yeah?”

Eddie swallows, tries not to think of Robin paying close attention to both him and Steve. He grips his notebook a bit tighter even though he’s not entirely convinced Robin’s right. Steve Harrington doesn’t like DnD — not even for Dustin who has self-proclaimed himself Steve’s ‘adorable little brother that he never had’. Steve is hardly going to care if it’s Eddie asking.

“Do you wanna take a look at this sketch I’m working on?” He asks, as casual as he can.

Steve’s features give away just a hint of surprise, a blink as he comprehends what’s been said. Eddie holds his breath, ready to turn to Robin and say ‘I told you so!’ and to pretend that he’s not secretly hoping Steve will say yes.

“Sure,” Steve says, slotting the film back into the cardboard box and beginning to meander between the shelves towards the front desk. Eddie doesn’t even get time to be surprised because Steve’s suddenly there, in front of him, all expectant.

Eddie opens his mouth, thinks the better of it, and snaps it back closed. Instead, he thrusts the notebook to the side along the countertop, opened to the page of the sketch and doesn’t say anything. In the background, Robin snorts lightly. Eddie shoots her a glare.

If Eddie could look at Steve, he’d see the lightly amused expression on his face, but Eddie only focuses on the book. Really focuses. God, if he looks at Steve he’ll probably get some stupid mooned expression on his face that would totally give away his tiny stupid not-a-crush.

In his peripheral, he can see Steve sidle a little closer and lean over to peer at the page. And while he looks over it intently, Eddie let’s his eyes drift up, taking in the side of his face.

Curses his stupid handsome face. Then curses it some more when Steve lights up in recognition, turning to Eddie, excited to have a sliver of an idea what Eddie’s showing him. Normally, it’s all mumbo-jumbo to Steve. Not that he hasn’t tried to keep up but those kids are ahead of the curve and Steve wasn’t about to embarrass himself asking them to slow down their explanations.

“Woah, is this that one that Dustin was talking about?” Eddie thinks there might be a bit of genuine excitement leaking into Steve’s words.

“The weird like, mashed up, uh, what’s the word? Hyp- hypb—“

“Hybrid,” Eddie supplies, voice cool. His heart is not feeling so cool. Jesus Christ, Steve wasn’t supposed to pass Eddie’s test— he wasn’t even supposed to be tested. In order for that happen, they’d have to even be fooling around and Eddie blames his building blush on that mere suggestion.

“Yeah!” Steve raps his knuckles against the countertop and takes a second look at the drawing, closer this time. He looks back up at Eddie, so he knows he’s completely sincere when he says, “This is really cool, man.”

“Okay.” Eddie breathes, sounding a bit stupid. He remembers himself, remembers Robin watching him essentially bluescreen at the praise from Steve and wrenches his awed smile into a familiar smug type of grin. 

“Of course it is, Steve-o,” He quickly amends, reaching back and tugging the notebook back. It’s closes with a quick snap, like Eddie’s afraid Steve will take another look. “She’s not finished yet, of course.”

Eddie had to bite his tongue to keep it from either taking an insanely egotistical route to pretend Steve’s praise hadn’t had a profound effect on him, or even worse, start trying to suddenly be humble — oh this ol’ thing? it’s nothing really, just threw it together quickly— Eddie nearly melts against the counter in relief when the bell on the front door saves him.

A customer enters the store, instantly taking Steve’s attention and he bounds off to help them, an easy smile on his face.

Eddie waits until Steve and the customer wandered off into the aisles to release his breath. He doesn’t look at Robin, just turns and presses his forehead down against the countertop. Then raises it just a bit, and thunks it back down, a couple of times for good measure.

“Okay, okay—“ Robin’s gone a bit wide eyed and she waves her hands at Eddie’s pathetic form, his head still bonking against the counter. “Stop doing that. Jesus, Eddie, are the dramatics always necessary?”

His motions stop at Robin’s words and Eddie’s whips his head up. He narrows his eyes at her, and as if to prove his point, exaggeratedly jabs a finger at her.

“Hey! Never deny my right to be a drama queen. It is my god given right as an American citizen—”

“He passed.” Robin says, cutting off what was about to be a very long rant about god knows what. Eddie just didn’t want her to say what she was about to. “Your test. He passed, didn’t he?“

That. He didn’t want her to say that.

“He’s being a good friend! A very good nice friend!” Eddie counters, only sounding a little bit whiny which takes half the conviction out of his words. He slams his hands down against the wood. “That test is for— it’s not for him! It’s for—”

An annoyed noise comes out of Eddie’s throat and he aims for one more thunk of his head against the counter before tugging it back up and meeting Robin’s smug expression. She’s too smug. Her whole face is smug smug smug and Eddie scowls. He points a deliberate finger at her again.

“Different context, alright? That—” He waves an arm behind him, in the direction of Steve carelessly. “—doesn’t count. Nope. Not- that’s not how the test works.”

Robin sighs, as if she realises how fruitless it is to keep chucking this argument between the two of them. Her hands finally resume their typing and Eddie lets his head drop again, this time resting it against the wood a tad more gentle. He slumps, blowing a pointless raspberry as he tries to evacuate every thought that’s entertaining Steve as more. Or Steve wanting more of Eddie.

“Look,” Robin says suddenly, halting her typing once more. Eddie rolls his head so he can see her but doesn’t bother to lift it. She’s sideways in his vision, but still barreling on in that Robin way. “One last thing and then I swear, I’ll leave it.”

Eddie raises his brows. Says nothing.

“Have you considered,” She pauses, and appears to be trying to pick her words carefully. “whether anyone else is putting their bids on you?”

Eddie wrinkles his nose, knowing exactly what she’s hinting at. Subtlety has never been Robin’s strong suit. It’s even more obvious when her eyes dart across the store — Eddie seriously doubts she’s talking about the random customer that had just entered.

“Just think about it?” She pleads, and Eddie feels his annoyance at how easily he can feel his heart roll over. “See if you notice any bids from... anyone! Anyone at all.”

Eddie picks his head up, chances a glance towards Steve and admits, there’s no harm in trying. Even though, Steve had surprised him today Eddie can find a dozen reasons to chalk that up to. A dozen reasons that don’t include mutual feelings.

Eddie mulls it over, because because what are the chances really? Steve putting bids out to him? To specifically Eddie? The chances are slim to none.

So the answer he gives is, “Sure.”

He’ll get to tell Robin later she can stuff it and wipe her smug expression off with the most righteous i told you so on the planet. There was no way she was right about this, right?

Part two. Part three.

[eyrieofsynapses]

why Aurora's art is genius

It's break for me, and I've been meaning to sit down and read the Aurora webcomic (https://comicaurora.com/, @comicaurora on Tumblr) for quite a bit. So I did that over the last few days.

And… y'know. I can't actually say "I should've read this earlier," because otherwise I would've been up at 2:30-3am when I had responsibilities in the morning and I couldn't have properly enjoyed it, but. Holy shit guys THIS COMIC.

I intended to just do a generalized "hello this is all the things I love about this story," and I wrote a paragraph or two about art style. …and then another. And another. And I realized I needed to actually reference things so I would stop being too vague. I was reading the comic on my tablet or phone, because I wanted to stay curled up in my chair, but I type at a big monitor and so I saw more details… aaaaaand it turned into its own giant-ass post.

SO. Enjoy a few thousand words of me nerding out about this insanely cool art style and how fucking gorgeous this comic is? (There are screenshots, I promise it isn't just a wall of text.) In my defense, I just spent two semesters in graphic design classes focusing on the Adobe Suite, so… I get to be a nerd about pretty things…???

All positive feedback btw! No downers here. <3

---

I cannot emphasize enough how much I love the beautiful, simple stylistic method of drawing characters and figures. It is absolutely stunning and effortless and utterly graceful—it is so hard to capture the sheer beauty and fluidity of the human form in such a fashion. Even a simple outline of a character feels dynamic! It's gorgeous!

Though I do have a love-hate relationship with this, because my artistic side looks at that lovely simplicity, goes "I CAN DO THAT!" and then I sit down and go to the paper and realize that no, in fact, I cannot do that yet, because that simplicity is born of a hell of a lot of practice and understanding of bodies and actually is really hard to do. It's a very developed style that only looks simple because the artist knows what they're doing. The human body is hard to pull off, and this comic does so beautifully and makes it look effortless.

Also: line weight line weight line weight. It's especially important in simplified shapes and figures like this, and hoo boy is it used excellently. It's especially apparent the newer the pages get—I love watching that improvement over time—but with simpler figures and lines, you get nice light lines to emphasize both smaller details, like in the draping of clothing and the curls of hair—which, hello, yes—and thicker lines to emphasize bigger and more important details and silhouettes. It's the sort of thing that's essential to most illustrations, but I wanted to make a note of it because it's so vital to this art style.

THE USE OF LAYER BLENDING MODES OH MY GODS. (...uhhh, apologies to the people who don't know what that means, it's a digital art program thing? This article explains it for beginners.)

Bear with me, I just finished my second Photoshop course, I spent months and months working on projects with this shit so I see the genius use of Screen and/or its siblings (of which there are many—if I say "Screen" here, assume I mean the entire umbrella of Screen blending modes and possibly Overlay) and go nuts, but seriously it's so clever and also fucking gorgeous:

Firstly: the use of screened-on sound effect words over an action? A "CRACK" written over a branch and then put on Screen in glowy green so that it's subtle enough that it doesn't disrupt the visual flow, but still sticks out enough to make itself heard? Little "scritches" that are transparent where they're laid on without outlines to emphasize the sound without disrupting the underlying image? FUCK YES. I haven't seen this done literally anywhere else—granted, I haven't read a massive amount of comics, but I've read enough—and it is so clever and I adore it. Examples:

Secondly: The beautiful lighting effects. The curling leaves, all the magic, the various glowing eyes, the fog, the way it's all so vividly colored but doesn't burn your eyeballs out—a balance that's way harder to achieve than you'd think—and the soft glows around them, eeeee it's so pretty so pretty SO PRETTY. Not sure if some of these are Outer/Inner Glow/Shadow layer effects or if it's entirely hand-drawn, but major kudos either way; I can see the beautiful use of blending modes and I SALUTE YOUR GENIUS.

I keep looking at some of this stuff and go "is that a layer effect or is it done by hand?" Because you can make some similar things with the Satin layer effect in Photoshop (I don't know if other programs have this? I'm gonna have to find out since I won't have access to PS for much longer ;-;) that resembles some of the swirly inner bits on some of the lit effects, but I'm not sure if it is that or not. Or you could mask over textures? There's... many ways to do it.

If done by hand: oh my gods the patience, how. If done with layer effects: really clever work that knows how to stop said effects from looking wonky, because ugh those things get temperamental. If done with a layer of texture that's been masked over: very, very good masking work. No matter the method, pretty shimmers and swirly bits inside the bigger pretty swirls!

Next: The way color contrast is used! I will never be over the glowy green-on-black Primordial Life vibes when Alinua gets dropped into that… unconscious space?? with Life, for example, and the sharp contrast of vines and crack and branches and leaves against pitch black is just visually stunning. The way the roots sink into the ground and the three-dimensional sensation of it is particularly badass here:

Friggin. How does this imply depth like that. HOW. IT'S SO FREAKING COOL.

A huge point here is also color language and use! Everybody has their own particular shade, generally matching their eyes, magic, and personality, and I adore how this is used to make it clear who's talking or who's doing an action. That was especially apparent to me with Dainix and Falst in the caves—their colors are both fairly warm, but quite distinct, and I love how this clarifies who's doing what in panels with a lot of action from both of them. There is a particular bit that stuck out to me, so I dug up the panels (see this page and the following one https://comicaurora.com/aurora/1-20-30/):

(Gods it looks even prettier now that I put it against a plain background. Also, appreciation to Falst for managing a bridal-carry midair, damn.)

The way that their colors MERGE here! And the immense attention to detail in doing so—Dainix is higher up than Falst is in the first panel, so Dainix's orange fades into Falst's orange at the base. The next panel has gold up top and orange on bottom; we can't really tell in that panel where each of them are, but that's carried over to the next panel—

—where we now see that Falst's position is raised above Dainix's due to the way he's carrying him. (Points for continuity!) And, of course, we see the little "huffs" flowing from orange to yellow over their heads (where Dainix's head is higher than Falst's) to merge the sound of their breathing, which is absurdly clever because it emphasizes to the viewer how we hear two sets of huffing overlaying each other, not one. Absolutely brilliant.

(A few other notes of appreciation to that panel: beautiful glows around them, the sparks, the jagged silhouette of the spider legs, the lovely colors that have no right to make the area around a spider corpse that pretty, the excellent texturing on the cave walls plus perspective, the way Falst's movements imply Dainix's hefty weight, the natural posing of the characters, their on-point expressions that convey exactly how fuckin terrifying everything is right now, the slight glows to their eyes, and also they're just handsome boys <3)

Next up: Rain!!!! So well done! It's subtle enough that it never ever disrupts the impact of the focal point, but evident enough you can tell! And more importantly: THE MIST OFF THE CHARACTERS. Rain does this irl, it has that little vapor that comes off you and makes that little misty effect that plays with lighting, it's so cool-looking and here it's used to such pretty effect!

One of the panel captions says something about it blurring out all the injuries on the characters but like THAT AIN'T TOO BIG OF A PROBLEM when it gets across the environmental vibes, and also that'd be how it would look in real life too so like… outside viewer's angle is the same as the characters', mostly? my point is: that's the environment!!! that's the vibes, that's the feel! It gets it across and it does so in the most pretty way possible!

And another thing re: rain, the use of it to establish perspective, particularly in panels like this—

—where we can tell we're looking down at Tynan due to the perspective on the rain and where it's pointing. Excellent. (Also, kudos for looking down and emphasizing how Tynan's losing his advantage—lovely use of visual storytelling.)

Additionally, the misting here:

We see it most heavily in the leftmost panel, where it's quite foggy as you would expect in a rainstorm, especially in an environment with a lot of heat, but it's also lightly powdered on in the following two panels and tends to follow light sources, which makes complete sense given how light bounces off particles in the air.

A major point of strength in these too is a thorough understanding of lighting, like rim lighting, the various hues and shades, and an intricate understanding of how light bounces off surfaces even when they're in shadow (we'll see a faint glow in spots where characters are half in shadow, but that's how it would work in real life, because of how light bounces around).

Bringing some of these points together: the fluidity of the lines in magic, and the way simple glowing lines are used to emphasize motion and the magic itself, is deeply clever. I'm basically pulling at random from panels and there's definitely even better examples, but here's one (see this page https://comicaurora.com/aurora/1-16-33/):

First panel, listed in numbers because these build on each other:

The tension of the lines in Tess's magic here. This works on a couple levels: first, the way she's holding her fists, as if she's pulling a rope taut.

The way there's one primary line, emphasizing the rope feeling, accompanied by smaller ones.

The additional lines starbursting around her hands, to indicate the energy crackling in her hands and how she's doing a good bit more than just holding it. (That combined with the fists suggests some tension to the magic, too.) Also the variations in brightness, a feature you'll find in actual lightning. :D Additional kudos for how the lightning sparks and breaks off the metal of the sword.

A handful of miscellaneous notes on the second panel:

The reflection of the flames in Erin's typically dark blue eyes (which bears a remarkable resemblance to Dainix, incidentally—almost a thematic sort of parallel given Erin's using the same magic Dainix specializes in?)

The flowing of fabric in the wind and associated variation in the lineart

The way Erin's tattoos interact with the fire he's pulling to his hand

The way the rain overlays some of the fainter areas of fire (attention! to! detail! hell yeah!)

I could go on. I won't because this is a lot of writing already.

Third panel gets paragraphs, not bullets:

Erin's giant-ass "FWOOM" of fire there, and the way the outline of the word is puffy-edged and gradated to feel almost three-dimensional, plus once again using Screen or a variation on it so that the stars show up in the background. All this against that stunning plume of fire, which ripples and sparks so gorgeously, and the ending "om" of the onomatopoeia is emphasized incredibly brightly against that, adding to the punch of it and making the plume feel even brighter.

Also, once again, rain helping establish perspective, especially in how it's very angular in the left side of the panel and then slowly becomes more like a point to the right to indicate it's falling directly down on the viewer. Add in the bright, beautiful glow effects, fainter but no less important black lines beneath them to emphasize the sky and smoke and the like, and the stunningly beautiful lighting and gradated glows surrounding Erin plus the lightning jagging up at him from below, and you get one hell of an impactful panel right there. (And there is definitely more in there I could break down, this is just a lot already.)

And in general: The colors in this? Incredible. The blues and purples and oranges and golds compliment so well, and it's all so rich.

Like, seriously, just throughout the whole comic, the use of gradients, blending modes, color balance and hues, all the things, all the things, it makes for the most beautiful effects and glows and such a rich environment. There's a very distinct style to this comic in its simplified backgrounds (which I recognize are done partly because it's way easier and also backgrounds are so time-consuming dear gods but lemme say this) and vivid, smoothly drawn characters; the simplicity lets them come to the front and gives room for those beautiful, richly saturated focal points, letting the stylized designs of the magic and characters shine. The use of distinct silhouettes is insanely good. Honestly, complex backgrounds might run the risk of making everything too visually busy in this case. It's just, augh, so GORGEOUS.

Another bit, take a look at this page (https://comicaurora.com/aurora/1-15-28/):

It's not quite as evident here as it is in the next page, but this one does some other fun things so I'm grabbing it. Points:

Once again, using different colors to represent different character actions. The "WHAM" of Kendal hitting the ground is caused by Dainix's force, so it's orange (and kudos for doubling the word over to add a shake effect). But we see blue layered underneath, which could be an environmental choice, but might also be because it's Kendal, whose color is blue.

And speaking off, take a look at the right-most panel on top, where Kendal grabs the spear: his motion is, again, illustrated in bright blue, versus the atmospheric screened-on orange lines that point toward him around the whole panel (I'm sure these have a name, I think they might be more of a manga thing though and the only experience I have in manga is reading a bit of Fullmetal Alchemist). Those lines emphasize the weight of the spear being shoved at him, and their color tells us Dainix is responsible for it.

One of my all-time favorite effects in this comic is the way cracks manifest across Dainix's body to represent when he starts to lose control; it is utterly gorgeous and wonderfully thematic. These are more evident in the page before and after this one, but you get a decent idea here. I love the way they glow softly, the way the fire juuuust flickers through at the start and then becomes more evident over time, and the cracks feel so realistic, like his skin is made of pottery. Additional points for how fire begins to creep into his hair.

A small detail that's generally consistent across the comic, but which I want to make note of here because you can see it pretty well: Kendal's eyes glow about the same as the jewel in his sword, mirroring his connection to said sword and calling back to how the jewel became Vash's eye temporarily and thus was once Kendal's eye. You can always see this connection (though there might be some spots where this also changes in a symbolic manner; I went through it quickly on the first time around, so I'll pay more attention when I inevitably reread this), where Kendal's always got that little shine of blue in his eyes the same as the jewel. It's a beautiful visual parallel that encourages the reader to subconsciously link them together, especially since the lines used to illustrate character movements typically mirror their eye color. It's an extension of Kendal.

Did I mention how ABSOLUTELY BEAUTIFUL the colors in this are?

Also, the mythological/legend-type scenes are illustrated in familiar style often used for that type of story, a simple and heavily symbolic two-dimensional cave-painting-like look. They are absolutely beautiful on many levels, employing simple, lovely gradients, slightly rougher and thicker lineart that is nonetheless smoothly beautiful, and working with clear silhouettes (a major strength of this art style, but also a strength in the comic overall). But in particular, I wanted to call attention to a particular thing (see this page https://comicaurora.com/aurora/1-12-4/):

The flowing symbolic lineart surrounding each character. This is actually quite consistent across characters—see also Life's typical lines and how they curl:

What's particularly interesting here is how these symbols are often similar, but not the same. Vash's lines are always smooth, clean curls, often playing off each other and echoing one another like ripples in a pond. You'd think they'd look too similar to Life's—but they don't. Life's curl like vines, and they remain connected; where one curve might echo another but exist entirely detached from each other in Vash's, Life's lines still remain wound together, because vines are continuous and don't float around. :P

Tahraim's are less continuous, often breaking up with significantly smaller bits and pieces floating around like—of course—sparks, and come to sharper points. These are also constants: we see the vines repeated over and over in Alinua's dreams of Life, and the echoing ripples of Vash are consistent wherever we encounter him. Kendal's dream of the ghost citizens of the city of Vash in the last few chapters is filled with these rippling, echoing patterns, to beautiful effect (https://comicaurora.com/aurora/1-20-14/):

They ripple and spiral, often in long, sinuous curves, with smooth elegance. It reminds me a great deal of images of space and sine waves and the like. This establishes a definite feel to these different characters and their magic. And the thing is, that's not something that had to be done—the colors are good at emphasizing who's who. But it was done, and it adds a whole other dimension to the story. Whenever you're in a deity's domain, you know whose it is no matter the color.

Regarding that shape language, I wanted to make another note, too—Vash is sometimes described as chaotic and doing what he likes, which is interesting to me, because smooth, elegant curves and the color blue aren't generally associated with chaos. So while Vash might behave like that on the surface, I'm guessing he's got a lot more going on underneath; he's probably much more intentional in his actions than you'd think at a glance, and he is certainly quite caring with his city. The other thing is that this suits Kendal perfectly. He's a paragon character; he is kind, virtuous, and self-sacrificing, and often we see him aiming to calm others and keep them safe. Blue is such a good color for him. There is… probably more to this, but I'm not deep enough in yet to say.

And here's the thing: I'm only scratching the surface. There is so much more here I'm not covering (color palettes! outfits! character design! environment! the deities! so much more!) and a lot more I can't cover, because I don't have the experience; this is me as a hobbyist artist who happened to take a couple design classes because I wanted to. The art style to this comic is so clever and creative and beautiful, though, I just had to go off about it. <3

...brownie points for getting all the way down here? Have a cookie.

[inkskinned]

it is all chaos and entropy. the thing is that the chaos and entropy make it beautiful and lovely.

yes, it's true that nature and the universe are uncaring and unspecific, and that is terrifying. i have lived through some of the unfairness - i got born like this, with my body caving into itself, with this ironic love of dance when i sometimes can't stand up for longer than 15 minutes. i am a poet with hands that are slowly shutting down - i can't hold a pen some days. recently i found a dead bird on our front porch. she had no visible injuries. she had just died, the way things die sometimes.

it is also true that nature and the universe are uncaring and unspecific, and that is wonderful. the sheer happenstance that makes rain turn into a rainbow. the impossible coincidence of finding your best friend. i have made so many mistakes and i have let myself down and i have harmed other people by accident. nature moves anyway. on the worst day of my life she delivers me an orange juice sunset, as if she is saying try again tomorrow.

how vast and unknowing the universe! how small we are! isn't that lovely. the universe has given us flowers and harp strings and the shape of clouds. how massive our lives are in comparison to a grasshopper. the world so bright, still undiscovered. even after 30 years of being on this earth, i learned about a new type of animal today: the dhole.

chance echoing in my life like a harmony between two people talking. do you think you and i, living in different worlds but connected through the internet - do you think we've ever seen the same butterfly? they migrate thousands of miles. it's possible, right?

how beautiful the ways we fill the vastness of space. i love that when large amounts of people are applauding in a room, they all start clapping at the same time. i love that the ocean reminds us of our mother's heartbeat. i love that out of all the colors, chlorophyll chose green. i love the coincidences. i love the places where science says i don't know, but it just happens.

"the universe doesn't care about you!" oh, i know. that's okay. i care about the universe. i will put my big stupid heart out into it and watch the universe feast on it. it is not painful. it is strange - the more love you pour into the unfeeling world, the more it feels the world loves you in return. i know it's confirmation bias. i think i'm okay if my proof of kindness is just my own body and my own spirit.

i buried the bird from our porch deep in the woods. that same day, an old friend reaches out to me and says i miss you. wherever you go, no matter how bad it gets - you try to do good.

[sualne]

yeah.

[becca-e-barnes]

Sub Bucky and a breeding kink 💀 dead unlived it's one of my favourite things 😌

This is pretty high up there on my list of dream fantasies 🥵 these are two of my biggest weaknesses, don't even look at me rn

One of life's greatest joys is cuddling with the other person's head resting on your chest so you can play with their hair and rub their shoulders. I love that shit, having someone else's body weight on you is so comforting.

I imagine that's something Bucky would really enjoy too. It's so soft and sweet and tender and getting to feel cared for would really appeal to him.

But that's up until his hands work their way under your top, up over your bare skin so he's able to cup your breasts and bury his face between them while he's getting his hair played with. Life's pleasures don't get much simpler than that.

After a few moments he shifts slightly, tugging the neckline of your shirt out of the way to give himself space to kiss and nip your skin. All of a sudden he's desperate and it's beautiful to watch.

"Please." He whispers between frantic kisses, flicking his tongue over the stiff peak of your nipple before engulfing it with his warm, eager mouth.

"Please, what?" You tease, tugging on his hair just a little for emphasis.

He groans, frustrated by his own lack of coherence, pulling his mouth from your nipple. "Please let me put a baby in you."

That's not what you were expecting but fuck, he makes it sound pretty appealing.

"Bucky-" You begin but he cuts you off, giving your other nipple the same attention as he gave the first. God, that's distracting.

"You'd make. Such. A pretty. Mommy." He whispers, kissing his way down your body until he reaches the bottom seam of your top. From there, he pulls it off, letting it fall to the floor before removing the rest of your clothes.

"You'd look so pretty with a little baby bump." His huge hand rests on your bare tummy, imaging how your body would change.

"I want it, Buck." You mean it too. It doesn't sound like such a bad idea when he's taking his clothes off.

"I know you want it." He groans, rubbing the tip of his dick against your soaked core. "Y-you're so wet."

He presses his hips forward, sliding inside you and you can't explain it but you swear it feels different this time.

"Don't even think about pulling out." You cup his face in your hands, keeping his eyes on you and you almost worry he's going to fuck himself senseless into you. "I want you to make me a mommy. You're going to give me every single drop of cum and when it starts to drip out of me, you're going to fuck it back in."

His head falls onto your shoulder, sobbing a pathetic moan against your already hot skin. The pace of his thrusts matches his need, his hips slamming into yours and when he finally gives in, he cums inside you with your legs clamped around his waist, making sure he couldn't pull out even if he wanted to.

[mary-kasexual]

hi *throws this at you and runs headfirst into a lamppost*