It feels unfair that I have to schedule my breakdowns alongside school breaks because if I break down when it starts to feel like something's wrong, I will inconvenience everybody for a day or two. But if I wait, I only inconvenience and profoundly damage myself for about a week, and that appears to be preferable to everybody else.
People go on about good healthy queer rep but I cannot express how much I want unhealthily devoted queer rep. Raise your lover from the dead no matter the cost. Kill to get them to safety. Trade your soul for theirs. Die to reunite with them. I want gothic hyper-devotion codependent lovers
I think it's incredibly important to remind folks on testosterone or folks who want to reverse patterned baldness about their options, but man, does it sometimes suck wondering how much of our insecurities about our hair stem from backwards beliefs that to strive towards beauty is not only preferable but "makes you good."
As someone with a rather masculinized body pre-medical transition, patterned baldness has always seemed neutral. Hair is incredibly important (hell, much of my own energy is spent on my hair because I like it), but the pressure to have hair, to have hair the "right way" is something that I absolutely loathe.
I'm not here to judge people who don't want patterned hair loss or baldness, I'm here to say that those traits will never make you lesser. Not only is it neutral, but it is also just as worthy and beautiful.
I think 90% of my gripes with how modern anime looks comes down to flat color design/palettes.
Non-cohesive, washed-out color palettes can destroy lineart quality. I see this all the time when comparing an anime's lineart/layout to its colored/post-processed final product and it's heartbreaking. Compare this pre-color vs. final frame from Dungeon Meshi's OP.
So much sharpness and detail and weight gets washed out and flattened by 'meh' color design. I LOVE the flow and thickness and shadows in the fabrics on the left. The white against pastel really brings it out. Check out all the detail in their hair, the highlights in Rin's, the different hues to denote hair color, the blue tint in the clothes' shadows, and how all of that just gets... lost. It works, but it's not particularly good and does a disservice to the line-artist.
I'm using Dungeon Meshi as an example not because it's bad, I'm just especially disappointed because this is Studio Trigger we're talking about. The character animation is fantastic, but the color design is usually much more exciting. We're not seeing Trigger at their full potential, so I'm focusing on them.
Here's a very quick and messy color correct. Not meant to be taken seriously, just to provide comparison to see why colors can feel "washed out." Top is edit, bottom is original.
You can really see how desaturated and "white fluorescent lighting" the original color palettes are.
[Remember: the easiest way to make your colors more lively is to choose a warm or cool tint. From there, you can play around with bringing out complementary colors for a cohesive palette (I warmed Marcille's skintone and hair but made sure to bring out her deep blue clothes). Avoid using too many blend mode layers; hand-picking colors will really help you build your innate color sense and find a color style. Try using saturated colors in unexpected places! If you're coloring a night scene, try using deep blues or greens or magentas. You see these deep colors used all the time in older anime because they couldn't rely on a lightness scale to make colors darker, they had to use darker paints with specific hues. Don't overthink it, simpler is better!]
Danny has been doing the hero thing for a while now. He’s had a big reveal; everyone has accepted him (including his parents), the GIW disbanded, the Anti-Ecto acts repealed, and generally, everything is going great. Some of the A-Listers are even training as junior ghost hunters to help give him a break from his rogues! (Being Ghost King makes things hectic sometimes, and he just needs the extra help. Sue him!)
The point is, literally nothing is wrong with Danny Phantom’s afterlife.
And then Valerie Gray, the Red Huntress, disappears in front of his eyes.
Danny is baffled! She’s just…gone! Valerie just popped out of existence, like she was never there. But no matter how hard he searches in the Ghost Zone, he can’t find her soul anywhere. His core isn't broken in grief. So she’s not dead. Which is good. So then, where is she?
Some of the others come forward with ideas on how to find her. A few ghosts volunteer to go out into the mortal realm, an area Danny had declared off-limits, to see if she was out there. Danny approves it. He rounds up some of the friendlier (i.e., discreet) ghosts and Amity Parkers and demolishes the outside travel ban.
So everyone spreads out, looking for their dear frenemy and teammate. But it becomes apparent very quickly that something is wrong with the rest of the world.
There are no more heroes.
Every single living superhero on the face of the Earth has just…vanished. Villains are running amok; the countries are in chaos! Some aliens are invading Earth, mythical deities are trying to take over, and society is crumbling to the ground. Everything is on the brink of collapse.
Well, Danny was still there. And so were his people. They were pretty spread out, so could they just…take up the mantles? He also knew where to find the souls of dead heroes in the Zone; surely they wouldn't mind coming out of retirement for a little bit, especially if they couldn't die again. Oh! And that skeleton army leftover from Pariah Dark's reign might be useful in repelling those invading forces.
Honestly, there were more than enough hands to go around! And with the heroes gone, Danny didn't mind letting everyone out for a little break, as long as they followed his rules. They wouldn't stop the search for the other heroes, but hopefully, when they found them, the heroes wouldn't mind Danny's intervention too much. :)
In other words:
Someone fucks up, and all of Earth's living heroes are either wished out of existence or are whisked away to some far-off realm where Danny hasn't checked yet. In the attempt to figure out what's going on, Danny lets the dead run amok over the Earth as they search for clues. The skeleton army repels the invading armies, the souls of dead heroes deal with the world leaders, and his rogues and other Amity Parkers set up shop in place of famous heroes, trying to get the cities under control again.
Basically, they just do their best to keep everything from imploding until the Justice League and others are back.
(And why is it that Danny hasn't disappeared? Well, whatever caused everyone to go poof! only affected living heroes. Anyone heroes that were dead in the first place, or even just half-dead, stayed behind.)
It's been said before, it will be said again, but it's still worth saying: the fact that art centering on straight romance is allowed to just be bad, but art with queer romance in it always has to be indicative of A Serious Problem With the Way We Tell Queer Stories makes being a queer person making queer art deeply stressful
Me, to myself: I just think the series was better when I posted several times a week because the pacing felt more natural, and it translates better when people binge it.
Also Me, holding two jobs and a bat: If you try to post once a day again, I will disconnect your head from your shoulders—
@bruciemilf guess who’s back
Anyways, folks! :D So I'm thinking of a new upload schedule where I spend a bit preparing the next ten or so parts then post it all in two weeks? I think that would be fun (and much better for my creative process.)
I’ll be posting the next part very soon :) But it's going to be drastically different from what I've done before. Let’s see if anyone can guess why.
"Crowley doesn't have Gabriel. Where would he put him?" says Aziraphale talking to Shax.
Where would he put him?
He knows. HE KNOWS. He knows that Crowley doesn't have a house anymore. That he's living in his car. But he hasn't said anything because he hasn't yet fathomed why Crowley wouldn't say anything. And he's trying to change that, too.
"You like waiting inside." Subtle, subtlest way to tell him that he knows, he understands, has noticed the telling signs. And he's saying it's very much okay for Crowley to keep staying in, whenever he wants, to consider the bookshop his place even when Aziraphale is not around.
The whole "our car", "our bookshop", "we both got plenty of use out of it". Look, I know what the common speculation about the plenty of use is, but realistically? He's heavily implying that Crowley, too, needs the bookshop. Not likes, needs. Let's spell out the analogy: I need your (our) car because I don't have my own car, the same as you need my (our) bookshop, which is my house, because you don't have your own house.
He's been dropping hints right and left that he already knows anyway, and that it's okay to ask, he'd totally say yes. And even if Crowley doesn't ask, it's still okay. He's saying yes already.
And I marvel continuously at the complexity of the character that is Aziraphale, because he can be the most infuriatingly callous bitch in the world, and then in the same breath he can be this sensitive, gentle, emotionally intelligent person who really, really loves Crowley more than he could ever put into words.
Steve is bitchy. It's a known fact. He's a reformed mean girl and bitch is like a second language to him. Whether it's scathing commentary about Family Video customers almost before they're out the door,
"So apparently it's national hit on someone young enough to be your granddaughter day, who knew we had such a gross holiday?"
snarky conversations with the kids,
"Well, whaddya know, Dustin, would you look at this?"
"What?
"It's the coke you said wasn't in the fridge! Isn't it amazing how it just magically appeared?"
"Oh, shut up, Steve."
"I'm just so completely in awe!"
or calling out the people that still give Eddie nasty looks (and doesn't that make Eddie's heart grow three sizes and threaten to pop out of his chest and burrow into Steve's?),
"You know, Carol, if you keep making that face, it might stick like that. But look on the bright side, at least then the outside would be as hideous as the inside!"
Eddie adores all of it. Loves Steve's mile-wide mean streak. Loves how he can use it to tease the people he loves or decimate the latest idiot he's been forced to deal with.
But Eddie's favorite, the best, the most wonderful, absolutely fantastic moments of Steve's bitchiness? Those happen while he's driving. It doesn't matter what exactly has him riled up about another driver, Steve always has something sarcastic on the tip of his tongue to bitch about them with.
"Do you look as stupid as you drive? Dumbass."
"Jeeze, I never knew the white line was for driving on. What an amazing thing you've discovered!"
"Oh, apparently I missed the memo where 35 mph got changed to 55. Eddie, remind me to check the speed limit sign the next time we drive through here. God, what an impatient asshole."
No matter what it is, it always has Eddie stifling his laughter behind his hand. But this last time - they're at a four-way stop and the car turning across from them definitely went before it was their turn and Steve says, "Hmm, seems someone missed the lesson on taking turns in kindergarten," with that little bitchy tilt to his head - Eddie can't help the guffaw that bursts out of his mouth.
Steve looks at him from the corner of his eye. "What are you giggling about?"
"You. You just - you get so bitchy at the other drivers and, I swear to god, man, it's the funniest shit." He laughs again, says fervently, "Christ, I love you, Stevie."
And then he freezes. Realizes what he said. Takes a deep, horrified breath. It's too soon, they only just started dating, he can't say something like that, he's... He backtracks. "Uh... I mean, uh, I love when you - "
And then freezes again when Steve slides his hand off the steering wheel and onto his thigh, fingers curling around the inside. "So, you love me, huh?"
Eddie chances a glance over at Steve. Despite the teasing tone in his voice, there's something soft around his eyes and the edges of his smile. Something almost... hopeful.
Eddie swallows and decides fuck it. "Yeah, yeah I do," he tells Steve quietly.
Steve makes a quiet sound that goes straight to Eddie's heart. When he peeks over again, Steve is looking back and forth between Eddie and the road and his expression is so open and tender and happy that Eddie doesn't regret for a second what he said, even if it is too soon. "I love you, too, Eds," Steve says and Eddie feels his stomach swoop with butterflies. He puts his hand on Steve's, squeezes it, tangles their fingers together, grins bright at this man he loves so very much.
And if, after that, Steve goes out of his way to play up his bitchiness whenever Eddie is in the car and Eddie never stifles his laughter at it again, well, that's between the two of them, isn't it?
I really like that they made Jor-El speak Kryptonian and Clark unable to understand him. The whole "aliens speak English" thing that happens in every goddamn media has bothered me all my life. Ik sometimes Clark just gets zapped in the brain for insta-second language but that always felt like a cheap shortcut.
Jor-El had a lot on his mind when he set up that magic spaceship okay. The world was ending and he was trying to do as much as he could before time ran out so he could be there for his son. He was rushing. He likely didn't consider Kal would be raised with a whole different language and not know any Kryptonian nor have anyone to teach him.
Idk why but I can imagine Vasco and machete looking at the stars together since there was probably not a lot of light pollution in their time than there is nowadays so the stars were probably wayyy more visible