#fuckign. take it.

[andr0nap]

i havent been able to stop thinking about their god awful bed hair...

#trigun #trigun stampede #vash the stampede #nicholas d. wolfwood #vashwood #ice planet au #andr0art #worldbuilding coming soon i prommy #im just very emotional ab them being warm and cozy and domestic rn #vash took a nap and woke up 16 hours later #hate when that happens #ww has a tanline from the fuckign choker he never takes off

[harpuiaa]

(person that has never seen saw but has read yugioh voice) yeah? so he traps people in evil puzzle rooms? sounds a lot like a guy i know

#yeah. im into drawing absurd crossovers now #feat. the stupid fuckign chess meme #ik the doll thing is just a doll but i keep seeing shitposts online that treat him as if hes not. i think it adds to it #no idea whats up with the formattign we'll see if it fixes itself after posing #(edit: it did not i had to re-add the second image) #i think yami yugi would survive a saw trap no problem. it's his natural environment #for that matter i also think he would survive squid game (ignoring the political messaging here. sorry.). he does that for a living #i've thought out how an evil chess shadow game would play out. even if it's not actually explained in the drawing #theres a time bomb on each side. you can prevent/regain time on yr side depending on the type of pieces you take. loser explodes #yami yugi would get a pawn across the board unnoticed turning it into a queen bc of course he would. prompting the opponent to cheat #getting themselves super penalty gamed #ygo #dm #s0 #yugioh #idr my tags help #saw #(i guess???????)

[shima-draws]

Catching up on more recent FT stuff and um

EDO LUCY HAS A KID?

EDO LUCY AND EDO NATSU ARE MARRIED??? AND HAVE A DAUGHTER?? NALU CANON???

Also oh my FUCKING god look at him. He’s such a proud dad I’m going to throw up I love him so much

And the fact that Natsu gets attached to her IMMEDIATELY and goes into overprotective Dad Mode when she’s not even his daughter, technically (and Gray too over his own Edo kid 🤧)

Natsu: I’ve decided I’m taking her home with me. No objections

HOMIE DEADASS IS SIGNING THE ADOPTION PAPERS ALREADY. It was love at first sight. Natsu loves her so much he wants to kidnap her. Shut UP,

#SCREAMING ABAHEJJFJSJFNSNSNS #A. I fucking LOVE the Edolas arc and the entire concept of mirror people #B. I fucking love Edo Natsu so much holy SHIT. AND I FIND OUT HE MARRIED LUCY AND IS A DAD. SCREAMING CRYING THROWING UP #C. Natsu being 100% ready to throw down for Nasha AND take her home with him. 11/10 Dad Material #Also the fact that Natsu was not fazed WHATSOEVER at Edo Lucy and Edo Natsu being a couple #He saw their daughter and was like oh my god. I’m going to have a kid like this with Lucy someday. #I’M THROWING A FUCKIGN FIT OVER HERE OH MY GODDDDDDD #Gray: Yeah so I met our alternate selves and they’re married and have a kid and I tried to take him back with me but I couldn’t #Juvia: GRAY-SAMA?????? #Idk if Nalu isn’t endgame canon they’re canon in Edolas and that’s ENOUGH FOR ME #Fairy Tail #FT #Fairy Tail spoilers #Shima speaks #Nalu

[apollos-boyfriend]

not to be a killjoy but i think every parent that posts public videos of their children and use them as a content farm should have their social media taken away from them. there is no reason me, a complete stranger, should know your child's full name. there's no reason i should know what hospital they were born in and what they looked like when they were born because you posted a video of them minutes after their birth. there's no reason i should know what their rooms look like, what their favorite shows and foods are, what gets their attention and what they react to the most. i shouldn't know what grade your child is in. i shouldn't know their face. i, as a complete stranger, should not be privy to your child's personal life in any way, shape, or form, yet there it is, plastered on social media and gaining literally hundreds of thousands of views. i should not know everything about your child before they're old enough to even SPEAK. whatever happened to privacy. whatever happened to stranger danger on the internet. these kids aren't ever going to be able to adhere to ANY form of online privacy because that choice was literally stripped from them the second they were born.

#icarus speaks #neg #i feel like such a prude. like this is SO normalized #that i feel like the weird one for going against the grain. but it's fuckign WEIRD!!!!! #i have such strong feelings on this like literally. not to be dramatic. #i do not think you should have children if you do this. i do not think you are aware enough of your reality to take care of them.

[purgetrooperfox]

call wyll boring one more time and witness MY blade of the frontiers swinging toward your face

#grinding my teeth into dust #how dare you take a carefully crafted character like this and turn your nose up at him #sorry you're blinded by that fuckign vamp twink but goddamn #none of them are boring if you engage with them #bg3 #wyll ravengard #leo.txt

[suntails]

a living bolt ⚡

#im kicking my feet and blinking so cutely at u. im deranged #iiiiii ouuhggghh the money id pay to see sebeks UM animated like. full anime cutscene style. itd be so gorgeous #my fx anim skills are SEVERELY lacking in everything outside of basic liquids so i cant do it myself. GRGAGAHH #its okay ill just be so brave and imagine it in my head #i said this on twt but i think its so funny that last week i was like 'maybe silbek isnt my fav sil ship anymore' and then this shit droppe #like. dude theyre in LOVE. i. i just. im fuckign weeping #anyone that thought sebek didnt care abt sil or was j annoyed by him? take it back. u can have backsies so take it back #twst #twisted wonderland #ch 7 spoilers #book 7 spoilers #sebek zigvolt #twst silver #silver vanrouge #weeping #suntails #silsebe #silbek #fuckit im tagging them #also posted to tumblr first. casual occassional reminder that i like yall more <3

[acaesic]

dally!

#sorry that caption feels appropriate #dallon weekes #idkhow #my art #:) <3 #wanted to get it done for my birthday but. ehh #gonna post it on ig and tag him. im so fuckign scared #its not. super polished #if you take a look at his shirt its um yea #lets not focus on that rn……. #also a question for the 2 people that will read this — if this drawing were a gloom song which one would it be ?? #i want a song to post it with for the. ig post IM SO SCARED

[ddarker-dreams]

SPACE BOYFRIEND!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! MY BELOVED

#idc if it's fake space boyfriend i'll take any crumbs i can get #also this trailer was so Fuckign cool it obliterated my soul #lock.txt

[chaos0pikachu]

Cinematography?? In MY BL??? Not as likely as you think.

TLDR: it's a joke!!! but also legit sometimes I see "cinematography in bl" and it's just some basic pictures with mid-tone lighting and blue t-shirts. Let's talk film terms like: aperture, panning, tilting, and movement in film so we can see what goes into cinematography (with sources!). Also if I name a show you like as "boring cinematography" don't send me hate mail I'll laugh

(examples used: Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign)

If I name a show you like in this post as "bad cinematography" be chill about it, like, I ain't saying you can't like it, I'm just talking about techniques here not personal likability or overall show quality. I like badly filmed shit too say hello to my collection of Friday the 13th Blue Rays we're just here to talk techniques and like, educational stuff okay?

So the straight (heh) textbook definition of "cinematography" is: the art of making motion pictures. Which, frankly, tells you nothing. Like it's not wrong~~ but it's not informative either. Cinematography covers a lot of what we, the audience, visually see on screen:

"Cinematography is the art of photography and visual storytelling in a motion picture or television show. Cinematography comprises all on-screen visual elements, including lighting, framing, composition, camera motion, camera angles, film selection, lens choices, depth of field, zoom, focus, color, exposure, and filtration." (source)

So let's talk movement in film.

So when I talk about movement, what do I mean? I mean the way the camera, the characters, and the environment moves within a frame.

This video on Akira Kurosawa's usage of movement in a scene is brilliant:

Something as simple as having rain or fire in the background of a shot can enhance the emotions of a scene vastly. it gives the scene depth - literal depth, not narrative depth - that would otherwise be missing.

The way the camera moves and transitions leading the viewers eye back and forth makes what you're watching more engaging. You aren't consuming these scenes, you are engaging with them. They are apart of the story itself, giving the environment life and texture so the characters within them matter more.

And, look, I get busting out Thee Akira Kurosawa might be unfair, but if we're gonna talk cinematography we can't not talk the importance of movement on film.

To understand good cinematography you have to understand what makes it good and as such what makes bad or mediocre cinematography.

In connection with movement we gotta talk about camera techniques like panning and tilting:

"Camera movements are a fundamental part of video production. They can be a powerful storytelling device, heightening tension, evoking emotions, and bringing the viewer into the action. Without saying a word, camera movements can transform a scene’s entire narrative, and direct audiences’ attention where you want it." (source)

So we have movement of environment, of characters, and we also have movement of the camera itself.

Ok so like, where does the BL come in Pikachu??

I'm getting to that, I'm going to start with a more general example: Our Skyy 2 (Bad Buddy meets 1000 Stars edition) vs Kinnporsche.

Starting at 5:17 we have Pran stranded or whatever, and this shot is like, it's fine. It's boring as hell, but fine. Why is it boring as hell? Well it's flat, it lacks movement, it lacks depth.

When the driver drove off the camera could have panned to follow his movement and then panned back to Pran at a different angle to showcase his isolation. Honestly since the scene starts with a mid close up of Pran, I would have had the camera behind Pran as the driver drove away, and had the camera pan around Pran 360 so we get shots of his environment, and him, while also emphasizing holy shit he's like, fucking stuck in the wilderness. 

In general, there's a big lack of movement in the scene. The camera remains almost entirely static, there's no attempt at zooming in or out, following Pran's movement, or showcasing his environment in any meaningful way. Even when Pran begins walking towards the camera the angle of the framing is still centered, rather than tilted downward or upwards to give us more dimension (non-BL comparison, the Book of Eli starring Denzel Washington does the "walking towards the camera" shots really well).

We get a cut of a medium close up of Pran, with a deeper focus so his environment is blurred out.

I understand the thought process of this shot, we want the audience to focus on Pran, but if the point of the scene is to emphasize he's alone, confused, maybe even a bit anxious at his new circumstances it could've been done better. Take a wider shot from this angle, open up the lens to allow for that background environment to come through and show him isolated. Maybe do a pan above him or tilt the camera up going from his feet up as he nervously ruffles his hair. There's options here.

This just adds more walking to the scene, which we already had. It doesn't enhance or emphasize anything about Pran's emotions as a character.

Anyway the camera continues to follow him and then we get another cut. And it's from the same angle as before, only this time we see a truck coming. The camera remains static, it completely stops moving, and we just wait for the truck to drive into the frame.

This whole sequence of events ends at 5:57 and while not a long sequence I find it frustrating because it's boring. The only way the audience knows that Pran is anxious is via Nanon’s acting, there’s nothing in the filmmaking that enhances or contributes to that feeling.

He’s alone, until he’s not, and that’s all the scene tells us. It leaves the scene lacking any tension as well, because we’re not getting a sense of isolation - how large is this space? How alone is Pran right now? What is the entirety of the environment? 

Contrast this with a similar scene in kinnporsche ep06 where Kinn and Porsche are alone in the mountains. I don't have a video of this specific scene so I have to link the trailer, starting at 1:48 to 1:52, but see how we start mid-close up of Kinn and Porsche, then pan out from above them? This is a better showcasing of just how vast the environment around Kinn and Porsche are.

They're still center frame throughout all of this, the depth of the scene is in mid-focus so nothing is blurred out and you can see the sharpness of the environment.

It also places the audience in the same space as Kinn, who is looking up at the sky while the audience looks down at him. It makes the audience a more active participant in the shot, emphasizes the state of the characters, gives the audience a sense of space & environment, and relies a sense of emotion.

The additional fast zoom out also adds to the scene by adding movement and making it more dynamic.

(my man pran looking like this 🧍)

Both these scenes are pretty short, but they're relaying similar information and one is way more dynamic and effective than the other. Both Pran and Kinn/Porsche are alone in the wildness, but in the latter there's a lack of space, a lack of movement, and a lack dimension. This is mainly a framing issue, so let's talk more about camera movement (panning, & tilting).

Here's a scene from 2gether vs a scene from Semantic Error.

(saw someone say 2gether had a high production value and chepie where??)

This entire scene with Sarawat and Tine is flatly shot. There is nothing in their background so no outward movement is happening, the lighting is even as are the colors, everything is at the same depth, and there's little to no motion in the camera.

The scene with Sarawat pushing Tine into frame. Why doesn't the camera follow Tine's motion of movement so the scene has more momentum? It just stops and the char falls out of frame before walking back into it. Then we get a series of cuts back and forth of close ups on Sarawat and Tine's faces. Back and forth, back and forth.

The editing leaves a ton to be deserved because if the back and forth did a quick pan back and forth with each beat we could build up tension, give the scene some texture, heighten the intensity of the argument. If we're going for something softer we could place them in on better set, or make the characters move themselves - have Sarawat walk away from the argument up those stairs, have the camera follow his movement as Tine chases him continuing the argument - or play with the lighting a bit, pan the camera down or tilt it something!

When Tine kisses Sarawat why doesn't the camera move with him in a more notable way? Why did we have a cut to a close up? And then we're back in a mid close up and more cuts and this editor is killing me!

This scene is 4mins long and the only engaging bit of filmmaking here is when the camera follows Tine when he steps closer to Sarawat putting the latter in the frame at 3:15, the entire scene is 4 minutes long.

I want to compare this scene to this scene in Semantic Error which is also all dialogue and also obviously filmed on a shoestring budget.

So right away the camera work here is smart, it starts off in an establishing shot, evenly lit, of Sang Woo and Jae Young both in the frame. Then we get a mid close up of JY looking down, then a tight close up of JY looking up.

The change in camera angle emphasizes his surprise at seeing SW here as he looks up at SW. The lighting has also changed, it's much brighter now. The camera also begins to move, where it was static before it begins to tilt and shift.

We get a cut to SW, the first one of this scene. JY is seeing SW in a new light for the first time, and as such so is the audience. By starting the scene off in an outward shot with both chars in the frame, they are placed on the same level and the audience doesn't see their expressions up close. So when we're hit with JY's close up of surprise and then SW's close up of his wet hair it holds way more impact. It enhances the feelings of JY's character for the audience.

The lighting behind SW has also changed, it's much brighter, and warmer compared to the cooler tones of light behind JY. The camera also slows, and continues to to tilt and shift. JY's world has literally been shifted on his axis.

We get another cut, this time medium on SW and notice, the camera stops moving for that moment and the light around him dims. It's not as saturated. We're moved out of JY's pov here and back into "regular" framing.

SW tries to make JY leave, we get a close up cut of the cut on JY's arm - hey editing used to display important and new information! - then the camera cuts to SW getting medicine and here's a small but important thing, when he tosses at JY the camera follows his movement. And instead of cutting away, when JY gets up thinking SW is hurt, the camera follows JY's movement back towards SW.

It would have been easy to make a cut there back and forth - like in the 2gether scene did over and over - but following the movement of the characters makes the scene way more interesting visually to watch.

Changing the angles of the camera from a lower angle (where JY is looking up) to a downward angle (where SW is looking down) makes the scene more interesting visually as well and enhances the storybeat of JY looking up at SW in a new light memorized. This contributes to the story as well, as it's JY who catches feelings for SW first so their are literally, on uneven ground until they're not later in the story. The camera is panning, tilting, moving with the characters even given the limited space. The lighting adds to the effectiveness, as do the minimal cuts.

On a technical level, the scene in Semantic Error is just better filmed. In my own opinion, the scene is far more engaging b/c the filmmaking is better, where in 2gether the reliance is almost completely on the actors to sell the scene with little help. And I'm not saying nothing about Bright and Win cause their stans wildin'.

Next, I wanna talk about aperture.

I saw a post that used this word and I didn't understand the context in which they were using it because aperture isn't a style of filmmaking its a camera setting or lens adjustment - it's the rate at which the camera opens and closes letting in light and focus.

"Aperture is the opening of the lens through which light passes. When you hit the shutter release button to take the picture, the camera aperture opens to the predetermined width, letting a specific amount of light through. A large aperture lets more light in, and vice versa. Aperture is calibrated in f/stops, written in numbers like 1.4, 2, 2.8, 4, 5.6, 8, 11 and 16. The larger the number, the narrower the aperture." (source) <- really recommend this article if you want to learn about aperture in film.

A great non-BL example of aperture used for style is One Piece Live Action where cinematographers Nicole Hirsch Whitaker, and Michael Wood love using deep focus aperture in a lot of scenes.

But let's compare The Sign vs 1000 Stars.

So when the scene starts, we're in mid-focus/aperture, everything is of similar sharpness and depth. Nothing is especially blurred out we're getting the full spectrum of Phaya and Tharn's environment.

When the camera switches to close ups of Phaya and Tharn however, we get a deep focus aperture. That's why everything behind them is so blurred out. In a close up of Phaya, even Tharn's face is blurred. The director wants the audience to focus specifically on these characters individually, so we can understand the weight of their dialogue. But when the camera wants us to see the characters as a unit, it cuts, pulls back out of that deep focus and everything is back in mid-focus again.

Here's another thing, it's subtle but it's important.

This scene also combines what we already discussed about movement. At :08 of the scene, in that first mid-shot the camera is actually zooming in closer on Phaya and Tharn. Not dramatically, subtly, but it is there. This is important, because at 3:23 we get another mid-shot of them, pulled out of that deep focus, and the camera begins to zoom out.

The camera also follows the movement of Phaya grabbing Tharn's hands, then pans back up to Phaya's face once again before panning higher into the frame and panning back to their faces and zooming in.

When we move back out of that deep focus, into a mid-shot the camera continues to zoom out on the two characters as they kiss.

I saw someone say that this scene wasn't "filmed like BL kisses" and, eh? Like it isn't filmed in that static style of filmmaking which has dominated BL filmmaking probably due to budgetary reasons. But

The Sign follows a similar filmmaking style as Kinnporsche and Domundi shows do. But also just like, basic filmmaking techniques you'd see in shows of the non-CW/soap variety.

The thing fans are seeing here is film technique (probably partially due to a larger budget). Movement, lens adjustment, panning and titling, lighting and color are all playing a role in this specific scene.

Cinematography baby.

(sidenote the VFX of The Sign is dope as fuck too)

Okay so let's talk Our Skyy 1000 Stars

So this opening scene follows a similar structure to the scene in The Sign: mid focus shot of the two chars, into separate deep focus close ups. It's also a dialogue heavy scene like the one with Phaya and Tharn.

So why does their scene work better on a technical level than this one in Our Skyy 2?

The scene in The Sign combines techniques of aperture, movement, lighting, color and framing to give everything more impact.

In this scene with Phupha and Tian we get a similar editing style as the scene in 2gether: lots of back and forth cuts, very tight close ups, static camera movement. Where as the camera zooms in and out during mid-shots, the camera doesn't move in Our Skyy 2. It remains motionless even though a zoom in as the two characters lay in bed would add a lot to the scene itself.

In the close ups the camera continues to remain static, only changing angles when there's a cut. At 1:22 Phupha moves his arm to wrap around Tian, the camera could have taken a closer shot at his arm, and then followed his movement as he wraps it around Tian. Like how the camera followed Phaya's movement when he holds Tharn's hand.

Instead it's just a flat shot, we see his arm wrap around in a mid-focus above shot. The camera does move to follow Tian a couple times - at 1:50 for example. But overall, the scene is stiff - who sleeps like this frfr - in framing, in movement, in depth.

I want to say that I don't think this scene is bad - like I do the 2gether scene or the earlier scene with Pran - I think it's just, okay~~

And no, for none of these examples did I pick "the worst" shots or whatever. I'm not out to get any specific show, but tried to find comparable scenes and compare and contrast the filmmaking techniques used in both and how effectively they were used.

I want to leave off with this.

There's a lot that goes into cinematography, yes this singular shot of Furiosa is amazing, but what makes the scene amazing?

Pay attention to how the camera moves (panning and tilting), when the camera moves (zooms in and out), the movement of the scene (the hair and sand moving), the lighting (Furiosa from behind is in darkness, her side profile more lit), the depth of the scene itself changing (as she walks away from the group the focus/aperture gets deeper on her, then when she walks out of the frame it grows larger to focus on the characters left behind).

All these little things make up what is "cinematography". The more you learn about the techniques used the more you can notice about film and what makes a scene powerful.

As BL gets more budget we're seeing shows expand their filmmaking catalogue more and more. Which is exciting! If fandom is gonna talk cinematography I think it's helpful to have the vocab to do so, and it's cool to watch a scene and be like "oh I see what they're doing here and why and how".

I mentioned other things that go into cinematography like framing, lighting, color, and there's also editing (which is separate). Idk if I'll make a post about those things cause I'm lazy and this shit takes forever to research and write but who knows~~

Check out other posts in the series:

Film Making? In My BL? - The Sign ep01 Edition | Aspect Ratio in Love for Love's Sake | Cinematography in My BL - Our Skyy2 vs kinnporsche, 2gether vs semantic error, 1000 Stars vs The Sign | How The Sign Uses CGI | Is BL Being Overly Influenced by Modern Western Romance Tropes?

[like these posts? drop me a couple pennies on ko-fi]

#the sign #the sign the series #kinnporsche #gmmtv series #gmmtv #chaos pikachu speaks #chaos pikachu metas #fuckign a i should open a ko-fi this shit takes forever to write #pikachu's bl film series

[quirkle2]

i would literally kill a man for her.

#qkdraws #she's? so cool. #i wanna be just like her when i grow up <- is an adult #she's 100% my second fav of pkmn sv. arven is first and rika takes a close second #the Moment i saw her i was like ''holyshit . ohmyfu kfign god. holy fuckign jesuschruist what the fuck ohm y'' #of course she has blue hair and pronouns #her transgender swag is unmatched and her team genuinely gave me the most trouble even tho she's the first elite four #i swept everybody else but for some reason she like . beat my ass a little bit #she's so cool. holy shit girl go #pokemon #pkmn #pokemon scarlet and violet #pkmn sv #pokemon rika #rika pokemon #pkmn rika #rika elite four #elite four rika #i gave her some scars. i do what i want #she's a pkmn trainer she's got scars. shit's dangerous

[thylacid]

after everything theyve been through i think they deserve to heal together i am so sad that i dont think i remember any specific scenes between these two especially in tbc THEY ARE LITERALLY FAMILY!!!!!!!!!!!!

#hlessii cringe compilation #warrior cats #squirrelflight #sparkpelt #THIS IS NOT SHIP ART #IF YOU TAKE THIS ART ROMANTICALLY ILL FUCKIGN KILL YOU!!!!!!!!!!!!!!!!!

[m-kyunie]

Happy birthday to these two 🙏💕🌸 & CLAMP day!!

#tsubasa reservoir chronicle #CLAMP #syaoran li #sakura kinomoto #syaoran x sakura #the “x” is aging me rn #i guess she doesnt use that surname in TRC but like. u know how it is #TRC #tsubasa chronicle #IDK IDK I DONT WANNA TAG THIS #its late but it here okay #hello est gang #no wing emoji is so fuckign annoying #my first time taking linart frmo procreate an importing to sai for coloring. its p simple I like it #only thing is its harder to edit any lines bc of brushes

[ardentpoop]

my heart EXPLODED with pride fyi 😭💖

#after watching s4-s7 you expect sam to roll over and take it more often than not so seeing him finally push back is Such a weight off #THATS MY FUCKIGN BABY #spn #liveblog tag #8.06

[rabbithaver]

he really is the cutest and deadliest little bastard to walk the earth huh?

#silver the hedgehog #project 06 #sonic the hedgehog #he is so fuckign cute i wanna take him to mcdonalds. i wanna help him with his homework. i wanna teach him how to make an omelette #i wanna be his dad SO BADLY he deserves a normal and stress-free life #rabbit.txt #screenshot courtesy of @saturnw0lf THANK U SATURN UR MY HERO

[shima-draws]

Also another thing about Luffy—the fact that he’s normally super chill and laid back and not much can faze him and it’s really hard to make him mad…until one of his friends gets hurt. Then he goes off the RAILS

#Aren’t you tired of being nice Luffy. Don’t you want to go APESHIT #I’m so *clenches fists* FUCKIGN weak for that trope. Shut UP #When Zoro got hurt and Luffy was calling his name 😭😭😭 #I’m FINE this is FINE #Love me a character that isn’t bothered by anything until their friends get hurt. UGHH #Sanji: These guys are trying to take over our ship #Luffy: ¯\_(ツ)_/¯ Yeah I’ll help I guess #Mihawk: I’m hurting your friend #Luffy: NAUR!!!!!!!!!!!!!!!! #He got ANGY. #One Piece #OP #Monkey D Luffy #Luffy #Shima speaks #Kisses his forehead tenderly. I love you Luffy

[suntails]

B&W

#*smashes my car thru the window of the convenience store u live in* hi i found an hour last night to draw #im taking a defensive driving course rn for insurance sry for the intro i thought it was topical and hilarious #it's their AESTHETICS dammit!!! ive wanted to draw something of silver silh in white bleeding out of a black shadow for AGESSSS #for AGES the PAGES #i just love some fuckign tasty contrast i love a tasty comp. i saw a b/w piece collection a few days ago and it re-sparked the need for this #cant describe it but silver looks like a ballerina. hes so fuckign cool #twst #twisted wonderland #twst spoilers #?? i guess? its malleus in OB form ig sure why not #malleus draconia #twst silver #silver vanrouge #suntails #i rly did have good taste picking my two fav chars huh #its the only opportunity in this game to show the story's hero w the story's villain (not counting neige bc we know so little abt rsa shit)