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libraryofgage · 7 months

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Good Vibrations Part One

Hello, it's me, back at it again with another Steddie AU.

Anyway, if I were tagging this AU, these would be the most important ones: Deaf Steve Harrington; Tooth-rotting Fluff; Getting Together

If you wanna be tagged in future parts, just let me know!

As always, if you see any typos, no you didn't ;)

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Steve has blown through three pairs of hearing aids in the past year. The first pair had lasted a few years and needed replacement because of normal wear and tear. The second pair was sacrificed during that fight with Jonathan. He hadn't been wearing them, but they'd been in Steve's pocket, and he'd landed at just the right angle to feel them shatter. The third pair was taken by the Russians because, despite Robin's shouting and cursing at them for being dumbasses (and this was before she actually knew what they were for), they accused him of recording their kidnapping and torture.

Honestly, he wouldn't recommend fighting Russians and Billy and Mind Flayers and driving while nearly totally deaf.

The funniest part of it all, though, is that Steve doesn't even use hearing aids regularly. He normally only wears them at home. The pair lost to Jonathan were present because, well, that whole day had been a lot for Steve, and he needed the comfort of knowing he could stop reading lips the moment it became too exhausting for him. The pair lost to the Russians was because he'd been getting ready to tell Robin about being deaf. She'd already clocked the weird things he does (well, weird to her, normal to Steve), and he figured letting her in on the big secret would bring them a little closer.

Of course, that didn't go the way he expected. Robin thought he was confessing love and decided to beat him to the punch. That's how he learned Robin is a lesbian, and Steve couldn't let her be the only one admitting to something like that, so he told her about being bi and his long-standing, hopeless crush. And being deaf. But the bi with a crush thing seemed more important in the moment. She took it in stride, it brought them closer, and then Robin asked if Steve could teach her sign language.

Which meant that Steve had to learn sign language because he never had. Between not wanting to feel even more different than he already did and trying to convince his parents that, really, everything was fine and he didn't need to go to a special school for deaf and hard-of-hearing kids, he'd never learned. Learning it had somehow felt like an admission of weakness, and that was the last thing he wanted. But he learned for Robin, and they stumbled through sign language together, creating new signs only they knew.

But that's all in the past now, and Steve is working his ass off at Family Video to afford a new pair because he refuses to ask his parents for money. If he asks them, they'll come back, and that's the last thing he wants. They don't need to have all their worries confirmed that Steve is helpless, and he doesn't want them anywhere near Hawkins "Hellscape" Indiana.

So. Working his ass off, taking extra shifts, and babysitting the kids as much as he can to make up for the whole Friends and Family Discount he gives their parents. He's exhausted, but he gets to recharge somewhat during his lunch break.

About a ten-minute walk from the Family Video is a record store, which Steve has started visiting daily to just breathe. The lone worker in the store is usually too busy listening to her own music to pay Steve any attention, letting him wander and try to determine which records will best serve him.

Steve drifts over to the rock and heavy metal section, hoping to find a new album but unsurprised when he doesn't. He browses through them anyway, moving past Metallica and Black Sabbath and Iron Maiden. He already has all of these albums on his shelf at home. He has the cassette tapes for them, too.

But he really wants something new. He likes the novelty of experiencing unfamiliar vibrations through the speaker, letting them thrum through his fingertips and into his bones. It's fun and relaxing, and after all the bullshit he's been through lately, he probably deserves something relaxing.

After glancing over a few more familiar albums, Steve sighs and glances at the counter by the door. The lone worker is standing there, headphones over her ears, and idly flipping through a magazine. She's chewing gum, and Steve braces himself for the sheer hell of trying to read her lips without making it obvious he's reading her lips while she's got something in her mouth to disrupt the normal shape of words and sounds.

But he has to try. Steve takes one more deep breath before walking over, shoving his hands into his pockets when he comes to a stop at the counter. The girl raises a hand, motioning for him to wait, so he stays quiet as she finishes reading her page. She flips to the next one before looking up, not making any move to pull her headphones off.

"Hi. Do you have any new rock or metal albums coming in soon," Steve asks, feeling the vibrations of speech in his throat and hoping his words aren't too loud.

They don't seem to be. The girl doesn't flinch or pull back. She just looks him up and down, taking in the polo shirt and the nice khakis and the Family Video vest he forgot to take off before leaving. Finally, her neck and shoulders jerk slightly, and Steve knows she's huffed in annoyance. "No," she says, the word clear enough in the shape of her lips for Steve to know it immediately.

He frowns slightly, his fingernails digging into his palms. Steve wouldn't mind just leaving now, but something keeps him there. He just...he really wants new music. He needs something new. "Are there gonna be any shows nearby?" he asks.

The girl rolls her eyes and says something, her mouth distorted by gum-chewing. Steve can barely make out the words "you" and "check" from her response. Thankfully, it's accompanied by a vague gesture at something behind him. Steve looks over his shoulder to see a bulletin board with flyers plastered across it.

"Right. Thanks," he says, nodding to her before walking over. The flyers are all different colors with various fonts that scream for Steve's attention. Some of them are for bands, some are advertisements of garage sales or instruments in need of a new home, and others are just business flyers from stores nearby.

He's seen the bulletin board before, but he's never actually paid attention to it. Steve has always been laser-focused on browsing the records. But now, Steve carefully reviews each flyer advertising shows. Some are for comedy shows, which he immediately dismisses. One seems promising, but then he sees how far it is, and Steve definitely can't do an overnight trip like that.

Finally, Steve sees a flyer advertising a show at the Hideout later that week. It's close enough that he won't be out overnight. The place is kind of seedy, but Steve figures he can find some corner near the stage to hide. Or he can bring Robin and let her help him navigate any potential social situations. He tugs the flyer off the board, gaze lingering on the "Corroded Coffin" emblazoned across the top.

He knows the band. Of course, he knows the band. He's extremely familiar with their singer. From a distance. Honestly, Eddie Munson probably doesn't have the best impression of him, but Steve's heart never really cared about that. Because Eddie is like everything Steve wants to be: he's loud and unafraid of being so, he doesn't care about his image and how others perceive him, and he looks like his laugh sounds beautiful. Steve wouldn't know if he's actually right about that last point, but Eddie throws his head back when he laughs, eyes crinkled and hand over his stomach like his muscles ache.

His mouth suddenly feels dry, but he's also filled with unprecedented courage. Steve has graduated (barely), and that means a significantly lower chance of running into Eddie during the day if watching the show somehow goes wrong.

Steve folds the flyer into quarters and stuffs it into his back pocket. He'll be overly aware of it being there until Robin starts her shift and he can show it to her, but that's okay. He throws a quick thanks over his shoulder as he leaves the shop, glancing up at the bell he can't hear that signals the door's opening. He vaguely remembers what bells are supposed to sound like (he'd heard a few before losing the ability to hear them), but he doesn't let himself dwell on it.

Instead, he focuses on the trip back to Family Video, keeping an eye on the road to watch for any cars he wouldn't notice otherwise.

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When the final bell rings, Eddie Munson can't get out of class fast enough. He'd been packed for the last five minutes, and he slid out of his seat the moment that first peal rang out. He has a gig to prepare for, and every second counts. At least, each second counts until he notices something (or someone) that could prove entertaining for a while.

He spots Dustin alone near one of the exits, and Eddie decides to relieve the kid of his isolation. He waits until he's behind Dustin to shout, "Henderson!" and throw his arm over the kid's shoulders, ignoring the way he jumps like he'd been expecting an attack.

"Holy shit!" Dustin shrieks, jerking back to look up at Eddie. "Don't do that, man, you're gonna give me a heart attack."

Eddie snorts, waving away Dustin's concern as he continues toward the exit. The general flow of students trying to get out helps him along, and Dustin doesn't seem to realize they're actually moving until they've gotten into direct sunlight. "You're fine," Eddie says, "Anyway, whatcha doing all alone, Henderson? Lose your way?"

"No, I have...stuff to do today," Dustin says, shrugging as he blinks to acclimate to the sunlight.

Oh, yeah, way too cryptic for Eddie to not dig for more. "Stuff? What kinda stuff? Got a hot date? Going shopping with your mom?" he asks, and then he gasps dramatically and moves to stand in Dustin's way. He puts both hands on his shoulders and very seriously says, "Be honest, Henderson, you're seeing another DM, aren't you?"

Dustin stares at him for a few seconds before rolling his eyes and shrugging his hands off. "Who else in this town DMs?" he asks, "Other than Will, I guess, but he's still working on a campaign."

"Fair," Eddie concedes, "so, whatcha really doing?"

After a few seconds of getting nudged by the students around them, Dustin sighs and says, "I have chores, okay? But that doesn't sound cool to say, does it?"

Fair. Eddie nods in agreement and moves out of Dustin's way, continuing to follow him. "So, what, your mom picking you up today?" he asks.

"No, Steve."

"Oh, the famous Steve."

Dustin nods, looking over the parking lot before pointing to one end. "Yeah, he's awesome," Dustin says as Eddie follows the direction of his finger.

And standing there, leaning against the hood of his car and looking to the side where a group of trees is swaying in the breeze, is Steve Harrington. Steve "The Hair" Harrington. King Steve. The worst thing, Eddie thinks, is that Steve looks good. His hair is still perfect, of course, and his stupid little striped shirt is pulling against his biceps and riding up just enough for Eddie to see a tiny sliver of tanned skin above his jeans. He looks a little tense, but Eddie chalks that up to him being back on the campus after already graduating.

"Harrington? You've been talking about Steve Harrington this whole time?" Eddie asks, his voice a little strained, "How the fuck do you know Steve Harrington?"

"He's my babysitter," Dustin says, his voice implying that much should have been obvious, but Eddie wants to grab his shoulders and shake until his head rolls off.

Steve Harrington doesn't babysit. He doesn't know nerds that talk about D&D. He doesn't drive nerds around. At least, he never did in high school. Granted, Eddie never actually talked to Steve, but everybody knew that Steve Harrington was too cool for, well, anything that wasn't the typical jock and popular guy shit.

As he's thinking about the last time he saw Steve Harrington (in the halls, while the guy had bruises and looked worse for wear), they get within shouting distance. And Eddie has zero impulse control when Wayne isn't around, so he doesn't think before shouting, "Hey, Harrington!"

Next to him, Dustin whips his head to glare at Eddie. And Steve Harrington doesn't fucking react. He just keeps staring at that group of trees like it's the most fascinating thing in the world. "Dude," Dustin says, grabbing Eddie's arm and yanking harshly, "don't shout like that."

Eddie frowns, anger beginning to simmer in his stomach at the complete lack of acknowledgment. "Why are you upset with me?" he asks, gesturing at Steve as he continues, "I'm not the one being a douchebag here."

Dustin opens his mouth, about to say something, only to snap it shut once more. He frowns like he's just realized he can't say something, and huffs with frustration. "Just...just don't do that," he finally says, keeping a hand on Eddie's arm and dragging him across the parking lot. And, yeah, something is definitely weird here.

Instead of just walking up to Steve, they make a large arch until they're within Steve's line of sight.

Eddie watches as Steve notices them, seeing Dustin first and pushing off the car. He relaxes for a split second until he sees Eddie and his shoulders tense again.

Great.

Once they're close enough for Eddie to count the moles above the collar of Steve's shirt, Dustin grins and says, "Hey, Steve." But it's odd, because Eddie has never heard Dustin talk this slow or this carefully, like he's doing his best to enunciate his words.

Steve flashes a grin and ruffles Dustin's hair. "Hey, twerp, you're late," he says. He then glances at Eddie, his grin becoming a little smaller, and says, "Hey, Munson."

Wait. Steve Harrington knows Eddie's name? And he called him by it? He said Munson, not Freak. Eddie stares at Steve for a few seconds before nodding. "Harrington," he says, "how the fuck did you become a babysitter?"

Is he just imagining things, or is Steve looking at his mouth? Like, really intensely. He's definitely not, because Steve looks up after a few seconds with a raised eyebrow. "I needed some extra cash. Also, don't swear around Dustin. I'm the one who gets in trouble when he curses in front of his mom."

Something about the words makes Eddie grin. Never in a million years would he have guessed that he'd be talking to Steve Harrington. And he would have laughed you into Mordor itself if you suggested their conversation would be about Dustin Henderson swearing in front of his mother. "What's his mom do when he swears?" he asks.

Because he can feel the conversation veering into something potentially embarrassing for him, Dustin lets go of Eddie and starts pushing Steve toward the driver's side of his car. "Okay, we gotta go. So many chores, so little time," he says, his voice back to that normal speed and enunciation.

Steve frowns slightly, looking down at Dustin and tilting his head just slightly. "What?" he asks. Instead of actually answering, Dustin just makes some vague gesture with his hand and looks at the car. "Oh, right. Go ahead and get in the car. And, uh, see you later, Munson."

"Is that a promise?" Eddie asks before he can think better of it.

Steve pauses, looking at Eddie's mouth with a slight scrunch to his nose. He seems to be considering something as Dustin scrambles into the passenger seat, watching them with narrowed eyes. Honestly, Eddie is surprised he's not blasting the horn to hurry Steve up. Finally, Steve comes to a decision and meets Eddie's eyes again. "Your band has a show tonight, right? At the Hideout? I was planning to go. So, yeah, I'll see you then, I guess."

And with that, like he hasn't just fucking rocked Eddie's world, Steve Harrington gets into his car. He makes sure Dustin is buckled before waving at Eddie and pulling out of the parking spot.

Eddie finds himself waving back, staring dumbly at the car as it pulls onto the street. It only hits him a few seconds later that Steve Harrington is coming to his show. At the Hideout. His metal show. A Corroded Coffin gig at the Hideout.

Holy. Shit.

#steddie #steddie fic #steve harrington #eddie munson #deaf steve harrington #Good Vibrations Steddie #that's the tag for this one lmao #it's all fluff i swear #I hope you guys have as much fun reading it that I have writing it!

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eyrieofsynapses · 5 months

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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

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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.

#aurora comic #aurora webcomic #comicaurora #art analysis #...I hope those are the right tags???#new fandom new tagging practices to learn ig #much thanks for something to read while I try to rest my wrists. carpal tunnel BAD. (ignore that I wrote this I've got braces ok it's fine)#anyway! I HAVE. MANY MORE THOUGHTS. ON THE STORY ITSELF. THIS LOVELY STORY #also a collection of reactions to a chunk of the comic before I hit the point where I was too busy reading to write anything down #idk how to format those tho #...yeet them into one post...???#eh I usually don't go off this much these days but this seems like a smaller tight-knit fandom so... might as well help build it?#and I have a little more time thanks to break so #oh yes also shoutout to my insanely awesome professor for teaching me all the technical stuff from this he is LOVELY #made an incredibly complex program into something comprehensible <3 #synapse talks

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