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eyrieofsynapses · 4 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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slightly-depressed-sloth · 1 year

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Robin Redesigns; Dick Grayson!

Decided to redesign the robins for fun! Currently working on the others so be on the look out for them

(Yes I put way too much effort into this, I just like character design okay… so enjoy 20 development sketches)

COMMISSIONS OPEN

Part 2

Text ID for the sketch page (in case it’s hard to read);

[Image 1: (Banned from swearing and decided to be a little shit about it), R!Dick: Holy Expletive, Batman! Batman: Just say fuck.]

[Small drawing: Arrow pointing to it saying filled with violence]

[Image 2: How I imagine the creation of robin went: Batman: I'll make you a superhero if you stop trying to kill Tony Zucco, Dick: Do I get to design my own costume? Batman: if I say yes will you keep the attempted murder to a minimum]

[Image 3; panel 1 - R!Dick: what do you call a cat that gets caught by law enforcement? Panel 2 - R!Dick: The PURR-PAW-traitor, Catwoman: Okay, I like the kid]

[Image 4/mini comic: panel 1 - R!Dick: can we keep it, B?, batman: No. Panel 2 - R!Dick: Gee, okay... It's just, my parents would've got me it. My dead parents. Who I saw falls to their deaths. I had a name picked out and everything but if we don't have enough space for it anywhere on the miles long estate and large manor that's fine. I wouldn't wanna be a bother. Panel 3 - Batman (internally); don't give in, don't give in, don't give in, don't give in. No text on panel 4, panel 5 - Later, in the batcave:]

#dick grayson #richard grayson #robin I #Robin 1 #batfamily #batman fanart #batman #sorry if my handwriting is hard to read #dc robin #dc comcis #dc #batfam #character design #nightwing #digital art #batdad #dc comics #slightlysloth robin redesigns #slightlyslothdraws

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randomyuu · 8 months

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i keep the warmest truth.

Well you look at that. Another comic hahahaha why did I do this to myself—

But I do enjoy drawing this comic! It was a different kind of challenge, where this one focuses a lot on close-ups, so I need to learn about the subtlety of expressions. Can’t say I learn a lot (I use lots of copy-pasting of the same position lmao), but I still learn... something!

This beautiful one-shot fic is titled i keep the warmest truth by Dehawny. If I have to summarise the fic, it’s basically Ace!Gojou and Adorable!Yuuji. It's more like gray ace but better keep the “A” going, haha. And as usual, the fic is NSFW, so please do read the tags before you decide to give it a read.

Ace!Gojou is something I don’t know I need. I think I love almost every kind of Gojou headcanons, but Ace!Gojou holds a special place in my heart. I could be biased as someone in the ace spectrum, but the way Dehawny wrote Gojou and Yuuji’s interaction is truly heartwarming. And also a bit possessive, but I wouldn’t have it any other way. Possessive Gojou is my jam.

And Yuuji. Oh, dear lord where do I even start with this boy. I don’t have enough vocabularies to express how much I adore Yuuji. Him being his horny teen-self and constantly worrying about making the pleasure mutual is too much for my heart. And he’s still understanding of Gojou’s sexuality. Yuuji is kind, like that. Don’t mind me as I’m crying out happy tears in the corner.

Alrighty, below are my thoughts as I drew this, as usual haha:

After I got a taste with comic-making from my previous GoYuu comic, this one is a bit easier to plan once I narrowed down the scene I want to draw. I wanted the comic to start with Gojou positioning himself and Yuuji in the futon, bringing up Yuuji’s question weeks ago, but that means I have to draw 10+ pages and I was like, “haha nope”. I still love my hands, thank you very much. So I start with Yuuji’s reaction after Gojou explains a bit about his sexuality.

Panelling is still a struggle. In a way that I still feel that the layout can be improved, but I can’t for the life of me figured out what needs to be improved. I guess this kind of thing will come eventually, but not now.

During the sketching, I must say I got super hyped drawing Gojou’s eyes. That eye close-up? I really want to try making it as ethereal as possible in an achromatic setting. It’s intimidating, don’t get me wrong, but I have always loved drawing eyes since I was a kid and this is a fun thing to test my love for eyes.

If I have to complain… it would be the intimate position of them laying on the futon. I never really try drawing “couple-like” positions before, but it was really hard! Like, holy shit, can you guys stop being so awkward looking? Where the hell did I draw it wrong??? Thankfully references have helped me a lot with positioning.

The line art took sooo much time because I realise I want to make Gojou and Yuuji more… buff (kinda) so I need to re-sketch a bit :(( but the result is better than the previous one, so I’ll take what I can get haha. And I start to really like using screentones for shading—once I properly learn how to do manga layout, I think I might fall in love with drawing mangas!

But overall, this is a fun process to do, and I hope you enjoy the comic and this rambling of mine! :D

#Yuu's art #jjk-fic-fanart #jjk-ship #jjk ship #五悠 #goyuu #goyu #5u #gojou x yuuji #gojo x yuji #gojo x itadori #tumblr's UI changed quite a bit huh #I hope there's no problem with the uploaded images

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passivenovember · 8 months

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"Hey, isn't that Steve?"

Billy almost drops the vase in hand. It's about a hundred and thirty fucking degrees out anyway and it's not even noon so his palms are tiny oil slicks, but he's done good, so far.

He's been careful. Happy to finally unveil his fall collection to the hundreds of Instagram follower's who've been on his ass since July--

But Heather opens her mouth and says, "Shit, Bill, I think that is Steve," peering over Billy's shoulder with these comically large brown eyes, and usually it would be kinda funny.

But the thing is, Heather's working his last fucking never in the way only a best friend can.

She had to be dragged out of their apartment this morning, kicking and screaming until Billy forked out ten bucks to get a starbucks coffee in her even though they already agreed to split today's profits 90/10 because he needed help with the maker's fair.

Billy didn't even get a coffee himself, they were running so late, and by the time the Camaro screeched down Millwork street, kicking up a cloud of dust as Billy frantically searched for the vendor entrance, it was almost 10:00 am. The bitchy volunteer at the gate almost refused to give him the tent he shelled out $200 for because check-in was at 8:00 am and it's almost 10:00, now.

Like Billy can't tell time. So.

He's not in the mood for games or jokes or teasing. Really not in the mood, like. He might drop the cashier lock box in Heather's hands and vanish, all, take your 10% and shove it in your ass, not in the mood.

But Heather trips around the folding table, dropping Billy's favorite plaid table linen in the dirt to clutch and grab at his shoulder like a scared kid.

"Heather," Billy snaps, stooping to save it from the dust with his free hand, "Holloway, I swear to fucking God--"

"Look," Heather spats. Her nails dig into his armpit when she spins him around, and.

Steve's there.

Huh.

He's wearing a volunteer t-shirt. And a fanny pack. And his extra-strength 50 SPF sunscreen hasn't been rubbed into his cheeks all the way so they look like sugar glazed apples where he sits in his little folding chair, two tents over at Robin's candle booth. Laughing.

And. Billy hasn't heard that laugh in what feels like a lifetime.

His bones ache with it, rebuilding around the loss he never really processed but has grown to ignore out of survival's sake. Steve's laugh, it. It's Billy's favorite sound in the entire world.

They haven't spoken in three months.

Not since Steve was inside of him, pumping slow and hard with his hands behind Billy's knees, folding him in half as he mouthed sweetness into Billy's throat.

You're so beautiful, tongue lavish against Billy's fluttering heartbeat, You're mine, baby. I want you to be mine. I love--

Behind them, Milk & Marigold's assistant drops something heavy and it shatters. Hundreds of eyes turn in their direction, dozens of frazzled vendors and their teams alarmed at the sudden stillness, and.

Robin, who grins widely at Heather, and. Steve. Locking eyes with Billy as all the color drains from his face.

"Holy shit," Heather's nails press deeper into Billy's arm, somehow, and Billy thinks, distantly, that she might draw blood.

He doesn't care.

Steve's looking at him. For the first time in months, the world is right and Billy can breathe again and about a trillion and thirty things rush through head, rapid firing so he doesn't have the mental space to register the way plot seventeen aches to topple to the parking-lot under foot.

Somewhere, back on Earth, Milk & Marigold's assistant gets his ass handed to him for being so reckless, and slowly. Shyly. Steve lifts a hand and waves.

Billy's going to drop plot seventeen. He grips its amber neck, instead, carless of the rippling clay under his fingertips. "Very funny," Billy says, turning on his heel. He sticks the vase between plots sixteen and eighteen, his jaw so tense it could hack and slash the sky. "I can't believe this. This is such a fucking joke--"

"--Shit--"

"--I can't believe I thought I wouldn't see him here, I mean. Robin's got a business too, right? A side hustle?"

"Candles, or something. Yeah."

"Of course she'd be here. And if she's here then. Fuck, I should've thought about this more," Billy says, tugging all ten fingers through his hair, "God, I should've just launched the fall collection online, like a normal--"

"Billy?"

Billy stands ramrod straight. All the air rushes from his lungs, his hair standing on end as if the tent overhead has grown lips and is talking to Billy in his father's voice.

It's not that.

Steve could never be that because he's better. Holy.

Steve's so much more real, up close. His hair is longer than the last time Billy saw him, his cheeks and jaw dusted with a prickly 5'oclock that gives way to a mustache up top.

It's incredibly sexy.

Billy hates it, on site, because Steve's moles are hidden like a secret. A sun-ripe memory of the first thing Billy ever loved about him.

"Wow. I didn't think I'd see you here, today," Steve says. His eyes hunt over Billy's face, warm and familiar and so, so soft despite all the shit that Billy said the last time they saw each other.

It hangs in the air, stuck like a wedge between them.

"Billy," Steve says again, soft and full of wonder and ready to scale the enormity of their past. Billy forgot how his name holds weight, when Steve says it. Extra syllables and consonants, worth their stake in gold.

Billy clears his throat. Longs for a glass of water, "Hey," He says, when really he means, I'm sorry, and, please never go away again. I'm a bad man and I was afraid but if you give me another chance, I promise I won't push you away, because I love--

Heather clears her throat.

Billy jerks his head in her direction, dizzy as the world fades back into focus. "Sorry," He says, weary, "I'm an asshole. Steve, this is--"

"Heather," Steve shakes her hand, smile gorgeous and winning, "I know, we met, I think. Once or twice when I was on my way out of the apartment."

Billy's going to pass out.

He's dizzy and sick to his stomach, and then. Steve looks at him, and his gaze settles like a warm, solid weight over Billy so he can't float away. "It's a nice apartment," Steve says shyly, "Felt like home."

Billy wasn't expecting this. To see Steve, let alone talk about the apartment, and--

"Billy," Heather says, clapping her hands together once, "How about I go and see if Robin has any extra tent weights?"

"Sure," Billy says, and Steve smiles at him, and then Billy smiles because Steve's always had that effect on people.

Heather scampers off and Steve shrugs, his hands slipping into his pockets. "You look good," Steve says.

Billy's palms are sweating. "So do you."

"Thanks. I feel like shit. I didn't realize you'd be here, even though I could've guessed, if I had a moment to rest with my own thoughts. Robin's working on her fall collection--"

"--Right--"

"--and I guess you are, too. Well," Steve tugs a hand through his hair and it poofs up big like fresh whipped cream, and Billy has missed him so desperately that his ribs rack and break, "That's a lie. I don't have to guess. I know for a fact you're fixing to launch your fall collection."

Billy frowns, "How do you know that?"

"I follow you on Instagram," Steve says, like he's expecting to get told off.

But.

It does something, to the atmosphere. Shifts things. Billy thought he'd blocked Steve on everything, after the first drunken voicemail, but.

Apparently not.

"Yeah, well. The suburban moms love my shit," Billy crosses his arms over his chest, suddenly freezing.

Steve's gaze gets caught on the swell of Billy's arms. "Billy," He starts.

"Look, it's almost noon," Billy says, heartbroken.

Steve doesn't seem to get it. But then his eyes get big and watery, like Heathers, and Billy wants to wrap him in a blanket. "Right," Steve says, "Market's opening soon."

"Right."

"Sorry, I know you still have to set up."

"No sweat."

"Look, Billy--"

"It was good to see you, Steve."

It presses down on them. Everything.

Steve's eyes close like doors. "Sure," He says, and then he's gone.

Apparently, word gets around for events like this.

For the first few hours Billy doesn't have time to mull over his interaction with Steve, because they're slammed with wave after wave of eager Saturday Morning buyers.

Billy's feet ache by noon as Heather works the cash box and he makes laps around the tent, restocking and catching up with repeat buyers.

The event volunteers swing by every thirty minutes or so to make sure they have everything they need, dropping off bottled water and drink tickets, and by two Billy's happy he won't be going home with a trunk full of merchandise.

He counts the cash box, whooping when he realizes that their 90/10 won't shake out too badly. "We did pretty damn good, Heath, and it's only 2:00."

Heather's already used her drink tickets on a couple of Bloody Mary's. "Are you hungry?"

"Not really."

"I heard there's a fried hotdog thing on a stick down by the food trucks," Heather says, and she giggles like any sort of weenie could pique her interest. "That doesn't sound good to you?"

"Eh," Billy says, leaning back in his chair, "I've been trying this intermittent fasting thing. I eat a big fuckin' breakfast of mostly protein, and then a light lunch around 3:00, and a small dinner--"

"That's so fucking stupid."

Billy frowns, "Gotta keep in shape."

"For who?" Heather demands. "It's not like you're whoring yourself out anymore, and you're not gonna let one of your old flings back into the apartment., much less your heart."

"What's that supposed to mean?"

Heather's cheeks are red, as if she's been sitting in the sun all morning. Billy knows her well enough to get that she probably doesn't mean any harm by it, but her words sting, anyway.

"There are other guys in New York, Heather."

"You don't want to get to know other guys, Billy."

"Bullshit. I know you're a nosy lesbian with too much attitude wedged in her a-cup bra to notice, but some of us aren't looking for love. Some of us would rather fuck random losers."

"That's so not you."

"It's a good distraction. I could use one of those."

"It's kinda hilarious," Heather rolls her eyes, "Even you don't know what you're talking about."

"I'm talking about protecting people."

"People like Steve?"

Billy snaps the cash box shut. "You're so bad at conversation Segway's."

"Fuck you, I'm really clever and stealthy."

"Did you talk to Robin about this," Billy demands, watching slack-jawed and furious as pink floods Heather's cheeks. "My thing with Steve isn't any of your business, and it's not interesting enough to warrant all your fucking medaling."

"I just think--"

"I don't care what you think."

"Why would you react like that when you saw each other?" Heather sits flush to the edge of her lawn chair, shoulders squared for a fight. "If what happened between you meant nothing and you'd really rather skip the greasy market-food for some imaginary sex pot you can blow and dump on Cornelia Street the second you're through with him, why would your heart stop beating when--"

Billy shakes his head. "I don't care what you and Robin have to say, I don't want to talk about this anymore."

"Why not?"

"Because I'm a piece of shit, alright?" Billy snaps. "What happened with Steve, it. It was inevitable, okay? He said he loved me, and I loved him and I still do but that doesn't fucking matter because he's Steve and I'm Billy and I could never be half good enough, alright? Happy?"

When Heather doesn't say anything, Billy shoves back from the table.

"Where are you going?" Heather asks, voice small and awful.

"I'm having my two drinks," Billy says, padding quickly onto the already crowded street.

As far as Billy's concerned, calories don't exist when it comes to alcohol.

He finds the nearest bar cart and orders two shots of dark liquor, even though it usually makes his stomach go on strike, and shells out seven dollars of his own single-person salary for a French 75.

Then he starts walking.

And walking.

At another bar cart, Billy can't stop thinking about the first time he ever saw Steve, pulsing like a brand new heart under club lights, pretty with the kind of looks that made Billy mentally ill. So he shells out another $20 on a girly pink drink with a paper mâché umbrella.

It tastes like strawberries and Steve used to taste like strawberries in the summertime. Billy can't remember what he was so upset about, before.

He feels good. In control.

But then he gets lost somewhere near Broadway and just as he figures out how to get back to his tent, where Heater is likely up to her eyeballs in impatient customers and guilt about being endlessly right in all things, Billy spots Steve balancing a funnel cake on one arm.

His nose is red. Strawberry dappled, which means he's drunk, and he's got a cup of pale ale pinched between his teeth as he figures out how to hold his market load.

The only problem is, Steve's gorgeous and so, so fucking stupid he can't figure out that he's got two hands.

It makes Billy's heartache, thumping a little harder to the left, and he can't remember why he ever left Steve rumpled in a hotel room that night, half-hard and brokenhearted, so Billy takes the rest of his drink like a shooter, and marches up to Steve and says, "You really should be locked up somewhere."

It's meant to hurt. And bruise.

But Steve's whole face lights up and he drops the ale down the front of his volunteer shirt. "Billy," he says, sounding way too bright and happy. Soaked through.

"Shit, your uniform--"

"It's okay, thing's almost over anyway."

"Stop being so nice."

"Okay," Steve says easily, "You're an asshole, and you broke my heart, and now I'm all wet."

"Well, since we're being honest."

Steve frowns. "I dreamed about seeing you again, you know? How you'd. Have too many drinks and look at me and say you haven't been able to get it up since we split.

"I can always get it up," Billy tires flatly, and Steve smirks. It's small and barely there, but. Billy swallows thickly, "I am an asshole. You're right. A drunk asshole."

"Me too. I know."

"I was worried about hurting you," Billy admits in a rush, "I didn't want to disappoint you. I thought I wasn't ready for what we had to be more than just sex, but it already was."

"--Okay--"

"I never bottomed before," Billy blurts out. "I can get it up. You make me pop too quick, you're just. You're perfect and you're kind. You're every wet dream I ever had rolled into one, Steve." The sidewalk is waving, a little. Steve looks like he wants to touch Billy, to reach out and steady him, but he's already holding a funnel cake.

Steve nods.

Encouraging and soft and kind as ever, and Billy's never felt safe with anyone, like this. So, Billy says, choking a little, "I never let another person touch me, like that. My body or anything else. I never did. You're so good, Steve. So I let you touch me and it changed me and I don't know how to be anything else than a drunk, whining asshole. But we happened and I never ached for it before, it fucking. Knocked me on my ass, Steve. You came in and you knocked me on my ass, and--"

"Billy--"

"God, I love it when you say my name," Billy says. He wonders, distantly, what kind of mojo they put in that girly little cocktail because he can't stop talking.

Steve doesn't seem to mind, but he says, "You really hurt me," Picking at the golden crisp of his funnel cake. "Seriously, Bill, I didn't think I was gonna survive it."

Billy's knees almost give out, he's. Hot all over. Burning up with feverish grief. "I'm sorry," he says. He's a hole in the center of the universe.

"I know."

"I was afraid."

"I get that," Steve says. He shuffled the funnel cake in his hands, and Billy wonders how the bottom's not soggy yet, damaged and ready to fall out. Steve puts it on the ground. "Shit's gross."

"Yeah."

"Do you wanna," Steve says, frowning, "We could walk. And talk about it, more."

"Sure."

"I'm not saying we can get back together yet--"

"--Yet--"

"I missed you," Steve says, and he's bright as the sun.

Billy's been freezing to death his whole life, so. He draws close. Takes Steve's hand, "I missed you, too," He says. "Maybe we should get you a dry shirt?"

#harringrove #guys this truly is just word vomit #anyway!#hope you liked it lol #because i didn't do any editing #lol #love ya!

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stealingpotatoes · 5 months

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Your video of Cal's lightsaber changing colour to Caramelldansen made me laugh way too hard. Did you know that in New Game + there's actually a Party Lightsaber mode where your saber constantly changes colours as you use it?

(Also, hi I love your art and thank you for feeding my desperate need for more Jedi game content (particularly Merrin and Cal), Ahsoka (love the way you draw her) content, and also just heartwarming/adorable/hilarious mini comics in general content.)

yes!!! tho i'm aware it doesn't play caramelldansen, which was definitely a missed opportunity ): respawn hire me i would be a great game designer

also THANK U!! i'm also feeding my own need for merrin & cal stuff bc holy shit i love them so much

#thanks for the ask!

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mystic-warriors · 3 months

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Ok but like when I made this one I kinda just wanted to establish that jibanyan exists even tho he's not rlly a main lmao, also roughraff, who will appear again but HOLY SHIT HE IS HARD TO BOTH WRITE AND DRAW END ME

Also like if you've never played the games you don't really know the context of this which idk I guess I was just too lazy to add, basically upon first meeting, jibanyan lost a picture of Amy cuz some1 stole it and you have to get it back

So like the comic barely follows any plot, sometimes I'll steal plot points from the games in random order but its just a bunch of random bullshit I put together I won't lie to you

I do wanna make more serious(ish) parts, nothing super crazy but yk that and actually establish characters and backstories for reoccurring yokai... yeah I'm just making it up as I go :D

#these comics pointless as fuck lmao #yokai watch #yo kai watch #yokai watch whisper #yo kai watch whisper #art #youkai watch #youkai watch whisper #ykw self insert comic #ykw self insert #self insert #comic #cadin #roughraff #yo kai watch jibanyan #yokai watch jibanyan #youkai watch jibanyan #jibanyan #ngl rlly hate this one

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celenawrites · 9 months

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TW - just a vent about fandom stuff.

I feel kinda sad about how some creators in the CoD fandom have now abandoned creating content for the game series due to the demanding nature of other fans who used to consume their content. (fics, art, etc)

Like, these artists/writers in the fandom write fanfics/create art, FOR FREE OF COST and dedicate SO MUCH TIME AND ENERGY to their craft despite not getting much in return, only to deal with senseless hate, ignorance, stupidity and get treated as content generation machines; instead of actual human beings with jobs and studies and friends and families that need their time and attention as well.

A lot of us folks who write or draw do this as a hobby. As an outlet for our creativity, and we find this community for the media we are currently fixated on and we create things inspired by it cuz it brings us joy. IT MAKES US HAPPY SO WE CREATE CONTENT FOR IT!!! And then to see the same fandom/community and their horrendous behaviour driving away the creators from the fandom and the media itself is just....sad. Very disheartening.

Like I miss so many of the creators who have just given up on CoD cuz of this issue. Their works have inspired me to start writing again. They make me wish I start learning how to draw and paint again too. Their works have touch my soul, and made me happy - gave me something to look forward to every day.

But I'd much rather they leave the fandom and take care of themselves and their life, than to succumb to this weird pressure fans and fan-content consumers put on them, y'know?

Plus recently, I've seen a lot of racist and stereotypical prejudices from some CoD fans (and even some creators). I know a lot of them are new to the fandom, I was too. But I took an active effort to learn more about this game series. (and it's an ongoing effort cuz I cannot afford to play the games so I have to settle for wiki articles, gameplays, and comics) And I see so many fans not give a shit about it. They treat these characters as blank canvases to fulfill their hypersexual fantasies. (I like me a good smut fic or two, don't get me wrong) But that just makes it impossible for newer fans to get to know more about the lore and the characters. I had just finished watching the campaign for MW, and let me tell you, there are so many complex missions, characters and storylines to explore and depict through fanfics, and it's insane so many people disregard it for their whimsies so easily. That will just stunt your growth as an artist/writer! Read up on the lore, watch the game plays(the OGs and the remakes!) , maybe even read the comics!!! I promise you won't regret it ever!!!

Also, please! For all that is holy, stop putting these complex fictional characters into restricted boxes and label them. That just makes them so one-dimensional. Like -

Soap is not always cheery and bubbly and your fellow bestie. Simon is not an abuser/emotionally dead asshole just because he has a hard time expressing his emotions like everyone else. König, despite the lack of storyline/lore we have on him, isn't an uwu social anxiety babygirl, damn it. Stop excluding Gaz from your HCs and fics! He's a complex man with so many interesting things to explore about his overall story and psyche as a part of 141. He's not always begging for Price's approval either, he can and has objected to how questionable their methods have been regarding their field/work. Stop excluding Gaz from 141 stuff! It makes you look like a POS, and a lot of the people who exclude him are doing so for....pretty racist reasons. As a POC, this shit sucks balls. Also stop stereotyping POC characters in CoD - Alejandro, Rudy, Valeria, Gaz, Farah....just stop. Their ethnicity or race should not deter you from writing about them in a way that doesn't come across as prejudiced and ill-informed.

Also, not necessarily a rant, but please consider/remember the fact that the military has always been a bit of a morally dubious field of work irl, and just cuz CoD is military-centric and features characters who work in the army or PMC and take out bad guys - that doesn't take away from the violent history military has and how they have contributed to the deterioration of many countries (mainly in the Middle East). Heck, even these characters in the CoD games have done extremely unethical things and employed treacherous methods in order to get the job done. These characters may be good people in fiction, but that doesn't mean that they have done great things or have always stayed morally pure. Explore the dubious nature of it all - explore how dark and harrowing it can be for them and for the people that unwittingly or knowingly get involved in their work. It's dark and twisted but it's crucial since it's inspired from our world and it's necessary for us as humans and as artists to explore such themes and analyse them! It's crucial for the soul!!!

#call of duty #cod:mw2 #kyle gaz garrick #john soap mactavish #captain john price #simon ghost riley #alex keller #farah karim #cod #alejandro vargas #valeria garza #rudolfo parra #fandom #tw vent #celena.rambles

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pansear-doodles · 10 months

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what's your process for making comics ? how do you plan them out ? the panels ? the dialogue ? do you plan it all out in advance or is it more spontaneous

sometimes if the comic requires a lot of dialogue, i make the transcript first. (and it helps because once i get to the step of actually putting in the dialogue to the comic, i make improvements along the way)

usually the process of paneling it is... very mixed. im not an expert in comic making and there are honestly better rain world artists out there who do much better in that field (trying to not compare myself to them is a mental struggle i really fucking hate but it does help me strive to work better and study how they do it(pansear i swear to god stop looking at the NUMBERS)). ive actually been one to make comics and story telling for quite a while but not much a full length big comic series.

when i make anthro au comics, i usually have the "ok this is what i want to go" in my head. since a majority of them are sketched, i dont really worry about how itll layout. i just need to get the idea out of my head. sometimes i think really hard on a scene and think to myself "ok this part is really dramatic and important so i must make it bigger than the rest". sometimes it is for comedic effect like in helm where there is an entire page dedicated to the lizard exploding over a jpeg, sometimes its for scenic feels (like echoes showing themselves upon the characters and making foreboding(though also strange) dialogue), and other times its when the character is saying something or doing something incredibly crucial like whatever saint was doing to arti in heretic.

sometimes id do it without dividers (which is actually easier for me personally). sometimes id do it experimentally like with the ghost arti and zombie hunter comic.

i suppose what i prioritize more is to tell a story rather than to tell the story in flair, so its best to not entirely heed to my advice if you want stylized-looking comics. it probably doesnt help that i might have some sort of attention deficiency because its difficult for me to get back on a project thats stored away for another.

some of the really great rw comic artists i can think on the top of my head are:

@lynxmisnomer who has a really great ongoing series called The Curse of Metropolis and has made a really cool comic of Monk and Survivor

@ninten-draw who makes really colorful stylized comics about certain rain world characters including the ones you wouldn't think of and nails on the story-telling without words

@lyss-butterscotch who puts a lot of effort to her gijinka au stuff (if you ask me which of her comics is my favorite- come on. you already know the answer based on who's writing this LOL)

@snailfen for having cutesy and detailed comics (i read ruff and ruff like garfield comics- they're not as frequent but i get this unexplainable feeling of happiness whenever i see it)

@toxictoxicities whose comics are??? scenic??? holy shit.

and you of course!

#ask

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tboygareth · 1 year

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I am always always thinking about different scenarios where Eddie could have gotten mixed up in The Mess (tm), and I just think that season 2 would have been great for that tw: reference to kidnapping and child murder

Hawkins has always been a weird fuckin’ place, even before the Byers kid went missing last year. Eddie’s never really been able to put his finger on what it is, but he sees it on the periphery of everything Hawkins touches. It’s not something you can see if you look at it head on, like a migraine aura or one of those floaty things you get in your eyes sometimes.

A couple of days after Halloween, though, Eddie plummets headfirst into the weird that makes the town of Hawkins churn.

He’s skipping school, because O’Donnell has it out for him, swear to god, and he’s flying up a back road on the outskirts of town when the weird comes striding out of the woods to his right.

It’s a fucking kid, and he’s driving too fucking fast to be able to stop in time but he slams hard on the brakes of his van anyway. The back fishtails and the brakes screech and the air smells like burning rubber, but he comes to a halt, and he didn’t feel the sickening thump-thump that he’s been bracing for. His heart is in his fucking throat, his head pounding, hands sweating, and he is trembling from head to toe.

Eddie launches himself out of the driver’s seat. The kid - the girl, middle school aged, curly hair that falls just to her ears, flannel and jeans - is standing there with her hand out toward the van. She’s posed like a comic book superhero, feet planted, shoulders back, and… her nose is bleeding. The van’s grille is dented like… Eddie can’t even bring himself to think about it. It’s like she stopped the fuckin’ thing with her mind ro some shit.

He definitely needs to cool it on the weed.

Eddie scrambles for something to say, but all he can come up with is a choked out, “Holy shit, kid.”

And that’s how he ends up with ‘Jane’ in the passenger seat of his van. That’s not her real name. Eddie’s not sure how he knows it but he knows it. She says she’s going to see her mother, and Eddie’s not good with silence so he tries to ask her questions, make conversation. She does what she can, but her grasp of language isn’t… great, and Eddie finds himself trying to fill in the blanks and coming up short.

He thinks she must be a runaway who's finally grown tired of not being home. She’s clean, though, and she looks fed, but she looks like she doesn’t sleep all that much, and Eddie wonders what it was about her home life that made her run in the first place. And the further and further they get outside of Hawkins, the more he wonders how she ended up in his little town anyway.

“Hey, kid, uh,” Eddie begins, unsure how to even say what he’s thinking. “You’re not, like, a kidnapping victim or anything, are you? You didn’t escape from, like…” At the word escape, Jane draws in an anxious breath.

Eddie hears about it in the news sometimes, about kids that are snatched and murdered and the awful, awful things people do to them. He remembers Adam Walsh in eighty one.

“Kid, are you safe?”

“I am safe,” says the girl, but she doesn’t seem so sure.

When they pull up in front of the little house, the last name Ives painted in swooping curls on the mailbox, Eddie puts the van in park and shuts it off.

“I should probably, uh, talk to an adult,” he says. “This is very weird, Jane, and I just want to make sure, uh…”

He doesn’t know what he wants to make sure. Make sure he’s not dropping this kid off into a death trap? Make sure there’s an actual human person behind the door of this house, and that that person isn’t some weirdo who wants to hurt the kid he almost ran over with his van? If she’s just a runaway, though, pulling up at home alongside an eighteen year old boy with long hair that smells like weed will just get the cops called on him.

“No,” Jane says when Eddie unbuckles his seatbelt. “It is okay. You do not have to come with me. Thank you for the ride.”

It might be the most she’s said at one time, the whole way over here. The urgency in her voice just makes Eddie even more anxious to leave her.

“I really, really should. There’s some sketchy people out there, okay? I just need to make sure this is someplace safe for you.”

Why the fuck does he even care? She’s just some weird kid that he almost hit with his van on the outskirts of his very weird town. He might as well just drop her here and go, get the hell out of dodge and away from whatever brand of weird he’s just stumbled his way into.

But if he sees this kid’s face on the news in two days, Eddie will never fucking forgive himself.

“Wait here, then,” Jane says. “And once I go inside, you can go. This is a safe place. My mother is inside. Please.”

“Fine. Fine. Go ahead, then.”

She goes. She’s walking slow up to the house, like she’s nervous too, and it makes Eddie all the more uneasy about letting her walk away.

She knocks (at her own house?) and then there’s a woman behind the door. There’s no recognition in the woman’s expression, and she closes the door in Jane’s face again. And just as Eddie is about to get out of the van and go up there, Jane puts her arm out toward the door, just like she’d done with his van, and the door swings inward.

What. The fuck.

He must be hallucinating. Right? The woman who answered the door before must have just opened it back up again. Right? Because that’s not possible. Magic isn’t real. This is real life. …Right?

Eddie sits there, trying to make sense of what he’s just seen, but he convinces himself he must have just been seeing things wrong. It must have been someone inside the house opening the door for Jane.

And if that's not the case? If this kid has magic fucking powers, if she can stop Eddie's van and open up the front door of a house she is clearly not welcome in, why shouldn't he want to fucking hightail it in the other direction? He's no hero. This isn't a Hellfire campaign. Maybe Jane isn't the one that's in danger, here. Maybe Jane is the dangerous one.

Eddie goes, but after about five minutes his paranoia and worry for this little kid gets the better of him, and he turns around.

He’s just gonna drive past, just circle the block to see if everything looks okay. One more time won’t hurt. Maybe he got a fucked up bag of weed, making him more paranoid than usual, but Hawkins is a weird goddamn place, and this doesn’t seem like your usual run of the mill kind of weird. It feels a little dark, a little sinister.

That girl had a bloody nose when Eddie got out of his van. The grille did not look like that this morning when he left the trailer. (Did it?) The way she talks, the body language, the way she really stood there and faced down Eddie’s van with her hand out like she knew she would be able to stop it. It’s weird. And if nothing else, now Eddie’s a little bit fucking curious, okay?

So he circles the block where the Ives house sits, and as he drives past, the fucking lights in the front room are flickering.

So he sits. And he waits. And it’s dark outside by the time the front door swings open again and fucking Jane comes striding out clutching a wad of cash in her fist. What the fuck. She spots Eddie and glares at him, but then she wrenches open the passenger side door and gets in.

“Drive,” she says, and Eddie does. “We’re going to Chicago.”

#this got a little long??#sorry??#i've been thinking about this concept all week tho #eddie #el hopper #bee's blurbs #eddie and el would end up being besties much to hoppers absolute horror

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