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prince-kallisto · 6 months

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Crowley: A False Prophet and the Unholy Trinity

HEAR ME OUT, HEAR ME OUT. @overly-niche-twst makes amazing and funny memes, but as you all should know, even the memes aren’t immune from my theories. But the connection of Crowley and the “false prophet” hit me like a train. A false prophet? In a game where the religious symbolism runs rampant? And when digging into research, I was SHOOK at what I learned. I swear this is the worst rabbit hole I’ve ever gone through because of a MEME 😭

In Biblical lore, a prophet is someone who receives a divine message from a supernatural source and must share the message with the rest of humanity. This message is often referred to as a “prophecy.”

I’ve talked about Levan potentially having prophetic powers on here several times, but as a little recap, Lilia seems to hint at Levan’s uncanny foresight. Either he’s just an incredible master strategist, or Levan has powerful magic (perhaps Unique Magic, or just really good at astrology) related to seeing the future. For example, he SOMEHOW knew that Lilia and Malleus would attend NRC 500 years in the future, and taught Lilia and the other Fae a common language with humans in hopes of reuniting the Fae and humans in the future, like at NRC.

What makes me feel certain about this theory is that ravens in Greek mythology were related to Prophecy, because they were believed to be the bird of Apollo, the Greek god of prophecy. And Levan seems to be twisted from Diavolo, Maleficent’s Raven (unconfirmed but seems likely with info so far)

Technically, if the gift of prophecy was Levan’s UNIQUE Magic, it could count as a “supernatural” source, right? And if he taught and guiding the Fae with the information he saw from the future, Levan could technically be considered a prophet.

But what is a false prophet, and why do I believe Crowley is one?

(Disclaimer, I am not religious myself and am using Biblical texts from a purely analytical perspective. If you know better on this topic, want to add something/correct me, please let me know! Sorry for putting so many links here too haha, there’s just too much to talk about in one post!)

A false prophet is someone who falsely claims the gift of prophecy, or is speaking from the supernatural source of evil, typically the Devil. According to Biblical lore, the false prophet will present themselves as benevolent (Crowley “I am so kind” is that you) and weak, but have great power and evil. What I found very interesting was this line from the Bible:

“Beware of false prophets, who come to you in sheep's clothing but inwardly are ravenous wolves.”

I’ve made theories regarding Crowley’s true nature many, many times before. My moots tease me for using this Rook screenshot so many times, but I genuinely believe Rook understands Crowley’s character.

Anyway, the TRUE enemy is one who watches from the periphery with a smile…something that Crowley always does. Always watching, but never seemingly acting. He lets everyone’s guard down by being useless, unreliable, and ridiculous, but he definitely has something up his sleeve. In Biblical lore, the wolf is considered a malevolent predator who feeds on the innocent. Like young and impressionable students, perhaps? I think it’s very interesting that Crowley refers to students as his eggs or chicks, like children that he’s “raising.” But a baby bird is one of the many symbols of innocence, and Yana Toboso herself has cryptically said how the repeated egg theme in TWST is a representation of how “Eggs are a good symbol of things that can never go back to how they were, once they have been broken.”

But what about the False Prophet? Well, I’ve recently made an analysis on how Crowley encourages the Overblots in every single book. As a little recap, he’s the one who suggests the magic duel against Riddle in Book 1, the Hall of Fame to Leona in Book 2, signs a contract with Azul in Book 3, abandons Yuu and also stirs Jamil’s hatred by making Kalim housewarden in Book 4, etc etc. He’s constantly leading these students astray in a very subtle manner. But I think he needs the Overblots to happen so Yuu can save them, so he can get the Overblot Crystals.

Additionally, Lilia mentions how historical narrative have been “twisted” to suit someone’s agenda. And judging from how everyone thinks the Disney Villains were sources of good to look up to, the manipulation from Crowley may be more literal than we think.

And if Crowley is leading these people astray for a greater purpose/higher power, this technically makes him a False Prophet. It goes even deeper when you consider his cryptic words throughout the books, as if he is seeing the future. He knows where the students are when they’re talking about important things, he knows when STYX will break in…and as I mentioned, ravens are connected to the gift of prophecy.

And guess what? The False Prophet, according to Christian lore, is part of the Unholy Trinity. TWST has a slyly repeats the theme of three, and which can noticed in NRC’s logo that may represent the past, present, and future. BUT THATS NOT WHY I WAS FREAKING OUT-

Because what does the Unholy Trinity consist of?

The DRAGON

The ANTICHRIST

And the FALSE PROPHET

In a previous theory examining religious symbolism with Meleanor and the Virgin Mary, I also concluded that Malleus Draconia is a representation of the Antichrist, especially because of the star imagery in TWST. Meleanor even refers to him as an “evil star” that would curse humanity.

But now I’m doubting this- I think I had it all wrong. Not about Meleanor being the Virgin Mary, but about who represents the Antichrist. But let me go over what the implications of the Unholy Trinity means first.

Edit: actually I never claimed Malleus was the antichrist at all in that post LMAO, I confused myself with the different names for Lucifer/Devil/Satan 😭😭😭 so technically I was right all along with claiming that Malleus is Lucifer in that post🤪🤪🤪🤪 I won’t edit out this mistake to avoid confusion in the reblogs

The Antichrist and the False Prophet are referred to as the “first and second beast,” who obey the DRAGON. But the Antichrist, aka the First Beast/Beast of the Sea, is described as “emerging from the abyss”

MALLEUS’ TITLE IS LITERALLY THE RULER OF THE ABYSS. IM GONNA- BABXBSB

Edit: I’d like to add that the Bible describes this Abyss as an unfathomably deep, dark, and boundless place, often compared to the ocean and chaos. And recently in Book 7, Silver almost succumbed to the darkness…where there was no light, no people, nothing except darkness and blot. That is TWST’s version of the Abyss, and Malleus is the ruler of it! This religious symbolism has to be intentional

I think the Antichrist actually GRIM. A supreme representation of evil thats said that appear at the END OF THE WORLD/APOCALYPSE. And if we recall the prologue, we see Grim in a horrible monster form in a shattered Mirror Chamber. An amalgamation from the Overblot Crystals, which is literally the condensed version of the Overblot, a representation of purely negative emotions.

And based on what text describes the First Beast as, he has “seven heads, appearance of a leopard, feet of a bear, and a mouth of a lion. The dragon gave him his power, his throne, and great authority.”

What’s even more interesting is that there’s an “Angel of the Abyss” known as Abaddon. His description intrigued me, as “king of a plague of locusts resembling horses with crowned human faces, women's hair, lions' teeth, wings, iron breast-plates, and a tail with a scorpion's stinger” Since this character is up to interpretation, some religious scholars say this character is the Antichrist. Again, it’s a wild amalgamation of features that sound like Grim.

The Second Beast/Beast of the Earth, aka the False Prophet, is said to rise from the earth (a metaphor for Hell perhaps) and force the world to worship the antichrist. That’s one of the definitions of the false prophet, as one who seeks to lure humanity astray alongside the Devil. Is this some crazy foreshadowing for what Crowley will do in the future?!

And once again using Biblical texts, this second beast “spoke like a dragon,” referring to his arrogance and connection to the Devil. It reminds me of Levan’s title as Ryūgan Duke Levan,” or 竜眼公レヴァーン , aka “Dragon-Eyed”

Anyway. Back to the Dragon, it’s also referred to as the Serpent. Serpents in biblical lore are incredibly important- but are also very symbolic in TWST. I’ve made an post analyzing the serpents in NRC’s logo before, but as a recap, they’re also one of the symbols of rebirth in TWST. I’d like to add that snakes also considered symbols of Wisdom, which is fitting for “Sages Island.” Some religious scholars also consider the lying serpent in the Garden of Eden to be the “first false prophet.”

But the Ancient Serpent specifically represents the “Devil/Satan/the Dragon.”

The reason why I’m doubting Meleanor being the “Dragon” in this Unholy Trinity is because the Dragon attacks the WOMAN OF THE APOCALYPSE, AKA THE VIRGIN MARY 🏃‍♂️🏃‍♂️🏃‍♂️ IS MY MELEANOR THEORY COMING TRUE?!? ( I’m just being delulu but please humor me)

But what’s even more interesting is that again in Revelations, it’s said an Angel with a “key to the Abyss and a chain” locks up the Ancient Serpent for 1000 years. Hm?? Malleus literally said that everyone would sleep for 1000 years in his Overblot. What’s interesting about the Angel is that he has the key to the ABYSS…is this Angel meant to be Silver?!? Silver, who has a glowing ring protecting him from the darkness, and heavily connected to a magical sword??? So he the Angel with the “key” to the Abyss, aka Malleus?

So if Crowley is the false prophet…there’s a high chance he’s behind the Overblots. And remember: the False Prophet will force the world to worship the Antichrist. Is this to foreshadow how Crowley will make the Twisted Wonderland world fall because of Grim?

So let me recap what I think this means:

The Dragon- Malleus

The Antichrist- Grim

The False Prophet- Crowley

The Angel- Silver

The Virgin Mary- Meleanor

And you know what, let’s just throwing in the idea that Yuu is the Lamb that opens the Seven Seals, which marks the beginning of the apocalypse, and the Seven Angels/Trumpets are the Overblotters, WHY NOT. A theory to elaborate on for another day…perhaps it will be a series connecting the biblical apocalypse to TWST?

🏃‍♂️🏃‍♂️🏃‍♂️ANYWAY IF THE UNHOLY TRINITY THING IS INTENTIONAL IM GONNA SPONTANEOUSLY COMBUST

To Joy, I got really carried away with this theory, apologies if it sounds confusing, I did NOT mean it to go this far 😭😭😭 but I swear, that was a muse moment, your meme made ALL my brain cells connect for once and I feel like I’ve unearthed something important 🫡

Of course, let me just say that these parallels are not perfect (e.g Malleus being the Dragon despite Meleanor being the Virgin Mary) and some of these characters may better fit other Biblical figures better 🫡 But since I’m focusing on the Apocalypse part, I think that is idea is working, and I’d really like to delve deeper into research!

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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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