it's not even the same colouring

got7 as things my mom does
  • Mark: keeps repeating a joke even though its not funny and cracks up every time she says it
  • Jaebum: laughs and hangs up when i ask her to bring home mcdonalds
  • Jackson: calls me over from the other side of the house just to grab the remote for her when its literally right next to her
  • Jinyoung: talks shit about me when she's on the phone with relatives and gets even louder when i walk into the room
  • Youngjae: spams my phone with the same emoji over and over when i text her something
  • Bambam: complains and forces me to change my clothes if we're wearing the same colour because she doesn't want us to match
  • Yugyeom: cranks up the volume when her favourite song comes on in the car and makes sure to put all the windows down so everyone knows its Her Song™

Seeing as its Pakistan’s Independence Day, I thought I’d post these two racist tweets I just came across from my own people.

Many Pakistanis have an inferior complex against Bangladeshis and always look for things to look down on them. The discrimination Pakistanis hold against Bangladeshis stems from almost 50 years ago when the Pakistani Army committed genocide against Bangladeshis.

The army slaughtered men, women and children because of the language they spoke and the colour of their skin. Members of the Pakistani Army also raped between 200,000-400,000 women. To this very day many Pakistanis refuse to accept those war crimes even happened, and still defend what the army did. To this very day many Pakistanis still hold the same views that Bangladeshis are lower then them because they have a darker skin complexion.

Pakistan was a country that fought to have an islamic identity, yet its brief history is anything but. They even claimed that the ethnic cleansing they committed was to defend the religion, yet they also murdered and raped people of their own faith.

There hasn’t even been a single apology by an authoritative figure in Pakistan, for what they did to Bangladeshis, and many Pakistanis still keep quiet about this.

My Pakistani brothers and sisters, learn about the war crimes of our country and the genocide it committed, and teach your families aswell. If we want to thrive as an Ummah we need to accept and learn our past because they deserve justice.

Also, calling Bengalis ‘East Pakistanis’ is racist AF. They fought for their independence, because they were being oppressed, and calling them this is out of order.



Originally posted by bwipsul



-innocent skinship at first _-_

-but  each touch becomes less and less innocent

- Movie impersonations aLL tHe tIMe p.s. Worship my baby ples

-Lengthy conversations about whether people live inside the moon or if its just rabbits

- ‘Tae PLEEAASSE. people are looking at us funny’

‘what?! don’t you also believe the planets are actually holograms??!?’

-He’d be sooo into couple wear !!

‘y/n! Lets wear the same colour underwear!!’ *exicited af*

‘Next you’ll be asking if we can wear the same face’

‘oh…. *puts down his 3D LIFELIKE face mask of you*


- This baby would love smelling somehow helps him get to sleep

-Cuddleeesssss.and cuddleeeessss and more cuddlleeeesss

-Ever since you two started dating… practing with bangtan has become even harder than usual …. he honestly can’t be without for more than an 1 hour


- Your dating initiation ceremony included meeting his dog first because he uses his dog to smell ‘bAd pEoPle’ luckily you passed and almost ended stealing his dog because it was tOO daMn cUte

- Fort building competetions. You ended up winning which made him pouty because he wanted you to come and in live his fort but ended up coming to yours because it had wifi and he missed you~

-coming to dance practice= him taking up all the space and making his movement bigger than the whole bangtan +++bonus: Extra tongue. so much tongue infact it ends up falling out of his mouth

- Becoming best friends with jungkook and jimin.. Although jimin would be bit jealous because you stole his back up love interest (just in case it wouldn’t work out w/ kookie)

- This cutie would probably want you both to dress as old people on halloween because he feels that old people are underrated and should be appreaciated.


-You two would have each others backs when it came to webtoons. Whenever you needed a new one  all you needed to do was call *mating call*

- He’d show you off to rest of bangtan but not too much. He’d love to talk about how amazing you were and how much he loved you. which made bangtan puke… except for Jimin.. jimin was just crying at the loss of his back up lover T.T



Originally posted by taedamn

Originally posted by officialwookkibby

Originally posted by girlmeetsyoongismixtape


Originally posted by cmtae

Originally posted by suga-com

Originally posted by jeonbase

- This cutie would be shy shy shy(Forgive me Sana) at first and be fumbling around so much he might even end up falling of off the bed

- Since he would have initiated skinship much earlier, initmacy wouldn’t really be too much of problem for him




-tbh he’d probably do lap dances for you and take  pole dancing classes and LET THAT INNER HOE(SEOK) SHINE

☆ overall taetae would be sooooo adorable that you would probably suffer from heart failure but he would bring you back to life with his cUTE boXy sMILe.  FUNFACT: Almost all near death experience accounts are from you☆


Admin noodlecat

A healer’s guide to the Aura

As a healer, I regularly work with the aura to heal the pains of others. The aura reveals information about areas of the body that are holding physical, emotional and spiritual pains, and being able to see this allows a healer to work on removing this negative energy. There are seven layers of the aura, and each layer reveals information about energy that has attached to the body.

Aura is referred to in many spiritual and religious traditions, from a halo around the head of Christ or the Buddha, the rainbow body discussed in Dzogchen, to the parts of the soul discussed in ancient Egyptian beliefs.

Some people can see the aura with their physical eyes in the same way that they might see someone wearing a red shirt. This is rare, and there are people who tell you that you can see the aura by screwing up your eyes and looking at someone like you need a pair of sunglasses. This kinda works, but when someone can see an aura physically, they don’t need to screw their eyes up and look at people funny. Most people see the aura in their third eye or in their “mind’s eye,” or physically sense the color of the aura. This is where they see in their mind and not physically with their eyes. Some may not even see any color at all but sense something wrong in the aura and what that is connected to.
The aura also constantly changes colors as a result of spiritual influences, emotions, the physical body’s processes, etc. The aura is not one color for life as a lot of people seem to believe, and you don’t upgrade your aura color in the same way as a karate belt. It’s just flowing and changing constantly and may reflect a mix of multiple colors and energies.

Aura levels
There are seven layers in the aura and each reveals information about someone. These can be looked at to glean information on what needs to be healed. Accurately reading these layers can assist someone to fully recover from any condition. 
Etheric body: The etheric body extends 12cm from the physical body, and contains an imprint on the health of the physical body and the senses. It is connected to the root chakra. (Muladhara)
Emotional body: The emotional body is connected to emotions of the self, potential and motivation. It is affected by suppressed emotions, rage, anger, depression etc. It is connected to the sacral chakra. (Svadisthana)
Mental body: The mental body reflects a map of mental illnesses and pain, and when it is balanced it will keep the rational mind and the intuitive mind cooperating. It is connected to the solar plexus chakra. (Manipura)
Astral body: The astral body holds an imprint of the heart. Relationship pains with family, friends and partners are held here, as well as any hurts relating to discrimination and negative beliefs that have been used against someone. This is the body that travels to the astral and allows us to connect with spirits. It is connected to the heart chakra. (Anahata)
Etheric template: The etheric template will hold pain related to the expression of the self, and how we relate to the world around us. Balance here helps us to find our place through speech, creativity, expression etc. It is connected to the throat chakra. (Vissudha)
Celestial body: The celestial body is connected to the intuition, the spiritual realms and divine love. This is where evidence of spiritual attack can be seen the most. It is connected to the third eye chakra. (Ajna)
Ketheric template: The ketheric template is a protective force that surrounds the aura layers, that is strongly connected to universal love. It restricts incoming energies and if it is blocked or out of balance it will be unable to block spiritual attack. It is connected to the crown chakra. (Sahasrara)

Aura blockages
Aura blockages result due to negative energies that have attached to the body. These can come about due to almost anything, from physical illness, racial discrimination, holding hate in the heart, emotions, or even just listening to a friend talk about their back pain (and then you take on the pain yourself). Healers often talk about meeting people whom have pain in the exact same spot that a friend carried pain. In my own healing journey I’ve experienced blockages due to someone mistreating part of my body, to blockages in the throat chakra and etheric template that came about due to screaming or talking out of anger. So blockages can come from almost anywhere, and you’d be surprised what your body can carry around that you hadn’t even thought about.

Aura Colours
The Aura can be multiple colours in each of its layers one colour, or the colours can hang around a particular spot on the body. Really there is no limit in the potential for variation here. The list below is some of the basic interpretations of the basic colours. There is always potential for variation in the colours as well or potential for unusual colours that may not be listed below.
Red: Related to the physical body, and the more dense the colour is, the more intense the worries and fears that are collected and carried in the body, and the more damage to the DNA from emotional and spiritual attachments. it is connected to survival and the instinct. 
Pink: Loving, tender and compassionate nature. Can indicate clairaudience. When this colour is dark or muddied it indicates evidence of negativity being carried due to dishonesty or immaturity. Often the colour found around a pet when nearby their human.
Orange: Emotions, vitality, creativity. Muddied colour indicates disturbances in self understanding.
Yellow: Life and spleen energy. Colour of awakening and inspiration. Intelligence and playfulness. Muddied colour indicates struggling to maintain control, fatigue and stress. Taking on too much at once mentally.
Green: Related to heart energy. Indicates growth and balance, a healer and love centred person. Often the colour of a pet’s aura when around their human alongside pink or yellow. Muddy green indicates jealousy, resentment and playing the victim.
Blue: Cool and calm, the colour of beginning spiritual awareness. Related to the throat chakra. Peacefulness, clairvoyance and spiritual energy. Muddied colour indicates a fear of the future and unwillingness to face the truth.
Purple: Purple is the colour associated with the pituitary gland or spirituality. Visions of the highest level, someone connect with spiritual love. 
Grey: A blockage
Black: A negative aura, sucks energy into it. Indicates spiritual attachments to past life hurts, entity attachment, spiritual attack, etc.

Some Thoughts: White Diamond

With all of the new developments in SU, it’s easy to forget old inconsistencies, but these nonetheless have bearing on some of the current events in the show. When the Crystal Gems and the Ruby Squad arrive on the Diamond Base in Back to The Moon and Eyeball begins some dramatic narration.

She says, “Look at this place – frozen in time. An Era-1 base. Her Era-1 base. It was a tragedy, what happened to her.”

And the way this statement was followed up with Navy saying “Who is that anyway?” the answer being Pink Diamond, we’re led to fill in the blanks and assume this was Pink Diamond’s base.

But looking at the base itself, from the outside especially, nothing about its colour scheme or even its texturing resembles anything of Pink Diamond’s aesthetic.

This leads to an interesting question of who built the Diamond Base on the moon, why it was chosen for that location, and what purpose it served, all of which we’ll be covering in this video.

1. Relationships and Roles among Diamonds

Source: Joe Johnston

When we observe how certain places or objects are associated with characters in Steven Universe, colour is a big factor. For instance, we know Rose, Lion, and the Alpha Kindergarten are domains of Pink Diamond because of their dominance of pinks.

The Kindergarten Control Room, the Hand Ship, and even Peridot are all bright green, which would relate to Yellow Diamond and hint at a collaboration with Blue Diamond in the new order of Homeworld.

There is a scene in It Could’ve Been Great in which the camera zooms out and gives us an outsider’s view of the Moon Base. What we find is that the base is predominantly in colours of whites and greys, almost matching the colours of the moon’s surface.

And this would hint at the only other Diamond we have yet to see in the show. White Diamond.

What’s even more intriguing is that White Diamond is never mentioned by name in Steven Universe. We know of her existence primarily because of the Mural in the Moon Base and her presence in both reincarnations of the Great Diamond Authority logos, as well as the large white bust of her image on Homeworld. But the Diamonds don’t say anything about her, and she hasn’t involved herself in historically important events, such as the Trial of Rose Quartz.

In her depictions, there is a white shape who takes the position at the top of the logos. This would hearken back to White Diamond’s gem placement, which is on her forehead. The same white diamond shape is on the old Diamond Authority logo. Later on, the Diamonds are depicted not from the top view, but from the side, giving rise to the new emblem with three triangles.

But something else worth noting is the aesthetic that each of the Diamonds has in the mural, which emphasises the possibility that the Moon Base was White’s.

When we look at the Diamonds side by side in the mural, each Diamond is shown with the number of colonies and satellites under them.

There is more information than that.

For instance, looking at Pink Diamond, the other apparent object in her mural is the cluster of quartz stones at her feet, which are very similar to the ones we see in Lion’s pocket dimension.

One other thing is that the quartz clusters are coming from the ground, growing upwards.

Earth is Pink Diamond’s first colony. There might not have been reason for the military leader of Homeworld to hold a planet of her own at first. Eyeball says that Earth’s soil was very conducive to growing Quartzes. That means planets could be assigned by the kind of gems that could grow on them. 

Additionally, it could be that previously, there wasn’t as much need to expand Homeworld’s military. Given the way gems exhaust the resources of a host planet in the growing process, Pink might not have been very high priority in allotting colonies because prior to Earth, there may not have been huge wars that required the use of soldiers to take planets.

That would mean Pink is a little more inexperienced in dealing with colonies, but isn’t necessarily the temporal youngest. She’s growing upward because she’s still gaining experience and skills in terms of managing planets. On the other hand, White Diamond’s additional details are emanating outwards and downwards from her figure.

White has the most number of colonies. Also, white diamonds are the archetypal diamond. That is, the word diamond is often associated with a white diamond by default.

That could hint at the dynamic between the diamonds. Even though they were four rulers of the gem empire, when it came to questions and concerns, White may have been the face of the Great Diamond Authority, not necessarily the leader, but someone who serves as their face in public.

We can find the same sort of parallels in the other Diamonds.

For instance, Yellow Diamond’s upper torso appears to be rising from clouds, like a sun poking through. The sun imagery is also seen in the Yellow Diamond of the Serious Steven mural. In her hands are not only planets, but also two stars with their own satellites.

Yellow is known as the rational Diamond. That’s how Peridot describes what made her special. She would always be objective and practical. She always listened to reason and she seemed to espouse that as a leader.

That she was likely in charge of research and technology could be akin to enlightening or illuminating things that were previously unknown.

Her complement could have been Blue Diamond, which is why they have the same number of planet colonies.

Blue’s territory is the Lunar Sea Spire, which Bismuth says is “for thinkers to think in.” And that would give the impression that it housed philosophers and other practitioners of the discipline we’ve come to label as the humanities.

They would complement and balance the sheer “rationality” that Yellow’s faction cultivated. If a new technology were developed, should it be used and why? These are the questions that might have been asked.

This is also possibly why Blue Diamond was sent on the diplomatic mission in The Answer even though the rebels were from Pink Diamond’s colony, and why Rebecca Sugar associates blue gems with diplomats. The Answer took place in the budding days of the Rebellion, and taking back Earth without a fight was still a viable option. This implies that Pink Diamond was still present then, since Blue Zircon puts PD’s shattering at a time when Rose and the CGs were already well-known and established. Yet Blue was sent on the mission to capture the rebels.

So these points reinforce why the Diamonds occupy certain positions on the mural. These refer to their roles and not their personalities. It’s also clearer to see now the kind of stress a gem experiences when the role given to her doesn’t match up very well with her personality.

Given this understanding of the Diamond’s relationships, it seems odd that Pink Diamond’s base would be far away from her own planet, a place where the warps could not reach.

From the imagery in the mural, it seemed unlike her to rule from a point of distance and height. Rather, we’re given the indicators that Pink tried very hard to rule close to her constituents, which is why gems like Jasper feel a personal closeness to her.

It contrasts sharply with the awe that Peridot felt for Yellow Diamond. The latter feels a lot like someone talking about a celebrity; the former sounded like Jasper knew her Diamond personally even if we’re given the indication she didn’t.

If we combine that knowledge with the colour scheme and patterns on the base, even the inside of the base is white rather than pink. The Base looks more like something of White Diamond’s. It would then be a question of why something of White Diamond’s domain was so close to Earth.

2. White Diamond connected colonies

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haven appreciation week | day seven - free choice

together we could be the true story of how all good things come in threes… (x)

Can I Have This Dance? | Jughead Jones

Originally posted by sssssssim

Pairing: Jughead x Reader

Description: The school dance is coming up but you’ve given up hope in getting a date.

Warnings: none!

Word Count: 2014. It’s long, I’m sorry.

A/N: This is based off a prompt and… I don’t know how I feel about it? It’s cute, though so I’m posting it. Also, the image of Jug climbing up to someone’s window is cute so I’m sorry. I HAD TO.

“Ugh, I hate these things,” you groaned, ripping down one of the posters for the school dance that was coming up next week. Truth be told, you didn’t actually hate them - you just hated not having anyone to go with. You had your friends but at the same time you’d want just for once to go with a date. Someone that genuinely liked and cared about you you. Was that so hard to ask for? For a few years you had hope that someone might ask you but over the last couple of dances you’d just given up. It hadn’t happened so it probably wasn’t going to.

“Another night at Pops for us then?” Your friend Jughead asked, pulling open his locker and glancing at you as you screwed the piece of paper up and tossed it to the floor without a care in the world. “Whoa, littering now? What a rebel.”

You shot him a glare, opening up your own locker to pull out a few books. “Shut it, Jones. Pop’s sounds good, though. Burgers on you, milkshakes on me?”

“Unless you want to be the kind best friend that I know you are and pay for everything?” He casually threw his arm around your shoulder as you walked down the hallway to your class.

“You wish, pal.”

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My dad left when I was 10 to go on a tour, for 4 years. Afghanistan. And every single night I would have the same nightmare, that he wouldn’t come back. And when I told my mom that she didn’t even say anything, she just… she’d put her hands on my face and… I don’t know, I don’t know… I just- I felt really safe.

#she was really nervous and sad so he touched her face to calm her down because he knew that was the way her mom used to do it #i’m not crying you are 

anonymous asked:

Cats love Eddie. So, Richie and Eddie hanging out to the park where Richie wants to confess his feelings to Eddie but suddenly a lot of cats approach him and Eddie plays with them and Richie can't help but think that Eddie is very wonderful to this world and wants that cute boy to be his boyfriend.

hello anon-friend! this is like the cutest shit on the planet maybe? so i wrote you a  little thing? it’s ridiculous, honestly, like maybe the silliest thing i’ve ever written, and not quite what you described, but i hope you like it  ♡ ty for messaging me ;-;

Richie has it all planned out. First, he and Eddie will meet in the park. It’s warm, so Eddie will probably be wearing shorts, and he’ll be adorable, and Richie will be charming and effervescent and he’ll do his speech, the one he’s been planning for literally like, ten out of the sixteen years he’s been alive, and Eddie will probably blush and look at his feet, but then Richie will touch his cheek, maybe tilt his chin up with his hand, and then Eddie will say his name, will say something like:

“Oh, Richie, I’ve been waiting for this my whole life.”

And Richie will laugh, in a charming and effervescent sort of way, and say something like:

“I know, Eds.”

And then they’ll kiss and Stan and Bev will emerge from the bushes and let off the party poppers and shower them in streamers and it’ll be romantic and magical and totally and completely perfect.

That’s what’s supposed to happen. What actually happens is this:

“I’ve been stung by a bee,” says Bev, coming out of the bushes, Stan close behind her, looking pensive. “I’m going home.”

“You need to harden up, Bev,” says Richie, wringing his hands, glancing around to check that Eddie hasn’t appeared out of nowhere. “My life is on the line here.”

“Her hand is swelling up,” says Stan, and Beverly holds out her hand and okay, so it is swelling up a little bit, and it is weird and white-red and shiny looking, and she does look kind of freaked out. More freaked out than Beverly Marsh should ever look, because she’s easily the toughest one of all of them. Maybe it was a hornet. Maybe it was one of those bullet ants Eddie told him about in excruciating detail.

“Fuck,” says Richie. “Fucking… fuck. Fine. But leave the party poppers with Stan.”

“Do I really have to stay?” Stan looks pained, but he takes the party poppers Beverly gives him, and he waves sadly at her as she leaves.

“Okay, now get back in the bushes,” says Richie.

He hears Eddie before he sees him. He can’t hear what he’s saying, not really, but he’d know his voice anywhere, especially when he’s angry or frustrated, the way it wavers up to impossible heights, the way it sounds kind of like the edges of a scream sometimes, when he’s really panicked. But he’s supposed to be alone. He isn’t supposed to be angry or yelling or any of that and he’s definitely supposed to be alone. Richie squints across the park and then he sees him. Eddie Kaspbrak, gesturing wildly, surrounded by approximately ten stray cats.

“What the fuck?” whispers Richie.

“Richie!” yells Eddie, catching sight of him, starting this weird sort of hesitant run, because the cats keep crossing in front of his feet and almost tripping him up. “Richie, what the fuck?”

“What the fuck,” says Richie again.

Eddie gets to him, flushed and panting and surrounded by cats. Most of them are black and white, cute patched things with white socks and smudged faces and proud tails, straight up in the air, but there’s a little ginger one too, purring aggressively and fighting the others to rub up against Eddie’s leg. Eddie looks panicked and kind of traumatised, but he is wearing shorts, and he is adorable.

“I don’t know what’s happening,” says Eddie, breathlessly. “There was only one at first, but it called its friends or some shit, I don’t know. They’ve been following me for three blocks.”

“You’re like… you’re like a Disney princess,” says Richie, kind of mesmerised by the cats, circling Eddie like he’s their sun. “Fucking… sleeping beauty or the girl with the shoe.”

“What if I’m allergic?” hisses Eddie. “What if I go into anaphylactic shock and die?”

“Don’t worry, Eds, I won’t let you die.” Richie crouches down, holds his hand out, and one of the cats approaches him, cautiously, but most of them seem reluctant to leave Eddie. A fucking Disney princess. What the fuck. “They’re kind of cute,” he says.

“Yeah,” says Eddie, quietly. “Yeah, I guess.” He looks down at the cats helplessly, leans down to pet a couple of them, and they chirp and meow and jump against his fingers. He laughs, softly, scratches one behind the ears.

“I love you,” says Richie, standing up. “I love you, you weird cat freak.”

“Oh,” says Eddie, and he straightens too, and he’s flushed still, and smiling still. “Well, yeah. Took you long enough, Trashmouth,” he says.

They kiss, holding hands, surrounded by cats, and Richie only pulls away so he can kiss Eddie on both cheeks, on his nose, and then Stan emerges from the bushes and pops one of the party poppers, and Eddie shrieks and throws himself backwards, away from Richie, trips and falls to the ground, and the colourful streamers fall over Richie alone. Stan starts to laugh, no, starts to cackle, because he’s evil and has never done a single nice thing for Richie ever in his life. There are cats climbing all over Eddie now, and he’s giggling and trying to pet them all at the same time, and his hair is everywhere and okay, some of the streamers fell over him after all and the littlest cat is batting at them with its paw and okay it’s maybe the cutest shit Richie’s ever seen in his life, even if it didn’t go to plan. He’ll accept it. It’ll do. It’s pretty much totally and completely perfect.

“You know, party poppers can be dangerous,” says Eddie, from the ground, tickling one of the cats under the chin. “I’m pretty sure some kid shot his eye out with one once.”

“This is your future,” murmurs Stan, ominously, watching Eddie with a dubious expression on his face.

“I’m the luckiest guy in the world,” breathes Richie, and that’s definitely true.

Theory: Frank Miller's recent work is good, but it isn't getting the right colour treatment

Above: I recoloured that recent Wonder Woman cover Frank Miller did for DC last week. Mine on the left, the published version on the right. I did this to demonstrate a theory I have that despite the general critical consensus, there’s actually nothing wrong with Frank Miller’s recent art- it’s just that it isn’t getting the appropriate colour treatment.

So- I’m a cartoonist who mostly writes and draws his own material, but in January of this year I tried out to be a colourist for Frank Miller at DC. Not because being a colourist for the comics has always been my dream, but because I kept seeing some pretty awesome drawings of his being critically savaged. People were talking as if his recent drawings were the scrawlings of a lunatic. I felt like I knew why this was, and how to fix it.

I should add a disclaimer- this post isn’t a criticism of DC or the colourist who currently works on Frank’s art, who I’ve talked to, and who I learned was selected by Frank himself. The colourist who did the original work on the pieces I’m about to show you is an extremely technically accomplished person who does things I could never do. I’ve tried colouring like this guy does. It’s pretty hard!

Nor is this intended as a lionisation of my own abilities. Instead, this is a personal argument championing one type of colouring over another, and a defence of Frank’s recent work. 

Below is one of the Miller covers I recoloured for DC. My colours on the top, and the published original on the bottom. Here you can see the discrepancy between the potential I saw in these drawings, and what was actually being published.

I spoke to a couple of editors at DC and the consensus seemed to be that they loved what he was turning in. So why did every blog I read think it was the worst work he’d ever done? I believed I had the answer: that the colour treatment DC’s artists were giving to his art was, while technically accomplished, not flattering to the type of work he was doing.

My friend Julian Dassai said it best: “His work is dynamic and, in some cases, verging on abstract. Trying to color his stuff with representational lighting and rendering is pointless, whereas a flat, graphic approach (or just leaving it in b&w) allows the energy to jump off the page.”

My colour job, followed by what DC actually published:

Frank is an artist who is constantly evolving, and his new work seems to be somewhere between Jim Mahfood, Sergio Aragonez and Ralph Steadman. It doesn’t make sense to colour him as if he’s an Image comics artist from the 90’s, all gradients, shadows and shiny metallic finish.  

Here’s another one. Again: my work on the top, The published version on the bottom.

All these images I’ve posted so far have two things in common- they were all widely dunked on and derided when they first went online, and they all prompted responses of “WHOA, COOL!” and “I LOVE THIS!” after I recoloured them and circulated them amongst my friends. So what happened here is ol’ Frank became the butt of everyone’s joke when actually, there was nothing wrong with his drawings.

So how did this happen?

Well, check out Frank’s work in the Sin City comics. When Frank works in black and white, he’s a one-man band. But when he works in colour, he hangs back and gives the colourist a lot of space. He knows that colours and inks are two halves of a whole.

Above is a page from 1986’s The Dark Knight Returns. You can see just how much trust Frank placed in his colourist, Lynn Varley, to finish his work. As you can see, some of those panels aren’t even THERE in the original inks. Panel 6 is just an empty box. 

This approach has been proven to work very well, but the problem is it places the burden of the image’s success or failure squarely on the colourist’s shoulders. And if the colourist and Frank aren’t on the same page, we end up with covers that are the laughing stock of the whole internet.

It’s funny- even Lynn Varley could screw up colouring for Frank. Two years after their critically acclaimed work 300, they made their most widely panned book of all.

Lynn’s computer colouring on Dark Knight Strikes Again has all the invention and nuance of her colouring on Frank’s earlier work. However, to my eyes, her experimental digital art just isn’t a good fit for Frank’s traditional, brusque inkwork. The artwork in the book suffered a generally poor reception from fans and critics alike. 

I took a pass at colouring DK2, too. I include this not to throw shade on Lynn’s work, which has definite and strong merits of its own. Nor do I want to suggest that I’m a better colourist than Lynn (I’m definitely not). Rather, I just want to use a flat colouring approach to demonstrate that there’s nothing wrong with Frank’s pencils and inks in even the book that was generally regarded to be his worst. His lines have character and energy and do everything they need to do to tell the story, and with the right treatment would have looked pretty great.

We can apply the same lessons to Frank’s most recent work. I’d read a whole comic that looked like either of the recoloured images below.

DC liked my stuff, but they’re happy with the guy they already have colouring Frank’s work, and so my experiment has to run its course. Still, I want to believe that there’s something in here that we can all learn from.

It’s important to pick the right team, and to utilise a stylistic approach that’s harmonious with what the rest of the group are doing. If you don’t, you might just end up with something no-one likes even though you worked your butt off. As we’ve seen, it can even happen to an exceptional talent like Frank. That’s a scary thought.

Update: see more of my recolours here.

I think one of the biggest misconceptions that a lot of folks have about early tabletop RPGs is the assumption that high-level play is meant to look basically the same as low-level play, just with bigger numbers and different-coloured monsters.

If you look at the way they’re put together, however, that’s clearly not intended to be the case. Particularly among early versions of Dungeons & Dragons and its various imitators, there are clearly defined early, late and endgame phases, and in some cases, even a sort of postgame - though it’s often a challenge to tease out exactly what those phases are meant to look like; if there’s anything that early D&D and its contemporaries share, it’s being absolutely terrible at explaining how the rules are assuming the game is going to be played.

Take AD&D, for example - moreso the first edition than the second, though they both have similar ideas in mind. Folks often wonder what the deal is with high-level fighters spontaneously developing armies of followers. It’s kind of weird for them to just pop up out of nowhere as the rules suggest, and anyway, what good is a hundred first-level mooks in a high-level dungeon crawl? Wouldn’t they just die?

The answer is that, well, yes, they would be useless in high-level dungeon crawls, but the game is making a tacit assumption that dungeon crawling is no longer the primary focus of play at that level. Though it never actually comes out and explains it, the game has a baked-in progression whereby levels 9 through 11 mark a transitional phase away from dungeon crawling and toward domain management: fighters claim fiefdoms, clerics establish temples and train disciples, wizards begin constructing dungeons of their own and stocking them with monsters.

That’s why the rules want all those followers and infrastructure to just pop into existence at the appropriate level: to smooth over the boring setup phase and let you dive right into the fun parts of managing your domains. That isn’t to say that dungeon crawling stops outright, but it becomes a bit of a sideshow - if you’re tackling a dungeon, it’s a means to an end, not a goal in itself. Heck, if you’re a wizard, you may well be the one running the dungeon!

(That touches on another subtlety that often gets lost in translation, incidentaly. If you ever thought the spell list for high-level wizards looks weird as hell, you’re totally correct - from the perspective of a dungeon crawler. Look at it from the perspective of a dungeon administrator, however, and those spells’ intended purpose becomes much clearer. Prior to the game’s 3rd edition, which retooled itself to focus on dungeon crawling over the full span of levels, basically any wizard spell of 6th level or higher is operating on a totally different set of gameplay assumptions than the ones you might be expecting.)

Of course, none of this should be a new concept to modern players; many single-player CRPGs exhibit a similar transition from running fetch-quests to building and overseeing settlements at high levels, and even MMOs tend to have well-defined main game and endgame phases that share little in common in terms of their core gameplay. The problem isn’t that it’s an unfamiliar notion; the problem is the presumption that it’s a modern notion, when in fact the opposite is true - tabletop RPGs that remain focused on dungeon crawling throughout the life of a campaign are actually the more recent development.

anonymous asked:

Title prompt: I knew I loved you before I met you

Serena sits at her kitchen table, flips open the pad of off-white letter paper and uncaps her fountain pen.

‘Dear Bernie,’ she starts. She pauses for a moment, slips a letter out of an envelope and unfolds it to read again, picks up a small photograph from the table and gazes at it, smiling.

‘It’s been grey and damp here today,’ she continues, a smile still playing across her lips. ‘The sort of day that made me almost glad to be stuck in meetings all morning and in theatre all afternoon. Certainly not picnic weather! I’m hoping for a return to crisp autumn days soon – a chill in the air and all those glorious colours as the leaves turn. I know how much you miss it and I know this isn’t the same, but I picked this leaf up earlier in the week thinking it would give you a taste (if it even survives the journey, that is!).’

She picks the yellow-orange-red maple leaf up by its stalk, lays it carefully across her palm and thinks of Bernie doing the same three and a half thousand miles away in an Afghan desert.

She adds a few more details about her life these past weeks, replies to Bernie’s questions from her previous letter, asks questions of her own (the sort Bernie is able to answer, about how she is and the tricks her younger colleagues have been up to), reaches the end of another page and reluctantly signs off.

‘Stay safe, soldier. Serena x’


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anonymous asked:

Im a light skinned middle eastern person so I rly hope Im not overstepping any boundaries by talking about colourism. But like I KNOW I have it easier than darker folks?? Its pretty evident to me I don't experience discrimination at the same rate (or even close) as people of colour with darker skin. It does not take anything away from me to acknowledge this. Addressing other peoples struggles doesn't invalidate yours.

Lyra Erso and the red of enlightenment

This post will discuss events of Rogue One; beware spoilers.

Lyra Erso, the wife of scientist Galen and mother to daughter Jyn in Rogue One, appears on screen for only a few minutes. Very little is known about her beyond roughly sketched out roles: mother, wife, geologist and cartographer (known only through ancillary media), rebel-sympathiser, believer. Jyn’s journey is driven by her relationship with her father - then later the adoptive father substitute of Saw Gerrera - with little acknowledgement of her mother despite Lyra’s desperate self-sacrifice in a vain attempt to protect her family. As a result, Lyra’s most lasting impression is of her faith and trust in the Force. This aspect of her character, and its influence, is expressed primarily through (surprise!) costume.

L: Lyra Erso from Rogue One: The Ultimate Visual Guide, this unseen costume is slightly different from the costume seen on Lah’mu. Her more severe hair paired with the coat of her overrobe and overskirt both suggest that this was a scene set earlier - possibly shortly after the Ersos fled the Empire - that was cut. C: Lyra Erso on Lah’mu as seen in Rogue One. (Unfortunately I have not been able to find a clear full-length shot.) R: Erso Family version 2a detail, Glyn Dillon. Here Lyra is shown with a red headscarf to match her sash and overskirt.

When we meet Lyra she is living with her family on Lah’mu, eking out a farm life as they hide from the Empire. Lyra’s clothes are rough and well-worn and generally unremarkable, except for their explicit mirroring of Jedi robes. The layering, though practical in this environment, evokes the layers of the typical Jedi robes, most obviously in the crossover of her tunic and skirts. The high-necked underskirt calls back to Ben Kenobi in A New Hope - a man surrendered to an alien environment, hiding from his history and true identity. Not entirely unlike Lyra and her family. With a kyber crystal necklace that she passes on to Jyn, it is unmistakeable that Lyra believes in the Force and follows some tradition akin to the Jedi Order even if she is not a Jedi herself. (In early drafts of the script, Lyra was a one-time Jedi which would have pushed the precise implication of this costume in a slightly different, more heartbreaking direction.)

In a wider level, there must be loads of people who just believe in the Jedi and believe in the Force and have been affected by it. If it’s a really ancient religion, as Obi-Wan Kenobi said, it’s got to exist in thousands or millions of people in the galaxy.
- Gareth Edwards [x]

Lyra’s colours are soft and earthy, not unlike those favoured by the Rebel Alliance, blending with the dark landscape. Except for the bright slash of red in her overskirt. The Ultimate Visual Guide describes this as a ‘red sash of enlightenment’. Worn over a heavy padded underskirt and trousers, this overskirt and sash are a statement rather than practical, and given that at one point it was layered under a darker overskirt it is a loud and emphatic statement. Given Lyra’s actions when Krennic comes to abduct her family, she is a woman tired of hiding. 

This over skirt is similar to the hakama worn by Japanese Shinto miko or shrine maidens: a pleated skirt overlapped and tied at the waist. Today miko perform typical temple duties, but at one point they performed shamanistic roles not unlike the Ancient Greek Sybils: entering trances to communicate with spirits of the dead, elements or land in order to learn, purify and share divine revelation. In a less literal sense, this could translate to Lyra as a geologist, a scientist that has learned to understand rocks and the land; to let the world speak to her, even if it is not directly through the Force. Faith and science combined to allow a greater understanding and an open mind.  A similar garment is worn by Chirrut Imwe, a Guardian of the Whills, though his overall costume appears to be more inspired by a fusion Chinese hanfu and Buddhist robes. 

L: A modern miko or shrine maiden wearing the red hakama. C: Chirrut & Baze concept art, Glyn Dillon. ‘Baze is like a combination of all your favourite elements of star wars characters. the partial armour, the boiler suit, the cool gun, the backpack. Gareth really responded well to the red, so we put some red in Chirrut as well.’- Dave Crossman. As principal heroes, Baze and Chirrut’s looks will have been in development long before Lyra’s. The presence of this red and its importance is something that may have been seeded through the production’s costumes from this starting point. R: Chirrut Imwe in Rogue One. Note the layered skirts and sash akin to Lyra’s.

Although it is not stated if Lyra is in anyway connected to the Whills, or if she follows some other related faith, the similarity in these garments implies that either she has had some association or it is a widely adopted colour. On Jedha we see a very great many pilgrims, priests and guardians wearing this same shade of red in a number of different garments.

Red is a colour that typically holds Dark Side connotations in Star Wars,  though has also appeared in association with ambiguous but self-serving Night Sisters. Here, however, it appears to be a positive expression of connection. In China and India red is a colour of good fortune. In Buddhism, a real world influence on the Jedi Order, red is considered to have been a colour that emanated from Buddha when he achieved enlightenment, and a colour of protection against evil, a belief shared by Shinto. Red being used by these faith-based Force religions shows a difference in approach - a multitude of approaches - to the Force, to understanding and engaging with the Force and the wider galaxy.

Top: Nightsister concept art from The Clone Wars Bottom: Silvannie Phest, ‘Part of a colony of Anomids that have recently converted to become disciples of the Whills,’ Star Wars Ultimate Visual Guide. One of many disciples and pilgrims of the Whills seen on Jedha.

We see Lyra Erso once more in Rogue One - briefly, fleetingly in Jyn’s dreams, shrouded in shadow when she doesn’t have her back to the camera (and Jyn, as this sequence is shot from Jyn’s perspective.) A clearer image of this costume appears in the Ultimate Visual Guide (above.) This costume appears to be a fascinating intersection of Republic and fledgling Imperial fashions, a blending of styles and regimes. This short scene - a memory, really - took place roughly two years after the fall of the Republic. In that time Palpatine, a terrifyingly savvy and aware politician and Sith, would have implemented changes and redirection in fashion and textiles industries with effects rippling out from Coruscant and the core planets. Just like all other industries, fashion is a tool to be utilised and maximised to ultimate efficiency and reward, but in this case to control and manipulate the populace.

Lyra Erso on Coruscant, approximately 2 years after the fall of the Republic. In an early concept painting of this sequence, Lyra was depicted wearing a sari.

In 1930 Mussolini stated, “Any power… is destined to fall before fashion. If fashion says skirts are short, you will not succeed in lengthening them, even with the guillotine.“ In both fascist Italy and Nazi Germany, boards were formed to promote and enforce national fashions, to propagate conformity to their respective ideals: fashion was recognised as a key lynchpin for rapid social and cultural change. In Germany this led to a promotion of traditional and subdued wear, a push for modesty away from the extravagance and vanities of the French, idealising history. In Italy, however, it was the avant garde and modern that was hailed in fashionable circles, architecture and fashion shifting hand in hand. There was a search to control, measure and literally shape the body to achieve the Italian ideal future by fusing science and fashion. Imports and influences from other countries were banned in order to elevate purely Italian lifestyles.

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OMG so people have been saying how this new manga called “It’s difficult to love an otaku” (wotaku no koi wa muzukashii) is the josei version of GSNK, AND IT IS SO TRUE.


Side note: THE NEW MANGA IS REALLY GOOD. The ships are too good and there is actual romance and I melt bcas too realistically lovely and just OMG TOO GOOD. I RELATE TO THEIR OTAKU STUFF TOO. IN ALL, 103837382920/10 WOULD RECOMMEND TO READ.


danrdarrenc  asked:

aaron's so surprised when robert suggests they go on a proper date in front of people that he almost weeps with joy??? idk i think he might have kind of expected them to still be a little bit a secret in those first few weeks even though rob said he wanted them do it properly this time??? but then they end up on an actual date and aaron's overwhelmed that it's real??? 😭

Robert arrives like a whirlwind, to the scrapyard, wearing that deep navy coloured suit that make Aaron’s heart skip a beat (however cliche that might be), a pink tie neatly knotted at his throat.

There was something so delicious about his boyfriend in a suit, Robert oozing confidence in that same old way that Aaron had always found incredibly sexy, expect that Robert was his now, he could leer and stare all he wanted, and not have to worry about anyone noticing, finding out about the affair.

“Hiya,” Robert greeted, sliding into his desk chair. They were still figuring out their boundaries with PDA, wondering what and where was okay, and it was fine, really, that they hadn’t quite figured it out yet.

Aaron sometimes wondered how he’d react if Robert just kissed him at work, as if their relationship was the most natural thing in the world, because however right it felt, they couldn’t shake off their past, the places they’d started, that easily.

They would, one day - just, not three weeks into their very new, and very tentative relationship. They were acting like they were thirteen, all over again, doing nothing more than trading soft kisses, and sharing a bed to do nothing more than sleep - but Aaron needed slow, and whether or not Robert would admit it, he needed slow too.

This was the first time in Robert’s life he was out, after all (and maybe proud, Aaron wasn’t so sure, sometimes.)

“Hiya,” Aaron replied, giving him a sincere smile. “Good day?”

Robert nodded, leaning back in his chair. “You know me, love the sound of my own voice,” he grinned. “What are you up to tonight?”

“Nothing much, why?”

“Dunno,” Robert shrugged, fiddling with some paperwork on his desk. “I fancied doing summat with you.”

“We can just hang out at mine, then, mum and Charity are working tonight - hen party, I think.”

Robert gave him a funny look. “You what?”

“I….” Aaron trailed off, embarrassed. “I figured you’d want to stay at mine.”

“Do you think I don’t want to be seen with you, or something?” Robert asked, leaning forward in his chair, brow furrowed.

Aaron swallowed, suddenly uncomfortable. “I forgot,” he admitted, voice barely more than a whisper. “I forgot that you were seeing me, now - and not Chrissie.”

Robert looked at him, eyes wide, and sad, as though he knew the full extent of all the hurt he’d caused, as if he could look right into Aaron’s mind and see the uncertainty, see how unsure Aaron was of everything.

He stood up, crossing the portacabin in a few short steps, tugging Aaron up out of his chair. “I’m your boyfriend,” he said firmly, hands on Aaron’s waist. His eyes were sincere, the same way they’d been that night they’d kissed in the backroom, when they’d promised to give this, them, a real go. “I want to take you on dates, and show you off.”

Aaron ducked his head, cheeks bright red. “Yeah, alright,” he shook his head, wriggling out of Robert’s grip. He wasn’t so sure of how to deal with this, Robert being a boyfriend.

“I’m serious, Aaron,” Robert said, tugging at his sleeve. “I’m serious about you.”

Aaron hated the tears that welled up in his eyes as he looked at Robert, saw the genuine sincerity in his eyes. “I know,” he managed to say, biting into the skin of his lower lip.

“Let me prove it to you,” Robert said, cupping the back of Aaron’s neck, pulling him in for a soft, chaste kiss. “Let me take you out on a date - tonight.”

“Okay,” Aaron squeezed his eyes shut, letting himself revel in the feeling of Robert, of being wrapped up in his arms, Robert’s lips against his cheek. “Yeah, okay.”

Robert had come to his door, dressed in a deep maroon coloured shirt, leather jacket on, and a bright grin on his face. Aaron had laughed, at the knock on the door and the old school picking someone up for a date thing, but he’d gone along with it (until Robert had tried to open the car door for him, and then he’d threatened to batter him.)

It hadn’t really sunk in that they were on a date, like a real, proper date until they were sitting in a restaurant in Hotten, Robert glowing under the dim lights of the restaurant, menu in hand.

It wasn’t anything fancy.

It was a new burger place, one Aaron had been to before with Adam, and a few of his old mates from when he used to be a more regular customer at Bar West, but somehow, it felt infinitely more special, sitting in a booth with Robert across from him, Robert’s foot hooked around his ankle, as though it was the most normal thing in the world to do.

“I can’t decide,” Robert admitted, looking up from the menu, a look of pure concentration on his face. “You’ve been here before, right?”

Aaron nodded, finding it hard to find words, finding it hard to believe they were really dong this. “Everything is good,” he said, not having given the menu a single glance since they’d sat down.

“You alright?”

He knew.

Of course he did. Robert was developing this uncanny ability to read Aaron’s emotions, know there was something off without Aaron having to say a word.

“I wanted this for so long,” Aaron admitted, messing with the packets of ketchup and vinegar on the table, the shiny paper slipping between his fingers as he counted a beat, and then five more, before he continued. “I don’t know how to deal with it all now it’s real.”

Robert put a hand over his, the gesture the kind of public affection that Aaron had craved for so long. “I don’t know, either,” he admitted, a shy smile appearing on his face. “But we’ll figure it out.”

Aaron loved him.

He’d loved Robert for so long, he’d forgotten how it felt to not love him - but in that moment, sitting in a pokey restaurant in Hotten, Aaron wasn’t sure he’d ever loved him more.

Funny, how one date became the promise of something so much more - a forever after, if you’d forgive the cliche.

(Aaron was using a lot of cliche phrases, lately - but maybe thats what real love did to a person.)