not the first drawing i did in it though

Dr Maru’s notes, translated

As an Assyriologist-in-training, I was pretty excited about cuneiform’s little cameo in Wonder Woman- there are no films at all about Mesopotamia, so even three seconds of flipping through a notebook of the languages I study was pretty exciting to see on the big screen. Now, I assumed at first that the writing in Dr Maru’s notebook, would simply be gibberish, but one thing about it stuck with me: how well copied the letters were. Now, Cuneiform writing was designed for clay and stylus, and it is BRUTALLY hard to write cuneiform symbols with pen and paper. You’d think you could just draw a bunch of triangles, but nope; the system was so clearly designed to use nuances only possible with stylus and clay, they’re nigh on impossible to accurately reproduce using pen. And whoever wrote that piece of paper did a damn good job of it. So, I remained convinced the text might actually have some meaning, and when I got home I started tinkering with it.

First things first: though the notes were described in the film as “Sumerian and Ottoman”, they’re not Sumerian. Dr Maru’s notes are very clearly written in the quite distinctive script of Neo-Assyrian Cuneiform, which was used on official inscriptions of the Assyrian Empire from around 1000- 700 BC. Sumerian died out as a spoken language in around 2000 BC and though it continued to be used in writing long after that in the same way Latin was in Europe, it was probably never written in the formal Assyrian script.

I’m going to safely assume the man who mistakenly called the page “Sumerian and Ottoman” got it wrong, but the fact that Diana doesn’t correct this, despite her vastly superior knowledge of ancient languages is interesting. Consider this though: historians estimate the destruction of the site of Hissarlik, which is thought MIGHT be the inspiration for the Troy legends to around 1300 BC, around the time of the Bronze Age collapse and dawn of the Greek Dark Ages. If we take this as the end of the Greek Mythic age and the hiding of Themiscyra in the DC Universe, Diana would only have been able to study Cuneiform scripts written before this period so she would know only Old Babylonian Cursive, or possibly even only Old Babylonian Lapidary. Neo-Assyrian script would be just legible with effort, but difficult for her to read.

Now, the way cuneiform works is that any one cuneiform symbol can represent one or more alphabetic sounds, OR syllables, OR entire words. Most stand for a number of those things, but some represent only one. The symbols that represent entire words are called Logograms, and they remained largely consistent through all the changes of the cuneiform writing system. If Dr Maru’s notes were primarily written in Logograms (which they turned out to be), it would make sense for Diana to still be able to read them despite the considerable changes between Old Babylonian Lapidary and Neo-Assyrian script, and also that she wouldn’t have to know Assyrian-era Akkadian to understand the logographic signs (because they represent whole words at once rather than spell them out alphabetically, they can be understood by speakers of multiple languages who know the signs).

So having sorted all that out, I began to translate. Virtually all the symbols were logograms standing for words like mountain, woman, king, builder etc, but a limited few stood for single syllables like “ru” or “ti”. This made no sense, because the signs used were consistent enough with the actual context in the film to make some sense and logically repetitive. Whoever wrote this knew what they were doing. Why intersperse them with random letters? I finally realised: Dr Maru is a chemist. The way her code works is that she uses mostly logograms, but uses signs for syllables when those syllables are our modern symbols for chemical elements. Every sign where a syllable-only translation was my only option, that syllable matched up with the abbreviation for a chemical element in the periodic table.

So, working with the assumption that Dr Poison’s code technique is using Logograms to represent whole words, and the symbols for sole syllables like ka, ga, la etc in their standard transcriptions from cuneiform to represent chemical elements, here it is at last, the first page of Dr Maru’s notebook:


 

To divide the town, one unit of the weapon to the throne of the builder: to please the builder, in the company of the god: lithium, 1 grain/seed of europium. 1 daughter of gold woman -  yours. Country [given?] to god and then [to] lord/god/king. Ruthenium possibility, carbon disulfide*, and then rhenium. May it be pleasing to the country. Animal shoulder** Uunhexium*** . Lord/god and then gallium, and then radium. Weapon, iodine, administrator.


*This sign can mean “tree, wood” or, just stand for the sound “s”. So, i was left with a choice between carbon and sulfur, and settled on the compound

**I have no fricking idea why that’s in there, but it’s definitely that sign. Maybe she wants to make a pot roast and scribbled it down? Someone draw me happy dr maru and her pot roast pls

***This sign was VERY hard to identify, but i finally settled on the Old Babylonian Lapidary sign for “uuh”. Uuh also happens to be the chemical symbol for Ununhexium or Livermorium, a rare earth element not identified until the year 2000. This is strange, because this sign is CLEARLY Lapidary, while all the others are in the Neo-Assyrian script. So my conclusion is that Dr Poison isolated Uunhexium 92 years ahead of the game, it’s her big secret, and decided it needed a unique Logogram of its own, for which she adopted the sign for Uuh.

3

4, 5, 6, go!

4

well is a silly comic.. but  i was thinking in how did King Dice started to suspect the Cupbros were up to something else; you know that they were not going to deal with the devil once they meet him again

so i though at the Die House II, these dorks don’t know how to hide their enthusiasm that they are going to kick King Dice and the Devil’s butt XD thus the King starts to suspect… hehe

also sorry if the english is bad.. X3

Energy Tethers 101

Updated (again): 04.28.17

*this post is fueled by angst*

Okay, no, seriously though, it really does make me sad that so many people seemed to have no idea what I was talking about when it comes to connecting things for energy transfer.


So, what even is an energy tether?

I personally use the term “energy tether” to describe this type of energy work, but they could be called anything - energy cords, energy feeds, etc. Basically, it’s a metaphysical connection to allow a direct and continuous flow of energy from a source into a target. And I say target, because it doesn’t need to be an inanimate object - it’s possible to do this with yourself too.

That sounds a little convoluted, Richtor; can you break it down a bit more?

Yes, I know, I’m fancy with my words. You’re creating an energetic line between two things, one thing to be used as a battery, to allow energy to constantly flow from the battery into the second thing, keeping it charged / powered forever.

Are you serious?

Yes.

Why don’t we do this for everything in magic?

Honestly, I don’t know. If you’ve got an understanding of energy work and visualization, it really isn’t even that hard to create one. It can even be done with representational magic if you really wanna go that far, but it’s not that complex when you get down to it. 

I’m assuming it’s just a case of, people don’t think about it like that, or, it wasn’t as widespread a thing as I thought it was.

Can’t we just do this with passive charging, like how we charge things in moonlight?

Yes, but objects only hold a limited amount of energy before they become full; once you’ve used up the energy, you need to recharge it again. Creating an energy tether allows a constant flow of energy, so as it is being used up by your intent or goal, it just refills itself.

To me, passive charging is no guarantee that the energy will stick or be absorbed by the object, and that is also why I prefer things that require focusing on the energy yourself (direct channeling), or this method.

What *can* you use energy tethers for, anyway?

Basically anything you want to keep charged for extended periods of time. Optimal for sigils, any sort of charms - hell, you can even connect thoughtforms / servitors this way. But, seriously, anything you want to keep constantly charged with minimal effort, this is a way to do it.

What can you use for “batteries” or power sources?

Anything that produces an almost endless amount of energy. The sun is the first and most obvious one I think of. You can use anything else that produces a lot of energy, though. If you live near a dam, or those electricity windmills, those would work. Power lines and electric generators are awesome, and a great way to incorporate different feels of energy (and tech magic) into your practice. Space, even; like, the entire damn thing. If it produces energy, it can be tethered.

What do you mean about different feels of energy?

This isn’t specific to tethers - all things that have and produce energy have different “feels” to them. The sun is more hot and energetic than the moon, which is cool and calming. Rose quartz is a bit more gentle than, say, jasper, which is hot and fire-y. Tiger’s eye is more solid and stable than clear quartz, which is fluid and mold-able to almost any intent. 

We all experience feels of energy differently, however; these are just how I “energetically feel” those things.

(You also don’t need to “feel” anything to still do energy work, but that’s like a  whole ‘nother post.)

Can you tether to something that doesn’t have unlimited energy?

Sure, yeah, but you’ll drain it, and then it won’t be fulfilling its purpose anymore.

So, you could use yourself as a power source?

You could, but it’s super draining and I wouldn’t recommend it. That object would constantly be taking your energy away from you, and it could have bad consequences, including physical ones - physical exhaustion is a side effect that can occur when you use too much of your energy, and I see it happen often to people who are not careful about their energy expenditure.

However.

You can create switches for your tethers. As in, you can cinch them, close them off, to stop the flow of energy. Like you can turn on a pipe to get water flowing, then shut it off just as easily - you could create a “modification” for a tether similar in that manner.

Can these energy lines be broken?

Yep, absolutely. You can do it yourself if you no longer want them, someone else could do it if they could sense them, or they can naturally fade over time if you don’t give them proper upkeep and care.

Wait, upkeep? What happened to endless energy?

Yes, upkeep. You’re creating something to funnel energy, with energy. Energy needs to constantly be molded and kept in shape, or else it tends to just drift away. It really isn’t that hard to upkeep, though.

How do you keep your energy tethers safe from other people? 

Just program that into them when you make them.

Any disadvantages to using an energy tether?

It depends on how you view the term disadvantage. 

I think the thing that energy tethers lack is that bit of personalization that we often talk about being important in witchcraft. For example, you can keep a thoughtform powered by the sun, but it won’t contain your energy, won’t be as personally tied to you as if you charged it with your own energies. That can lose a lot of impact, when you really think about it, especially considering the nature of thoughtforms and the like.

Not to mention, you can overwhelm yourself with energy if you use a tether to connect yourself to an external source that produces more than your body can handle. You know how you can be overwhelmed by external energies, just by walking around? Yeah, now imagine that pumping straight into your body without a natural exit channel. Not fun.

Are there any other applications for energy tethers?

Fuck yeah. Use them to draw energy out of a target, in the form of a curse - literally sap their energies away so they have none left for their daily lives.

You can even connect yourself and another person with energy tethers, if you want to be able to share energy more freely and with more ease. (This is basically what I did with @ashesforeverashes​, in a sense.) 

Some people don’t like their energies taken without consent, though, and certain witchy protections can even prevent these sorts of tethers from forming in the first place, so keep that in mind.

Okay, all this talk about tethers, are you gonna show us how to make them?

Only if you ask nicely.

Please?

Okay that’s better. 

It is essentially just a combination of energy work, intent, and visualization.

The first thing you need to do, is have an object you want charged.

Now, pick an energy source. You don’t need to be able to see it, but it can help.

Relax yourself, clear your mind if you can. Hold onto your object in your hands. 

If you can, look at your energy source; this is clearly not applicable with the sun, so close your eyes and have your face turned toward it. If you can’t see your energy source, picture it in your mind as clearly as you can. Try to get a feel for its energy as well as you can, too. 

Once you are confident with your source, imagine a cord connecting from it and to your object you want to keep charged. A nice visualization for this would be seeing the particles form together out of thin air to form your tether - literally materializing out of nothing and attaching to the source, creating a line that is slowly building down from the source and to your object. This can be done in whatever way you wish - just make it.

Take as long as you need to allow the cord to be build from your energy source to the target - it can take some time, depending on the distance and how experienced you are with energy work.

While you are creating it, focus on any attributes you want it to have - a thick cord that is hard to break, a shimmery appearance so no other magic users can see it, etc. Keep in mind the purpose of the cord, what you want it to do, how you want it to behave, and fuse that into it as it is being formed. If you wish to incorporate a switch, in order to turn on and off the flow of energy, now would be the time to do so - more visualization and intent, and declarations of “I can halt this flow of energy whenever I desire” should do the trick.

Once the cord is in place, you want to draw energy from your source and into the object, through the tether. Make it clear that energy only flows one way through this particular tether. Continue to draw from the energy source and down into the target, until you begin to feel the energy flowing through the tether naturally. Once energy is accumulating into the object on its own, you know the tether is complete.

For the upkeep; about once a week or so, focus on the tether and visualize it still being strong, without any gaps for energy to sift through. See a smooth, clean flow of energy from your energy source and into the target. If there are any obstructions, break them down and funnel them out.

What was this “representational magic” method you mentioned?

Oh yeah. 

As a boost, you can have a representation of your energy source physically attached to the object or target, if you can. So, for example, you could have a tiny model of the sun, connected to the physical vessel for a thoughtform, by a piece of string. This can help keep the energy tether strengthened in a “physical” aspect, especially if you bind the physical to the energetic. Not to mention, just looking at it, you are reaffirmed that the tether is there and the object is charged, and that can assist with the upkeep.

Are there any “modifications” for energy tethers?

Totally. You can change the “material” you make the tether out of. Think of how people can put spikes onto personal shields, or make them have reflective surfaces - it’s sort of like that, but moreso changing the tether itself into something besides a beam of light. It can be a black cord like the ones electronics use; it can be made out of natural rope or hemp; it can be just a metal pipe that the energy slides through. Try to think about how each “material” might impact the flow and/or feel of energy.

You can also have one tether break off and charge many items at once - you don’t need a separate tether for each thing. Just focus on your tether and how it can fork, and imagine another branch coming from it naturally. Or, if you’re adding a separate line after the original tether has been “installed,” imagine a separate line growing or being molded from the first and down to the new object.


And there you have it - my post on energy tethers. Obviously this isn’t complete or all encompassing. This is just my view on these energetic cords, what they are, and how they can be made and used. I wrote this off the seat of my pants, but I think I covered everything I intended to. (And it feels hardcore like the old windvexer posts to me, which I’m not bothered by lol.)

I hope this helps you guys, or inspires you, or whatever. If you have any more questions, I… guess I can open my ask box, as long as y’all behave. Good luck, and have fun!

Long Live Octopus Pie

Three cheers!

I check the webpage out of habit, but Meredith Gran’s comic work Octopus Pie is over.  I feel like this is how sports fans feel when a jersey is retired and lifted to the rafters, forever in its untouchable place, time divided between when it was active and whatever comes after.  

That might sound grandiose, but in my mind, nothing tops the ten year run of Octopus Pie.  And in the lifespan of what we call Webcomics, 2007-2017 is a granddaddy of a run, worthy of names like “pioneering,” “influential” and “groundbreaking” because in the space of those years, in this new medium, there was room to be those things without any hyperbole.  The comics landscape of the past decade needed filling out and Meredith carved her space out with precision, showing a polish and drive and a talent from the beginning that set a high standard.  

I’m guessing that I started Hark a Vagrant about six months after Octopus Pie began, but Meredith’s was already a name to be reckoned with, due to the solid reputation of her previous comic Skirting Danger and because she was an honest to god trained animator in a sea of stickmen comics or two-dudes-on-a-couch comics (RIP forever *kisses fingers, holds them to the sky*). I was intimidated by her sheer capability.  But inspired too.  I did not need to be intimidated, she was one of the first people I met in comics, and easily one of the best.

Meredith and I briefly shared an apartment and a studio, and I can tell you, she can draw circles around everyone you know.  I later shared a studio with Mike Holmes, who could also draw circles around everyone, and now the two of them are married in some sort of talent supernova.  I am happy for them, even though I feel like I make grade three crayon pictures next to them.  But the other thing that being friends with Meredith for a long time has shown is the cutting wit, the care for stories done right, the love for a medium that will take you through highs and lows that come with comics, and lately through her job as a comics professor, the nurturing of upcoming talent.  I see all of this in Octopus Pie, a comic where character was paramount, where plots were expertly moved, a fine balance was found between the messiness of people and the fun you can have with stories, where subtle emotional movements where rendered with room to breathe, where I felt like I could reach deep into the hearts and minds of the characters on the page because they had been fleshed out so well over the years that they seemed as real people, people that I loved.

I don’t really like that phrase “comics will break your heart,” commonly attributed to Schultz, or Kirby, it doesn’t really matter.  You see it all the time, mostly when people are reckoning with the fact that they work in an unforgiving medium.  I don’t even know what it is about the saying that I don’t like.  Maybe it’s because we all know that comics are hard work, we all know that you might put your life and blood and heart into something and you might get nothing back.  There are no surprises to be found there - it’s not a bad day you had, it’s a life you’re well aware of living, if you do.  But we love the perserverers in comics.  The people who live the phrase are the ones who inspire us the most.

I’m saying all this, and pardon the segue, because I have seen Octopus Pie, some of the finest story work of my generation, passed for recognition time and again and it confuses the hell out of me, truly.  I don’t want to turn a tribute to a work I hold dear into sour grapes, that’s not the intention here, but lord above, if I can’t point this out now, then when can I?  We all know that there are no guarantees in this life (comics will break your heart) but I’ll say this once and then leave it: this is a comic of quality that was miles ahead of so many of its peers, and it deserved better, industry wise.  To wrap up the earlier point, maybe I don’t like CWBYH because it implies that you should shrug your shoulders and not ask for better every time, that a short end of some kind of stick is expected even.  That’s easy when it’s yourself, but speaking as a fan now, I say to heck with shrugging, I want to put Meredith on my shoulders and parade her around and dump her into a Scrooge McDuck thing full of awards.  

Actually that sounds pointy and bad and the Ignatz awards are bricks to begin with so maybe forget that analogy but you get the idea.

I hope you read Octopus Pie, I hope you buy the books.  I hope the legacy of it is long and full, because it always will be for me.  And I think readers will agree, because I know this devoted fan base pretty well.  I read the comments, I’ve sat next to Mer at comic shows, I’ve listened to some of the emails that touched her.  I know this is a comic that meant a lot, to a lot of us.  In this world of work we put our hearts and souls into to begin with, that is a wonderfully worthy thing.

I do not know what Meredith will do next, but whatever it is, I am here for it, seat pulled close to the stage.  The retired jersey is in the rafters, the game is still being played by the people who dreamed better because it was there.  Aw what can I say, I’m sentimental!

 Thanks, Meredith. <3

4

Hello hello! So like I had mentioned in the two weeks of blackout, while I wasn’t posting any ML drawings, I did actually draw some. Though…admittedly not much, all things considered…ANYWAY.

Here are the doodles. Can’t actually remember what prompted the first one but the second one I drew thanks to a bunch of bad emotions at the time. The last one is from @siderealscribblings‘s Satisfaction Brought It Back (yes, I read that fic too because the writing and dialogue are so on point I couldn’t put it down even if *cough cough*..anyway moving on!)

I’ve also modified my watermark to include a “Do Not Repost or Re-upload” heading just in case it wasn’t clear to some of you (yes, some are doubled up with my old one but I just wanted to make sure :)) 

…I really like that last one, omg xD.

Anyway, PLEASE DO NOT REPOST OR RE-UPLOAD. AND also

Commissions are open! Currently 5 out of 8 slots are available :)

Well I saw this so I had to do it.

Thanks Foo for the amazing effect (:
Bonus Jotaro Being There for his daughter…I just really needed that :(
Edit: fixed Hermes’ triangles.

3

ZOMBIE

Zombies are perhaps the quintessential undead. Their ubiquity is due in part to their flexibility - anything that lives, dies. Anything that dies, can be raised as a zombie. Zombie humans, zombie dogs, zombie ogres, zombie dragons; all are potential foes when facing a necromancer of sufficient power.

In terms of necromantic finesse, however, zombies are pretty near the bottom of the barrel. An extremely quick fix to quite a profound problem (death), they are often little more than hastily-recruited servants, capable of a narrow portfolio of limited tasks (such as biting adventurers, or carrying trays) and fall apart at the slightest pressure. Outside of amateur necromancy (where zombies and zombie-like efforts are drearily commonplace), zombies are rarely used except as a “meat shield” (grisly literal in this case) to absorb an attack, or as a swarm to overwhelm a weakened foe.

-

My (Joe’s) first post since the Colossus, which was ages ago! Oy. I actually did an earlier version of this but I didn’t like it so I completely did it over. Maybe I’ll post the other one sometime. It wasn’t very good, though. I think both Blanca & I avoided zombies as a Dungeons & Drawings subject for ages because… zombies are quite ubiquitous as a subject of illustration? I hate saying stuff like that, but… I don’t know. You just see them kind of a lot, I guess. My theory is that they’re fun to draw because you can make them as ugly/deformed as you like and they don’t look weird (you don’t have to sweat proportions too much), and they are quite well served by relentlessly adding detail (wrinkles, wounds etc) - which also serve to mask any structural inaccuracies. Case in point - I only realised at the end of drawing this picture that the zombie’s right foot is backwards. In any other humanoid creature that would be grounds for another tiresome redraw, but with the zombie - you can just explain it away by saying something like “oh, this zombie was just assembled poorly”. Brilliant!

Anyway, Happy Halloween y'all!

- Joe

2

Hi there, guys, I’m back. I spent this weekend drawing commisions (not sure if I should post it though) and having some rest so I’m full of energy again. Yep, I’Ill try to give you your daily dose of MEA lol .

I decided to start this week ( yeah, it’s already Monday in my time zone) paying my debts. Several people asked me to draw solo Reyes. The first art is for you. Aaand some anon requested Reyes and Scott getting frisky on the dance floor. The second one is for you. Don’t know if I did it right but at least I tried.

That’s it. Hope you like it^^

2

drawings from the stream!! thank you so much again to everyone who came it was really fun <3!!

he held me, thinks sherlock, looking at john across the pillows in some kind of wonderment. john’s fringe is growing long again. his eyelashes lay blue-violet shadows on his cheeks. he’s been asleep now for the better part of half an hour. is that the word for it? that’s how it felt, i think. like being. protected, even though there’s no danger here. like he was gathering me up with all my pieces, keeping me together. 

does he know that’s what he did? held me, i mean. that way. 

john snuffles in his sleep, rubbing his cheek along the pillowcase almost in response. he had been fiercely respectful of sherlock’s privacy since moving back in, as though castigating himself at every near-cross of a boundary, and it had made his movements around the flat stilted and unsure, like every time he went to put a foot down, he had to first draw it back and double-check that he was allowed. you’re allowed, sherlock had told him, just that morning. whatever you’re worried about doing or not doing - you’re allowed. 

maybe, john had responded, quite easily, as if he’d been expecting sherlock to do it, but that still doesn’t mean i should. 

but then, the realisation, passing between them like an electrical current, the closed circuit of knowing flowing between them as visibly as lightning, had stopped them both where they stood. and sherlock had said, you know i want you to, then. 

yes, john had said, very, very quietly, i think so. you know why i’m hesitating, too.

sherlock had looked at him for a long minute, not deducing, not deciding. just seeing. yes. you’re afraid.

john had laughed. laughed, actually. aren’t you? 

petrified, which was true, but i think you should do it anyway, which was less true, in fact, but still worth saying. sherlock hoped he’d always say the things worth saying. he doubted he would, or that he even could, but it was a good thing to hope for, he thought. 

and so john had stepped forward. breathed. slipped one hand around the back of sherlock’s elbow, steadying him. had, so so slowly, so so softly, leaned in and brushed his mouth across sherlock’s. not a kiss - not really. that had come after. it was john, going to put a foot down and drawing back, double-checking that he was allowed. you’re allowed, sherlock had repeated, breathing against his cheek. i - i want you to. 

i - i want you to, too, john had said, more like a gasp than anything, like the strength of that admission had to be wrenched forward from somewhere he’d been keeping secret, i want you to be allowed, too. 

which had lead them here, to john’s sleepy heartbeat wearing into sherlock’s sheets and john’s hand on the coverlet, fingers curled in easy relaxation, those same fingers that had clutched and smoothed and held, and held, and held, and even though the fingers were there, now, on the coverlet instead of on sherlock’s hips and shoulders and neck and jaw and ribs and thighs and hands, there was the distinct sense of not having been let go. 

sherlock, john whispers, not opening his eyes. his fingers turn, reach, find, clasp. sherlock thinks his heart is going to burst right out of his wrist where it beats against john’s palm. you all right? 

yes, sherlock whispers back. did you know you held me?

john’s smile, lazy in the dark. sherlock wants to trace it with a fingertip. he thinks, probably, he’d be allowed to do that, if he tried, but it can wait until morning. was that okay? 

he shrugs. the covers shift. john’s thumb swipes back and forth across the smooth skin of his arm. i think so. i just. didn’t know if you knew. that that’s what that was, i think. 

it was, john confirms. the smile doesn’t fade. he tugs on sherlock’s wrist, gently, encouragingly. come here, and i’ll do it again, if you like.

sherlock inches forward, and john raises an arm to welcome him in until his head settles on john’s chest, with one arm draped over his back. he can hear the steady-slow thump of john’s heart. he can feel the smooth-shallow rise of john’s belly under his hand. i like holding you, sherlock, he says, rumbling and gruff through sleep and the saying of something that is difficult and daring to say, i’d like to keep doing it, if that’s okay. 

okay, sherlock says, and it is.

I mean, same difference right?

That live concert yesterday was awesome. I really need to draw Zero at some point :’D

Please don’t tag as kin/me - Please don’t repost to other websites - Please don’t remove caption ✮

Re: Amazon previews, leaks, etc

EDIT: So I’m being told that we are getting varying degrees of previews via Amazon, and that some people DO in fact see the second kiss. I have a Prime account and I don’t see it, so idk then, but still, let’s hide that shit behind a post cut or something if you want to post it! <3

Hi! I’ve gotten a lot of messages, so I figured I’d address it quickly.

First of all, THANK YOU for all the super sweet comments about the art. When I was first drawing Korra, I was really nervous about how my style would be received, especially since it’s a departure from the show’s art direction. While I’ve since accepted I can’t please everyone, I am very happy to know that many of you enjoy it.

Second, about the recent spoilers going around: The Amazon preview (from what I can see on my PC/Prime account anyway) contains a bunch of spoilers, so just a heads up if you don’t want to see it. I *did* see some screenshots going around Twitter, though, and the second kiss is definitely not in the Amazon preview, so it’s been leaked. Again, I can’t do much about it, but I hope the people who want to see it enjoy it and buy the book. My only request is to please be courteous to those who don’t want shit spoiled. I know it’s a futile plea, but I know how frustrating that can be.

On my end, I’m just very excited to have the book in my hands, since I haven’t seen it myself yet. Leaks are shitty, and while I hope there isn’t an illegal digital copy floating around the torrent world (there probably is) and it’s disappointing to have my work shown ahead of time without my consent, I am at least sympathetic to the excitement, and also just relieved that it’s largely been met with joy. I know there’s criminally little content for LGBTQ+ folks like us, and I’m really proud to have made an addition to the pool.

See y’all at SDCC!!!

Natsu and Lucy’s daughter live drawing from the Friday panel at NYCC. I recorded this myself, and had to sacrifice the quality in order to post it on here (tumblr has a 100mb limit). I didn’t know Mashima would get into her name or her appearance so I stopped the video right when he said he was done, but he did say she wears the scarf like her dad and explained her hair a bit. And if I remember correctly he said she looks like Lucy. About the names, Mashima mentions Nashi and Luna (probably because it’s Natsu and Lucy’s names combined, I don’t remember if he said that though). I also can’t remember if the fans mentioned the name “Nashi” first (because everyone was like “what’s her name???”) or Mashima did in this panel. I do think it was Mashima who said it first. But yeah, here you go! Mashima approved, lol!

Small rambling: He wouldn’t draw something that didn’t agree with his story and he wouldn’t mislead or be cruel to his fans like that. Mashima is a VERY nice guy who treasures his fans so much. He was taking selfies with us, posing with us, laughing with us, talking to us, etc. I’m so glad I had the opportunity to meet him. If Mashima did not want to draw the children of Nalu/Gruvia, then he wouldn’t have. He would have politely declined, but as you all can see, he had no issues whatsoever. The fan asking didn’t even expect him to draw it, she was just wondering what the kid would look like. Mashima himself said “hmmm let me try!” That’s what what happened with Gruvia’s too–I had a back up character for him to draw me (Gray) if he declined drawing their child. Luckily he was all for it, and truly enjoyed drawing the kids. He even requested his staff/friend take a picture of the Gruvia child for him to keep.

Anyway questions are welcome, though I really haven’t looked at my ask box since… well… yeah. I’ll try to get to that soon, and I’ll answer questions to the best of my abilities. It depends if I can remember exactly what was said, because I didn’t record everything. X’D

Edit: Okay my friend had the recording too.
She looks more like Lucy with her eye lashes. Has Natsu’s spiky hair. Dad’s scarf. And Mashima is the one who says her name after being asked.

@ whoever first made silena w a hijab bless you have a good day

Poor aphrodite kids having to wear the garish orange shirts, I like to think they work the system pretty well though. also this is my first time drawing a hijab, so please tell me if I did something incorrectly, thank you!

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SKETCHY BEHAVIORS | Heather Benjamin (RH)

Through her dense and detailed packed line drawings to her more focused ink brush pieces, Rhode Island based artist Heather Benjamin’s work is visceral, cathartic, and autobiographical. It offers a completely unapologetic and unflinching look into an artists’ own struggles with life, body image, self confidence, and sexuality.  We find her and her art to be inspirational, honest and badass.

We recently ran into Heather at her booth at the LA Art Book Fair and caught up with her a few months later to ask about her art, her experiences at RISD, her influences, and her thoughts about her work and her life. 

Photographs courtesy of the artist.

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