DPxDC: Jarro Adopts an Alien
Ok, so Danny has a space obsession and a protection obsession (I headcanon that as a halfa, Danny has two obsessions like all Halfas do which makes them unique to other ghosts.) and so while he can get his fill protecting people in Amity, he struggles with his space obsession. Sure, he can look up everything he can about space and the stars on the internet. He can stay up until 2 am looking at the stars (who needs sleep? He’s a ghost, he can go days, or even weeks without sleep if he wants, same with a lack of air or food.) but it’s just not enough. He craves to learn more, see more. Just as Dani gets that itch to travel, Danny wonders. What would it be like to see the stars up close? Are they really as hot as a dragons fire breath? Hotter!? Or maybe they are so hot they are cold. What does it look like to see plasma dancing across the surface, or touch the gasses of Jupiter? Does Pluto have ice caves like the far frozen? How many planets are actually out there? What about Mars. There’s a whole species living there with a language and culture Danny can’t even fathom! Oh what he wouldn’t give to talk with martian manhunter or Superman.
And what’s stopping him from exploring this? He can fly. He doesn’t need air. He can go intangible if it gets too hot and he’s practically immune to the cold. He wants to touch a space rock! See if they are smooth because there is no wind or earth to rub against them and erode the surface. He wants to see what planets they come from. What minerals they might have. He wants to know if there are currents in space. All of these things are right there just above the atmosphere. Surely it couldn’t hurt to take a quick peek. So he does. During a particularly bad day Danny flies as fast as he can until the earth’s gravity looses its effects. Until his hair is floating as of it’s in water even more than normal. Until he can feel when breathing no longer became a choice (still not necessary though). And it…was beautiful. To be surrounded by space. To see the earth like this. Pictures just didn’t do it Justice. He flew across the solar system and as he passed planets, he longed to fly through them. To search every crevice and learn their secrets. But he had a bigger prize in mind at the moment. The crown jewel of their universe. The closest star he could find. The sun.
Danny was mesmerized. The plasma really did dance across the surface. Like a never ending performance of science and beauty. There were sparks that few in arcs. Danny flew down and played in them, making a game to see how many he could fly under. His ghost core purred in delight. His obsession had never been more satisfied. He spent hours out there. Just exploring what his solar system had to offer. So when he returned? He couldn’t just forget. Pictures and online science theories had nothing on the real thing. He wanted to explore some more. So he did. Every night he would go out and explore the cosmos. Flying from planet to planet. (Either the Martians were still around and Danny made friends with them, even learning their language, or he just looks at their ruins to learn as much as he can). And with both obsessions now being filled, Danny is more settled. More confident. And he can focus better. Everyone notices the change, even his teachers. They just think that he’s paying more attention to his education now. He’s even better during his ghost fights.
But Danny can fly awfully fast. And he soaks up information even faster. Soon his trips take longer and longer as he flies further out. Sometimes he can barely make it back in time for school. And he can't go every night. Sometimes the ghosts won’t wait for daytime so he has to make sure the town will be safe in his absence. Although he’s been able to take more trips ever since Valerie joined the vigilante ranks. But still, he’s getting farther and farther from earth each night. Until one day he’s visited every planet, every star, every comet or debris in their solar system. Which would be fine. He could deal with that if that was all there was. But it wasn’t. Danny saw the stars just out of reach. He saw places the Milky Way was leaning towards. He saw just the barest hints of new solar systems with new planets and stars. And he knew of legends from lanterns that they had posted online. Heard tales from some scientists that have made better telescopes. And his core itches. It aches to know more. See more. Yet he can't go further. And this puts him in a sort of depression. Suddenly he’s back to his old self. Lagging behind. Distracted. Zoning out. Crashing into a few more buildings during ghost attacks. Yet he tries so hard to be satisfied with what he has. He can still fulfill his obsession…it’s just more like chewing on a granola bar rather than eating a decent meal. He’s almost becoming lethargic.
So one day he goes to Frostbite to see if there’s anything he can do to lessen the effects. But the yeti just takes one look at him and gives him the infimap. And suddenly Danny is in a whole new universe in seconds. The planets are purple. The stars are blue. He’s pretty sure there are furry blob-like creatures living on one of those planets. And suddenly he gets that itch, but holding the infimap, he knows he had time, so he lets himself go.
And for a while it’s good. great even. Since he can’t keep asking the yetis for the infimap, he goes over to Wulf to see if he’s up for an adventure. Most of the time he is and they go exploring the galaxies together. And then Wulf had the genius idea of teaching Danny how to make portals. It took a long time but soon, he could concentrate the surrounding ectoplasm enough to weaken it and pull. It took a while since Danny didn’t have ecto claws and would have to use his pure will. But this would allow him to follow his obsession anytime, anywhere. So it was only a matter of time. And once he figured it out? It was like something was unlocked. Danny had never before understood how Ellie could travel so much. But now he did. That feeling when you discover something new. When you add to your reservoir of knowledge. When the patterns in the universe just click. There is nothing Danny could compare it to. And to explore that whenever he wanted? It was so freeing. While Wulf sometimes still joined Danny’s adventures, Danny did most of his explorations by himself.
He meets various planets and aliens. So many different cultures. He learns thousands of languages. Tries all kinds of foods (and it’s a good thing his ghost self has an iron stomach and he’s basically poison resistant.) even found a whole comet where blood blossoms grew. (Which he most definitely avoided). And wasn’t that fascinating? To find out they were from space.
And then during his travels one day he met a space alien starfish.
It was actually a funny story. A meteor shower was about to attack a planet of talking blue monkey creatures with 4 arms. Danny immediately started diverting them and was soon joined by some lantern corps (which his inner fanboy wanted to talk to so bad.). And a tiny starfish in a…Robin uniform? Oh and the starfish could apparently do martial arts which was interesting to watch him karate chop a meteor. He could also talk directly into Danny’s head which the halfa found more interesting. So they got to talking and apparently his name was Jarro. He seemed to be helping the lantern corps as a ‘proxy from earth’ to make better use of his skills.
Danny would run into Jarro a few more times. Sometimes he was with Lanterns and sometimes he would just be exploring the galaxies. They started forming a pretty strong friendship and Danny would start seeking out the starfish alien to travel with him. He knew all kinds of space facts. Apparently he had an eidetic memory. When they explored, sometimes Jarro would just stick to part of Danny. Wrapped around his arm, his waist, sometimes just sticking to his back like a strange backpack. But they always had fun.
So Danny was happy. He could fulfill both obsessions and got a space pal. Everything was great!
Until the GIW caught him.
It would probably be the worst day of his life. There was an explosion in the lab. Something set up by them after they realized Danny frequented that place often. So they set a trap and blew it up. Thankfully, Jazz was at college during this but both his parents were home. When the explosion went off, Danny had tried putting a Barrier around them all. It took everything he had to maintain it. That’s how they found out he was phantom. Danny had a few moments where his parents said they accepted him but he couldn’t hold the barrier for long. His parents said that they loved him and then everything went green. He woke up in a lab, tired and injured. His only saving grace being that he remained in phantom form. And he was determined to remain so.
Danny’s time at the GIW was a haze but eventually, he managed to escape. Bleeding, and tired, and still recovering from the burns in the explosion, Danny made a portal straight to Amity. Only when he got there, it was a ghost town. Streets were empty, buildings were boarded up. Even the Nasty Burger was deserted. As for his house, there was nothing but a crater left and some scattered debris. Danny looked everywhere but there was no one. No Jazz. No Sam. No Tucker. No one. and he was tired. And everything hurt, and he needed a friend. Someone he could trust. So in a daze he made a portal and tried to just project safe. Safe safe safe. Somewhere he knew he would be protected. And so Jarro got a surprise when his space buddy suddenly popped out of a green portal, bleeding green and clearly passed out. He didn't know what to do. He didn’t know how to help him. But Jarro knew someone who would.
So with a speed never before seen from a tiny starfish, he flew to earth. Bringing his friend straight to his father. Because surely batman could help!
And with his appearance, the green blood, the knowledge of space facts. The lack of wanting to talk about where he came from (and the nightmares crying out for his parents). This is how the bats became convinced that Jarro brought them an injured alien.
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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.
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