Context here -> Comic
Congratulations: You managed to make me clarify the origins of a character as serious as Thomas
It popped in existence the same way an NPC would 😭
I am not mad at this reblog or anything to be clear, I find it really fucking funny
Hey how does Rosie react to Alastor’s blindness in your AU? His “eyes” more resemble hers and the other citizens of Cannibal Town now.
There's no platonic explanation for this /j
idk why it turned out so intimate, but i'm not complaining. I missed drawing them actually.
Me: trying to rewrite the dialogue, to stop it from being a sing Dialogue: turns into a song anyway (on the 2 first pages at least lol)
I like to imagine that they sometimes wrap >triple meanings into their words just to mess with each other, but they also know one another so well, that they easily read these double meanings, and it's almost like they're speaking in code, and with just few words they're able to tell much more, that no one else would get. That being said, read into their conversation as much as you want
He's barely standing btw, adrenaline ended some time ago, and now he's running on pure spite and pride
Writing villains people actually fear (and remember)
It’s not about darkness. It’s about precision.
1. Give them a contradiction. Villains are scariest when they’re almost human. “He always apologised before hurting someone.”
2. Let them think they’re right. No moustache twirling — just conviction. “I’m not saving the world. I’m correcting it.”
3. Give them a normal habit that becomes unsettling. • humming off-key • straightening objects mid-argument • collecting people’s abandoned pens
4. Make their kindness selective. Kind to dogs. Cruel to friends. Kind to children. Absent to their own.
5. Make their presence change a room. Not with theatrics — with tone. “The laughter thinned when he stepped inside.”
How to make antagonists who aren’t evil (but still hurt you)
Some of the best antagonists are just… people.
1. Give them the same goal as the hero — different methods. Hero wants peace. Antagonist wants peace. Hero uses unity; antagonist uses control.
2. Let the antagonist be right sometimes. That stings.
3. Make the hero almost agree with them. “You’re not wrong,” she admitted. “But you’re not right either.”
4. Show glimpses of softness. “He tucked the child’s drawing into his coat.”
5. Let them break their own rules. Instant complexity.
Charlie: Hey, Alastor, have you seen my dad?
Alastor: Ih, yes, I ate him.
Charlie: Okay, thanks.
Charlie: waIT YOU WHAT?!
-
Lucifer: Hey, any idea why Charlie is sobbing into a pillow in the living room with Vaggie.
Alastor: Since when did we share any form of communication beyond venom?
Lucifer: That does not help me.
Alastor: I told her I ate you.
Lucifer: Wow, rude. You could just tell me what she’s upset about, but fine, be that way!
Alastor, to camera: And this is why I hate people.
average Seattle polycule living situation or something
fucking double decker couch
