JADE WINGLET ARTDUMP!!

Last Tribe A Day run cycle was today so I decided to combine them all to show the differences!

ID under the cut

[ID: Seven sketchy animated run cycles, all of the original dragon tribes from Wings of Fire. They alternate sides as they go down, starting with the top one on the left and the second on the right, and so on. The background is a blank white. Each dragon has shaded limbs to help see the differences while in movement. The right wing is the darkest shade, followed by the left wing (closest to the screen), the the right legs are the lightest shaded. Descriptions are in order from top to bottom:

Mudwing: Drawn in a dark red. The thickest dragon by far, opening is mouth in a smile as its front legs hit the ground. Its large wings have four toes as if they were a third set of talons, which is used as another set of legs while running. The wings lift off after the back legs. The entire body bobs with its weight while it runs, lunging with its back legs. One of its back legs disappears while it runs (oopsies) and its large tail flicks with the run.

Skywing: Drawn in a darker red. Much skinnier dragon with longer limbs and larger wings. Its large wings remain slight open above its border, slightly bobbing as it moves. The body itself doesn’t move up and down, instead just twisting with movement of its limbs. Its tail is a little stiff, again just moving up and down. As it runs, one foot touches and leaves the ground at a time.

Icewing: Drawn in a dark blue. Its body and shape is ridgid, its head swooping up and down like it lunges with every time its front talons land. Again, its wings are used as a third pair of legs, however they are mostly used after the other limbs are mid-air. Its talons are visibly sharper, as well as its wings. Sharp spines on the back of its neck and end of its tail are visible as well, which bobs with the movement.

Seawing: Drawn in a dark blue. A thicker, long dragon with short but thick limbs and webbed frills along its spine and sternum. It’s thick tail continues the up and down curve it’s body makes with every move, flicking the end of the frills as it does. Its wings are semi open above its body, bobbing with the running movement and tilting up and down as its spine curves.

Sandwing: Drawn in a warm brown. Long limbs but thicker than skywing. All four feet lift of the air when they’re closest during the run, each foot hitting the ground one at a time. It’s barbed scorpion-like tail bobs up and down at the end. Its wings are folded and stuff near its shoulders, tilted diagonally. A solid frill lines its spine, biggest at the back of its neck and above the back legs.

Nightwing: Drawn in a dark purple grey, and by far the stiffest run cycle. Thick body with short but thinner legs than mudwings or seawings. Spikes line the spine all along its body, longest at the back of the neck and back of the body. Its wings are held stiffly and slightly folded over its body. Other than the legs and tail, most of the nightwing barely moves as it runs, and its legs hit the ground in pairs, front legs then back legs. They don’t even cross between each other at the closest part in the run. Its mouth opens and closes as it runs, not in any particular expression, I was just bored.

Rainwing: Drawn in a muted dark green. By far the bounciest run. It has a thin body and a head I accidentally drew a little big. It’s three-toed wings are used as a third pair of legs, used most right before it’s front legs hit the ground. Its front legs hit the ground at different time, however the back legs hit and leave together. Its tail is by far the longest, curled at the end and slightly unraveling as it flicks up and down. Beneath the curved horns is a frill with two connections that slight opens and closes with the movement. It’s grin also opens and closes with the movement.

END ID]

let's get ✨vulnerable✨

i heard there was a special place...

made a zine!!! this was so fun :D

Me: "I'm going to set myself a reminder so I don't forget about this thing later" proceeds to forgets to set reminder and forget about plan later.

Me the next day: "I feel like I forgot something... Oh shit!"

I can imagine this scenario in my Trigun Modern Au happening a couple of times.

Wolfwood and Vash get into a fight. Like not a shouting match kind of fight. Like a full on knock down, drag out, fists and teeth and full on violence type of fight. The kind where knuckles split and noses bleed and all that.

Adelha doesn't stop them. No she does not. She herds her puppies and kitten into her bedroom to shut them in. Then she just sits and watches these two duke it out. No words from the Irish lass as she waits for them to get it all out and do the macho fistitcuffs.

Both men end up laying on the ground and huffing for air. Wolfwood is cussing in between pants and growls. Vash is doing his best to get more air as he silently seethes. But then both men have Adelha kneel over them to just lightly tap each of them on the forehead. Her way of saying their fight is over. She gathers her adopted family and current dumb men to the bathroom. Packs of ice on black eyes. Her first aide kit is out and she is tending to scrapes and split skin. While she gently talks to both men. She doesn't scold them for fighting. She doesn't lecture them about the idea that violence isn't the answer. She instead talks them through what started the fight. She reminds them both they are unconditionally loved. That they are friends and family to each other and to her.

Adelha acts as the calm soul to get them to sort their emotions and thoughts after the anger and ferocity has worked out of their systems with healing and love. She gives them a balm to their aching spirits and their aching bodies. Vash asks why she didn't stop them. To which she states a simple truth. "Sweetheart. You both needed to let it all out and act on the rage and tension. It's not the first fight I have seen where two people duked it out over a conflict. It will not be the last one either. I've gotten into a scuffle or four, myself." Wolfwood and Vash looked shocked to hear that.

Wolfwood and Vash find out later from Adelha's guardians that she has gotten into bar fights before. Eugene and Claude smiling like proud parents as they recall the time a braggart got too drunk to keep his hands to himself. He'd decided to take a swing at a terrified bus boy for no good reason. Next thing the bastard knew, he was on his ass and sporting a broken nose from Adelha getting involved. He then got his ass handed to him the next night when he came back looking for trouble slash revenge on the bus boy. How Adelha had hauled him into the back alley and gave him a pummeling. Eugene grinning wide as he noted he'd never been happier to pay bail for anyone than when Adelha had gotten arrested along with the drunk.

it's november 16th and my best friend brought up my tweet from 4 years ago where i said that if anyone was overwhelmed by what was happening on the dsmp they could go watch phil because he made sure he would have a chill stream that day and oh this did not age well LMAOOO whenever i see this i just have to laugh

How to Write Better Villains (Because Your Story Deserves One)

There’s nothing worse than a forgettable villain. You know the type: cartoonishly evil for no reason, monologuing their master plan to no one in particular, and vanishing from memory the second you finish the book. A great villain, though? They haunt your thoughts, challenge your hero, and—sometimes—you catch yourself *agreeing with them*. If you want to level up your storytelling, here’s how to craft villains that stick.

1. Give them a reason to be bad (and make it make sense)

Nobody wakes up one day and just decides to be evil (unless they’re in a Saturday morning cartoon). Real people are shaped by their pasts, fears, and desires—and your villains should be, too. Maybe they believe they’re saving the world, just in a way that costs too much. Maybe they were betrayed and now trust no one. Whatever the case, give them a *why*. Even better? Make your readers *understand* that why, even if they don’t agree with it.

2. Avoid the evil-for-evil’s-sake trope  

Mustache twirling is out. Complexity is in. A villain who kicks puppies just to prove they’re the bad guy is boring. But a villain who feeds stray dogs while orchestrating a political coup? *That’s* compelling. The best antagonists aren’t evil—they’re driven. And when their goals put them in direct conflict with the hero, *that’s* where the tension comes from. Let them think they’re the hero of their own story.

3. Let your villain challenge the protagonist in meaningful ways  

Your villain shouldn’t just be a physical threat—they should challenge your hero’s beliefs, force them to make hard choices, and maybe even make them question themselves. When the antagonist represents a deeper, thematic opposite to the protagonist, you’ve got literary gold. Think of how The Joker unravels Batman’s moral code, or how Killmonger forces T’Challa to reconsider Wakanda’s isolationism. Conflict isn’t just punches—it’s philosophy.

4. Make them unforgettable

Whether it’s a chilling line of dialogue, an eerie calmness, or a twisted sense of humor, give your villain something *distinct*. Personality matters. A unique voice, a specific mannerism, or an unexpected vulnerability can elevate your villain from “meh” to “iconic.” Think about what makes them tick—and what makes them *memorable*.

5. Don’t be afraid to make them right

The scariest villains are the ones who are *almost* right. When a reader can see where they’re coming from—or even agree with some of their points—that’s powerful. It creates tension not just in the story, but in the reader’s own mind. And that’s exactly what a good villain should do: make you question, make you uncomfortable, and make the story impossible to forget.

What are some of your favorite villains in fiction? Drop your favs (or your own villain WIPs) in the tags or replies—I’d love to see them!

Honestly, I love it when characters relapse. When someone who’s gotten over their anger issues falls into a situation so out of their depth they fall back on their old habits. When someone who’s learned to open up becomes a recluse again in order to cope with something outside their control.

There’s just something so horrible, so toxic, about watching a character grow and then slip back into their old selves in order to cope, bc you know they still care, that they’re the same inside, but watching them hurt so hard they don’t know what else to do brings a sense of catharsis.