How Long Is 'If I Were A Fish'?

I've tinkered with water and fish illustrations for years, and shading water realistically is one of those satisfying problems that rewards observation more than secret tricks. Start by locking down your light source and value structure: the fish surface, underwater body, and the water plane all read differently. For watercolor I often do a soft wet-on-wet wash for the general water color, let it settle, then build darker shapes for the fish's shadow and the deeper water with glazing. Preserve the brightest highlights with masking fluid or by lifting pigment with a clean brush or tissue; those crisp highlights sell the sense of wetness and reflection. Don't forget refraction and caustics — the way the fish distorts light and how ripples throw dancing lines of brightness onto surfaces. I sketch those subtle patterns lightly, then overlay with thin washes. For opaque media, use thin layers of colored glazing or a light touch of white gouache for surface reflections. Play around: a little salt on wet washes, splatters for spray, and tiny lifted highlights often make the scene feel alive. I love how a single well-placed highlight can turn a flat drawing into a believable watery moment.

Watching the 'Arlong Park' flashback in 'One Piece' really drove home how raw and personal power can be in that world. To be blunt: Arlong didn't climb a tidy ladder or inherit a title — he carved out leadership by force, ideology, and opportunism. He originally belonged to the Sun Pirates founded by Fisher Tiger, but after Fisher Tiger's death the movement splintered. Arlong grew into someone who believed fish-men were superior to humans and wanted a crew and a domain that reflected that belief. He formed his own band of fish-men — the Arlong Pirates — and built control the old-fashioned way: muscular intimidation and exploitation. Instead of a respectful coalition, Arlong established dominance over stretches of East Blue, most famously Cocoyasi Village. He imposed taxes, murdered those who resisted (Bell-mère’s death is a brutal example), and forced people like Nami into servitude as a cartographer. Leadership for Arlong meant being the strongest and the scariest, and he used that reputation to attract fighters who shared or benefited from his worldview. A lot of fans mix up the terminology and think he led the 'New Fish-Man Pirates', but that label belongs to Hody Jones later on; Arlong’s legacy, however, certainly inspired the later movement. For me, Arlong’s rise is less about any formal ascension and more about how bitterness and isolation can create a leader whose rule rests entirely on fear and violent competence — a sobering slice of 'One Piece' worldbuilding that sticks with me.

The ending of 'Catching the Big Fish' has always stuck with me because it's such a beautiful blend of surrealism and emotional payoff. The protagonist, after chasing this elusive, almost mythical fish throughout the story, finally catches it—only to realize it's not about the fish itself but the journey. The fish symbolizes his unattainable dreams, and the act of catching it represents acceptance. The final scene where he releases the fish back into the water is so poignant; it’s like he’s letting go of his obsession and finding peace in the process. What makes this ending special is how it subverts expectations. You’d think the climax would be this huge, triumphant moment, but instead, it’s quiet and introspective. The artwork in that final panel, with the fish swimming away and the protagonist smiling, is just perfect. It’s one of those endings that lingers in your mind, making you rethink your own 'big fish'—the things you chase without knowing why.

David Lynch's 'Catching the Big Fish' is such a unique blend of creativity and meditation—it feels like peeking into an artist's mind while they’re daydreaming. If you loved that vibe, you might adore 'The War of Art' by Steven Pressfield. It’s got that same raw, no-nonsense approach to creativity, but with a focus on battling resistance. Pressfield’s voice feels like a tough-love mentor, while Lynch is more like a zen guide. Another gem is 'Big Magic' by Elizabeth Gilbert, which celebrates curiosity over perfectionism. For something more abstract, try 'Silence' by John Cage. It’s not about fishing or filmmaking, but it shares Lynch’s love for the unexpected and the quiet spaces where ideas grow. Cage’s experimental style might feel chaotic at first, but there’s a similar reverence for the unknown. If you’re into the spiritual side of creativity, 'The Artist’s Way' by Julia Cameron could be your next obsession. Her morning pages practice feels like a cousin to Lynch’s transcendental meditation—both are about clearing mental clutter to make room for magic.

I stumbled upon 'When Do Fish Sleep?' years ago while browsing a used bookstore, and it’s one of those quirky gems that sticks with you. The book doesn’t have a traditional 'ending'—it’s a collection of imponderables, those weird little questions that nag at you (like the title’s fish-sleep mystery). The author, David Feldman, wraps up by acknowledging that some mysteries just don’t have clear answers, and that’s part of life’s charm. What I love is how it leaves you with this playful curiosity. Instead of a grand conclusion, it’s more like a wink, nudging you to keep wondering about the world. The final entries are lighter, almost joking—like asking why we don’t hear about 'monkey bars' made for monkeys. It’s a reminder not to take everything so seriously, and that’s honestly the best 'ending' a book like this could have.

I stumbled upon 'When Do Fish Sleep? : An Imponderables Book' during a weekend bookstore crawl, and it turned out to be such a delightful surprise! The book is packed with quirky, random questions you never thought to ask but suddenly need answers to—like whether fish sleep or why we call it 'toasting' someone with drinks. It’s lighthearted but surprisingly informative, blending humor with legit research. The author, David Feldman, has this knack for making trivial facts feel fascinating. What I love most is how it sparks conversations. Reading it feels like having a fun trivia night with friends. It’s not a deep dive into science or philosophy, but that’s the charm—it’s perfect for bathroom reads or coffee table flipping. If you enjoy oddball knowledge or need a break from heavy reads, this one’s a gem. I still flip through it when I need a mental palate cleanser.

If you love the quirky, question-driven style of 'When Do Fish Sleep?', you'll probably enjoy 'Does Anything Eat Wasps? And 101 Other Questions' by New Scientist. It's packed with weird, wonderful questions answered by experts, just like the Imponderables series. Another gem is 'Why Do Men Have Nipples? Hundreds of Questions You’d Only Ask a Doctor After Your Third Martini' by Mark Leyner—hilarious and oddly informative. For something a bit more whimsical, 'What If?: Serious Scientific Answers to Absurd Hypothetical Questions' by Randall Munroe (of xkcd fame) is pure gold. It tackles ridiculous scenarios with real science, like 'What if everyone jumped at the same time?' or 'Could you build a jetpack using machine guns?' The tone is playful but smart, just like David Feldman's work. And don’t overlook 'The Book of General Ignorance' by John Lloyd—it’s a treasure trove of 'everything you think you know is wrong' moments.

I've always loved the way animators exaggerate features to make characters pop, and the big-lipped cartoon fish is a perfect example of that playful exaggeration. Back in the early days of animation, caricature was king — animators took one or two features and pushed them to ridiculous extremes so the audience immediately got the joke. That tendency collided naturally with real-life fish that already have pronounced lips (think parrotfish, wrasse, or certain wrasses and groupers), and the result was a recurring visual trope: plump, puckered mouths that read as funny, sly, or kissy depending on the scene. If you trace it through pop culture, you see the motif everywhere: mid-century theatrical shorts and TV cartoons leaned on rounded, expressive mouths to sell emotion when animation had to be economical. Later, the novelty animatronic 'Big Mouth Billy Bass' from the late 1990s turbocharged the image in a different way — suddenly a singing, lip-synced mount of a largemouth bass was in bars and gift shops, and that real-world gag fed back into how people imagined cartoon fish. Shows like 'SpongeBob SquarePants' and a raft of '90s–2000s cartoons used exaggerated lips as shorthand for character type (flirty, dim, or sleazy), while indie illustrators riff on the look for absurdist humor. I think the charm lies in the mix of biology and cartoon logic: nature gives you oddly shaped mouths, and artists amplify them to give personality. Whenever I sketch fish now I find myself tempted to overdraw the lips because they instantly make the face readable and hilarious—it's a tiny visual cheat that keeps working for me every time.