#<- drew it with that in mind :9

[ech0-0nslaught]

first post hi guys 🐟

[jaso7]

age reversal :heart_hands:

[snailfen]

at the very least heres this. go my suitloon qpr

[shitty-skyblings-doodles-daily]

still really not feeling my a-game today. sorry chat </3

a few more simple goobers, except today they’re sitting! we will (hopefully) be back to our regularly scheduled programming tomorrow!

[bluvlet]

Finally got my hands on the series 7-9 in9 scripts. I’m yet to properly sit down and go through them, and I won’t have the time to do so until the weekend, but for the moment I just sort of want to blurt some initial thoughts regarding Drew’s made up backstory in The Trolley Problem.

I suppose the most obvious thing reading it is that it is intended to in some way mirror Blake and Ellie: the image of an upset, anxious ‘girl’ fulfilling a client role, the topic of sa, and being punished for it. As I feel I’ve talked about way too much at this point, this episode is like a cave of echoes. Everything and everybody is always reflecting something or somebody else. This is another example of Drew aligning himself with his idea of Blake (which he also does with burying Robbie). But whereas with burying Robbie Drew is re-enacting his version of of Blake‘s involvement with Ellie and her death, Drew’s story seems to play into Blake’s version of his relationship with Ellie. The one where, as he tells Drew and the police at the time, he didn’t do anything.

The story runs parallel to Blake and Ellie, but it has the polar opposite outcome. Blake assaults Ellie and then faces no repercussions. He keeps his job, his family, and he goes through no legal trouble. Drew, on the other hand, is falsely accused. He’s already been fighting it in court for a year. He’s lost his job, his family, his friends.

I find it interesting how in the foreword they specify Drew made up the story. Again I’m not yet sure why he makes it up in the first place (what purpose it serves in building his character for Blake). I’m still contemplating what Drew wants Blake to feel, other than to make him think of Ellie.

I’ll sit on it for a while and will write a more coherent post sometime. I don’t have the time for it at the moment,,, but I just needed to say something about it.

ALSO I’m genuinely obsessed with this bit from the crowbar confrontation, after Blake decides to throw Drew into the river:

Drew considers his lot for a moment. He seems resigned.

DREW: Alright. I have nothing left to live for. Talking to you tonight hasn’t brought my daughter back. I suppose it was never going to. But you can still do the right thing, Mr Chambers. Father to Father, I’m begging you.

Hello ??? I will be writing something about this at a later date. Guaranteed. Is it genuine reflection? Is he still playing? Ugh I’m literally obsessed with him. What is going on in his mind.

[osteochondraldefect]

a bunch of faux-frames for animatics ill never even make !!!!

1st-2nd (OCEAN): execution is fun! by tardigrade inferno 3rd (Young + FUTURE): 9 out of 10 by tardigrade inferno 4th (SAYER): clockwork god by tardigrade inferno 5th (non-construct PORTER): kamikaze by redhook (this song doesnt fit it at all, i just liked that particular line)

[incorrect-jojolands-quotes]

In JOJOLands, some theater songwriter named Min Lanuel Liranda creates a hit musical called Valentine, which is about the life of 23rd president of the United States Funny Valentine and his contributions towards America. It's a great hit, with a pretty big fandom online, and the musical shows many the characters that were involved in Steel Ball Run (albeit putting Funny Valentine and his allies in a better light and not really showing the real truth of what happened in Steel Ball Run).

Now I gotta know: which Steel Ball Run character is being drawn in a Hatsune Miku binder? And who in JOJOLands made something so cursed?

[agonychespin]

Date night.. IDK HOW TO TAG FOR THESE CHARACTERSS

[age-of-moonknight]

Alternate cover for Moon Knight (Vol. 9/2021), #24 by Mark Bagley.

[a-drama-addict]

i miss my ocs i hope there’s fanart of them soon

[lolipoptheclown]

Old monster Castor doodle (he's actually able to control himself in this one and not hurt anybody lmao) 🔥🔥

[skitskatdacat63]

I've been freed from the shackles of school 🥹 I'm free, guys 🥹 Alright, now to watch as many 2009 races as possible before the triple header-

[evil-quartett]

Just gonna drop this here

[thatonecrookedsmile]

So, I've recently been reading Fade To Black for the first time, and I'm making more and more progress. And at the moment I'm currently am, I have already read chapter 21 of this book.

I just wanted to put on record here that I became a different person after reading this chapter. I have been changed. I was saddened. And most importantly, I was destroyed. (ok, that's a pretty heavy word. I didn't cry, but feelings were definitely felt). This book goes hard, I believe.

Oh and also, since I got past chapter 23:

Joey Drew. I'm Gonna Kick Your Ass. Sleep with your eyes open tonight.

That's all. Have a good day everyone.

[elodieunderglass]

hi! i was just wondering if you’re getting a piece of this pie. https://www.kickstarter.com/projects/voidrealmminis/rise-of-the-eldertubbies?ref=profile_saved_projects_live

Oh my goodness! Haha thanks for showing me! And no, of course, this guy is still selling my dream while claiming it’s totally nothing to do with me. I hadn’t heard about it so thank you.

For those just joining us, here is the saga of the elder teletubbies:

1. in 2017 I posted a dream I had on Tumblr. In the dream I discovered that the childish teletubbies shown on BBC’s Teletubbies are merely the children of a species that grows up to be forest cryptids as adults. The post contained a detailed character description explaining how the children’s simple antennae become more complex antlers; their coats become thicker hair; their eldritch screens are unknowable; here, look:

The adult Teletubbies have more branching, complex antlers and shaggy coats. They are less brightly coloured. They are terrifyingly large. Their strangely human faces, emerging from the thick fur, are unquestionably adult; remote, serene, reproachful. Their television screens are glitchy, esoteric and unknowable. They are cryptids whose public exploitation has undermined their rarity and their strange, alien dignity.

That’s a pretty clear description.

2. The post quickly gained attention and many people drew art, made sculptures, designed in-depth character concepts, and even made DnD character sheets and entries with detailed notes. It was 2017. The post got over 90k notes. It had an extremely clear description of the cryptid in it. This wasn’t at all obscure.

3. The post and four pieces of the concept art, including the first piece by were screencapped and posted on r/tumblr. The post included this art by the now-deactivated @finoliatav which is, I think, the first piece of art. Most screencaps don’t show that it’s animated! Once you see it you can no longer pretend that any more work needs to be done in designing these characters, really - they’re all variations on a very clear theme.

4. A guy called Jars started drawing the BBC Teletubbies as adult Teletubbies. He noted on Reddit that his inspiration for the first one was the r/tumblr post but after that, he considered it entirely his own creative work. He drew each of the 4 BBC Teletubbies as adults using my character description and wrote a little story about how his character had stumbled upon them in the woods. He’s a good artist and his work went viral on Reddit and instagram. Those places being separate from Tumblr by the walls of the enclosure, they quickly believed the Jars was being highly original and praised him for it.

5. jars got carried away by his fame and started merchandising for all he’s worth. He’s selling elder teletubbies placemats. He got a collaborator to help him make and sell plushies.

6. Plushies of my character design applied to BBC characters. Jars sells them. To people. Who buy them. He sells these.

7. I think this is like… his job.

8. It has been years of this. I don’t think he has actually come up with anything else to sell by himself. But given that he now has millions upon millions of views on platforms I don’t use, let alone dominate (Instagram, YouTube, Reddit, TikTok) he seems to have fully subscribed to the idea that this is his THING.

9. After a while I wrote him a friendly email expressing that since my original dream was very much about discomfort with how the teletubbies were being exploited, I didn’t mind him selling his own art but that I wasn’t happy with him selling plushes based on my writing.

10. He wrote back along the lines of it all being his original intellectual property and absolutely nothing to do with me, etc, so jog on and don’t interfere.

11. I’m not entirely sure where the original intellectual property is when taking BBC characters and drawing them according to someone else’s detailed description of how to “evolve” them (branching antlers, shaggy coats, eldritch screens, serene adult human faces) especially having drawn them after seeing four separate detailed reference photos to base your own drawings on; especially when they’re the existing BBC characters from the show and not even your own. Like, Jars, you were given an entire detailed brief, several sets of references, an entire concept and a television show: the only artistic choices made here were to pick up your own personal pen and do the drawing. You have never deviated from my description, which you did not come up with yourself in any way. But okay Jars. You did some real intellectual heavy lifting here, this is Intellectual Property suddenly, and I guess this is your day job!

12. I myself actually have a day job, am capable of generating lots of other original material just for funsies, have never asked you guys for money, and I’m not generally huge jerk I don’t think. Also, I’m uncomfortable but have never been clear on how to stop him - I don’t think I can. So I don’t do much about this, apart from occasionally scream with hilarity with you guys about it.

13. Like this is the opposite of Goncharov. This is a guy making his wage on a 2017 tumblr collaborative shitpost insisting that this is the beautiful fruit of his only brain. And millions of people believe him.

14. There are now YouTube documentaries with millions of views and TikTok lore about Jars, and his lore, the Elder Teletubbies, which apparently he invented. People are making their wage talking about the history of Jars and his teletubbies lore. These documentaries are, if you can’t tell, not especially well-researched, as it is not difficult to find the original elder teletubbies art on the internet, which is all timestamped. Occasionally hilarious people from Tumblr point this out in the comments (thank you, you guys are hilarious) but the juggernaut is unstoppable!

15. Jars is now, apparently, doing a kickstarter to raise money for some kind of DnD sheets using the grown up BBC teletubbies.

16. I will point out that tumblr made and played with DnD teletubbies in 2017 for free and nobody had to pay $3000, but again. The juggernaut is unstoppable.

I have never, ever known what to do about this guy.

I have always been open to advice but genuinely never been able to articulate how it “damages” me, apart from ethical discomfort about how much I hate my writing being monetised by other people, especially when it was about my discomfort with exploitation. The juggernaut is unstoppable though. He fully intends to get thousands of dollars from this. He almost certainly will!

[dunmeshistash]

Ryoko Kui Exhibition & ''Delicious in Dungeon'' Exhibition

"Delicious in Dungeon" Artwork

Cover illustration draft, vol. 1

Since this was the first volume, I tried out a few different drawings and had the editor and designer choose which ones they wanted, then made small adjustments. I personally liked the top-down draft, and the one of the cooking processes (back cover) the best. But looking back, I sincerely think it's good that we didn't go with those. (Kui)

Cover illustration draft, vol. 2

The format was decided for volume 1. So, volume 2 came together quickly. (Kui)

Cover illustration draft, vol. 3

I thought it might be cool to make the character Chilchuck darker in the foreground, and the background brighter! But it didn't quite work out the way I had imagined. I think it could have been a bit better. (Kui)

Cover illustration draft, vol. 4

I remember that the overall shape of volume 4 came together very quickly. The character Senshi's hands didn't fit nicely, so I moved them backwards and to the side. (Kui)

Cover illustration draft, vol. 5

I thought people might start to think "how many have I bought?" so I wanted to create a slightly different impression with this volume. I decided to put the character right in the center and try putting it together all in blue and green hues. (Kui)

Cover illustration draft, vol. 6

With the Red Dragon defeated, have we reached the halfway point in the story? With this in mind, I thought of how many volumes were left to go, and the number of characters, and decided to pair up the characters Namari and Shuroiro. In hindsight, it would have been fine to have them on one cover each. (Kui)

Cover illustration draft, vol. 7

The image is of focus lines converging on the character Izutsumi. This is the kind of cover, with upside down characters, which I've always wanted to try once(?) I submitted it as a trial, thinking that at this point the cover wouldn't dramatically influence sales. However, in the end, we decided it would be better not to have it upside down. (Kui)

Cover illustration draft, vol. 8

I tried blurring the mushrooms in the foreground, then I accidentally saved over it, and couldn't go back to the original. I remember apologizing that it was probably tacky, when I submitted it. (Kui)

Cover illustration draft, vol. 9

I don't think snake meat is marbled at all, but if it has an unfamiliar look, people might not recognize it as meat… so I made it look like beef to make it easier to understand. (Kui)

Cover illustration draft, vol. 10

I thought it might be interesting to have more than one of the main characters on the cover again, so I added the character Falin. I remember it wasn't badly received, but it still ended up just being Thistle on his own. (Kui)

Cover illustration draft, vol. 11

I wanted this cover to be covered in shiny gold. After I finished it, it didn't have enough color, so I painted the tablecloth green, and it ended up looking like Christmas colors. (Kui)

Cover illustration draft, vol. 12

Up to this point, the covers have featured one of the main characters holding cooking utensils in the foreground and a monster in the background, but I thought it might be interesting to reverse the format just before the final volume, so I drew this cover with that in mind. (Kui)

Cover illustration draft, vol. 13

volume 13 was meant to be the final one, but it was too thick to be published as a single volume, so we decided to split it into two. The question of “so, what should I draw next!?" may be at the forefront of volume 13. (Kui)

Cover illustration draft, vol. 14

I had decided that the final cover definitely needed to have everyone eating together on it, but because I was publishing two books at the same time I was pressed for time, and it was difficult to have a cover with so many characters on it. I also submitted a rough for an illustration that didn't need me to draw any crowds, but such obviously easy ideas are never adopted. (Kui)

TV anime "Delicious in Dungeon"

About the ending illustration.

I drew these based on the director's instruction "This kinds of pictures." I hardly ever have the chance to draw color illustrations, so it was a valuable experience for me. (Kui)

[Kui's commentary is from the english pamphlet]