#Also i really love this new origin

[maybe-drawing]

Loosely inspired by Joel's New Life episode 5 thumbnail

Horses are harder to draw than they look

-- Click for better quality! Speeddraw and Details under the cut! --

Speeddraw :

Details:

[poorly-drawn-mdzs]

Lan Wangji Goes To Lotus Pier AU: Part 3: Enveloping Feelings.

(Part 1, Part 2, Part 4)

[secretsimpleness]

Sometimes I want to bring Morrigan but then I remember I play as a face-tanking rogue and I bring Wynne. Warden Cousland, Morrigan, Wynne / Dragon Age Origins (c) Bioware

[shepscapades]

Prepping for Art Fight for the first time, so I’m finally making some solid refs for my sona!! :] Figured I would share her here!

[juniemunie]

Broskis ts!underswap is so fun. every single part of it is *chefs kiss*

I went in completely blind and honestly i think it was the best move i could have made

i love how its just swapped roles but not personalities so it leads to stuff like this its so creative

Anyways have some more self insert sansnomaly (and chara)

[cheriboms]

[spite] has entered the chat >:P

[dovewingkinnie]

remember candy contagia yea me neither this is mr whiskers and his original design!! had him for like 4 years before i changed him up !! i kind of wanna switch back to it actually purely bc mr whiskers looks way more wife here

[s0fter-sin]

one of my favourite aspects of supernatural that you very rarely see in paranormal shows is that sam and dean are already versed in the world they live in. there’s no sudden discovery of ghosts and demons and now they have to learn about them along with the audience; they are born into it and already know all about it. it allows the audience to follow their personal story instead of also trying to figure out this new world and its rules

the first season is full of knowledge we never see them learn; “w*ndigoes are in the minnesota woods or- or northern michigan. i’ve never even heard of one this far west.” […] “great. well then this [his gun] is useless.” (1x02), “you don’t break a curse. you get the hell out of its way.” (1x08), d: “it’s a god. a pagan god, anyway.” […] “the annual cycle of its killings? and the fact that the victims are always a man and a woman. like some kind of fertility right.” […] s: “the last meal. given to sacrificial victims. d: “yeah, i’m thinking a ritual sacrifice to appease some pagan god.” (1x11)

almost every episode in the first season is a monster they’ve faced before that they then explain to the audience in a way that should feel patronising; like it’s the same speech given over and over again but instead, the audience almost feels included in the knowledge. it’s stated with such an innate confidence and comfort in said knowledge that it feels like we already knew it too; “spirits and demons don't have to unlock doors. if they want inside, they just go through the walls.” […] “the claws, the speed that it moves; could be a skinwalker, maybe a black dog.” (1x02), “it's biblical numerology. you know noah's ark, it rained for forty days. the number means death.” (1x04), “no no no, not the reaper, a reaper. there's reaper lore in pretty much every culture on earth, it goes by 100 different names.” […] “you said it yourself that the clock stopped, right? reapers stop time. and you can only see 'em when they're coming at you which is why i could see it and you couldn't.” (1x12)

they already know and, at least in the first season, already have what they need to kill whatever they’re hunting; already know to salt and burn bones for spirits, fire for a w*ndigo, exorcisms for demons, a silver bullet to the heart for shapeshifters. there’s only three times in the entire first season that they run into something new to them; 1x14 when sam gets his first vision that leads him to another psychic, 1x16 when dean calls caleb for help on the sigil he put together and he tells him about daevas, and 1x20 when they find out vampires are real- and they only don’t know that bc john thought they were hunted to extinction and not worth mentioning

(there’s also technically two half instances if you count one of them knowing something the other doesn’t - sam figuring out the tulpa in 1x17 and dean already knowing about the shtriga in 1x18 - but those still rely on sam and dean having prior knowledge)

even when they’re uncertain about facing something, it’s not bc they don’t know what it is; it’s precisely bc they know what it is and acknowledge that it’ll be a difficult hunt (“i don't know, man. this isn't our normal gig. i mean, demons, they don't want anything, just death and destruction for its own sake. this is big. and i wish dad was here.” 1x04)

so much of the tension in paranormal shows typically comes from the main character(s) not knowing what is happening to them/the people around them and having to find out how to resolve it. supernatural is unique in that it operates more like a police procedural. the tension comes from solving the clues and identifying patterns to figure out who (what) the killer is and intercepting before they can take another victim

it’s such a different tone to go for when compared to other shows that came both before, during, and after its run. it sets sam and dean on even footing with each other since they both have the same knowledge going in, and it puts them in a place of authority usually reserved for an outside character

the shows i compare spn to most is charmed, buffy and teen wolf; every main character in those shows are brought into the paranormal world knowing nothing, putting them on the same level as the audience, and they have their mc interact with others already knowledgeable about that world in order to overcome their problem/monster of the week. the audience organically learns about this new world as the characters learn about it. it’s a sound writing strategy that prevents “as we already know”-style exposition but something that complicates it is if your world building isn’t unique or intriguing enough, this slow introduction can become boring

we’ve seen shows like these before; sitting through the same tropes of characters learning to use their powers, struggling with no longer feeling normal/relating to the regular world around them, and not knowing how much they can trust the people already involved in this new world gets repetitive. all three shows eventually reach the same level of comfort with their new world that spn starts with but if the characters aren’t enough to draw you in, you can end up dropping it before they reach that point (and often, before the overarching plot can really kick in and evolve the show beyond the villain of the week format)

it’s the superhero origin movie in tv format; dragged out and overplayed. dropping the audience into an established world of course comes with its own problems but you also have the benefit of pre-existing established character dynamics that let the audience slot in like they’ve always been there instead of just getting to know all the characters while the characters also get to know each other

sam and dean already knowing about the supernatural lets the audience immediately get to the core of the story; the conflict between sam and dean, the search for their father, and the mystery of what killed their mother

[0m3n-0f-d3ath]

Otttttto

I ❤️ Medieval torture

[strawbebbiesart]

june/ july / august 💌🥪🦢

[tinyangrynerd]

I can't believe they actually dragged me back into this fucking game, after setting several pieces of cheese under a cardboard box for me, with 2v8 mode of all things.. (it was fun <3)

I have also found a new favorite gross lil' freak! :3c

[seeker-n-rico]

| Flying Lessons á la Hermes (Reposted) |

Reblogs and comments are appreciated!

[sudokuplayer]

[blue-eli]

Skuld in quantum design :)

[see-arcane]

Oh bitter bitter irony

Bile below

I started out afraid that Eggers would over-Coppola his Nosferatu--he didn't! :D--only to run into a growing dual tide of fans who are either

A) actively trying to Coppola his Orlok and Ellen into lash-batting forbidden romance bodice ripper cliches ("He backhanded Knock for daring to suggest he steal Ellen! uwu He brought a plague and attacked her loved ones just to be with her! uwu She clearly wanted to be with Orlok all along, fuck Jonathan Thomas, the useless stuffy loser! uwu Orlok just doesn't want her to deny herself! uwu Every word he says should be 100% taken at face value, he would never use the Classic Abuser Playbook to victim-blame his target into compliance, just do murders and choke slam her for saying she doesn't like him, ignore the long-distance repeated psychic rape since she hit puberty, it's fine it's fine uwu")

or

B) going full pearl-clutch about the very concept of Orlok being an icky evil unpretty mustached corpse monster (with all the abuse and assaults being tacked on in the aftermath to Prove~ this is Not a Proper Ken Doll Dracula)

like

guys. we're sinking into the deep ends of two very different nuance-free pools here

Yes, there is a disturbing fucked up but Actually There connection between Ellen and Orlok. There is attraction, there is a core spiritual likeness that led Orlok to her as a girl. But that does not obliterate the fact that he is monstrous to her and to everyone she cares about. He is a rapist. He is a manipulator. He abuses her and the covenant connection--which he point blank tricked her into without any warnings to what she was agreeing to as a teenager--for years. And then, when she dares to fall in love with and wed someone else, he throws a murder-tantrum until she agrees by her own will* (*under duress) to be his. Not his equal in anything but suggestion, but his property. His owed Affliction. And it is meant to be horribly fucked up that Ellen has even a thread of positive feeling for him, regardless of what supposed matching darkness she has in her. Just like many victims in her position will feel for their own sexual and romantic abusers.

This is not Count Gary Oldmanacula and Winonmina Harkryder. This is not star-crossed tragique kissy kissy Francis fanfiction. It does not call for mental gymnastics to take the fangs and blood and violation out, to excuse the monstrosity Eggers harvested from the actual source story or--and I am putting my head through the wall about this--taking anything Count Orlok says at face value when his entire MO, from the first assault on Teen Ellen to the trick document he makes Thomas sign to sell her away to the full spread of mind game horseshit he says to Ellen's face or puts in her mouth to puppeteer a fight between the Hutters, IS TO MANIPULATE AND ABUSE EVERYONE AROUND HIM

Fuck, even Knock got ripped off via Orlok's bullshitting and he made a literal full Faustian willing contract with him

And on the flip side:

Stop stop stop stop STOP wringing your hands over the presence of gothic horror monstrosity being in the gothic horror monstrosity film.

Bela Lugosi and Gary Oldman? They looked impressive. They looked charming and elegant and polished and, obviously, iconic. The legion of pressed and bleached and chiseled Dracula Lites after them, less so. But they are pretty!

And none of them have looked like the Count who Bram Stoker made or what his inspirations would ever have recognized as a vampire or a boyar. Robert 'If I do not personally graft the actual time period of this movie into place with my own two hands I Will Die' Eggers actually did his research in putting his Orlok together and, being a Horror Film Writer and Director, actually remembered to put the horror into the famous vampire horror story.

Attraction, sensuality, romance, and assault all have their place in it too--it is Nosferatu: "Dracula, But the Focus is On a Dracula Trying to Make the World's Worst Nightmare Threesome Happen"

And, shock of shocks, in Murnau's film, as in Stoker's book, the main couple--Harkers, Hutters--have the loving couple intimately preyed on by the same monster. While Mina/Ellen ostensibly 'allow' themselves to be preyed on, in both scenes it's done out of a desire to protect Jonathan/Thomas from the Count.

Mina keeps silent and allows Dracula to feed on her and force-feed her his blood to kick off a magical enslavement-undeath, lest Dracula follow through on his threat to bash Jonathan's skull in

Ellen sends Thomas away and offers herself as bloodbag and bride to Orlok specifically to keep him from killing Thomas and finishing off all of Wisborg

Would these magically have become 'better' setups if only Count Dracula/Orlok were hunky clean-shaven bishounen sexyboi doms there to ~liberate xoxo~ the already-married already-fucking already-skirting the lines of propriety gender role-bending young woman?

Because if that's the case in your eyes, click here. Scroll on through almost 130 years' worth of film and TV and plays and books and a thousand other spinoffs where Dracula is perpetually sandblasted into your cape-swishing hickey-nibbling knockoffs of choice. All yours.

But for fuck's sake.

Let the gothic horror be gothic horror. Up to and including the monster being monstrous. Up to and including, yes, a deranged connection and magnetism between Pretty Girl and Actually Freaky-looking Undead Rat Man. Up to and including, yes, the Human Lover not being the starched and stuffy blandman there to be thrown in a ditch to let Girl and Sexy Monsterman who truly understands her~*~* get together, and instead be a genuine romantic partner who is as adamant in endangering himself to protect his beloved as she is for him.

tl;dr:

Stop trying to retroactively Coppola this movie and using 'haha but I'm a monsterfucker' to side step the fact that the villain here is a villain and is using the rule book of actual abusive relationships to gaslight his victim(s) in a very human, very gruesome way

Stop wailing that your personal diet vampire fetish is being sullied via the presence of a mustache, maggoty corpse pecs and the horror of the Count not being a GQ model

Just stop

[purplebehittindifferent]

Hello I’m thinking on making a comic based on Jujutsu kaisen what tips do you have on making a comic and planning for it?

HOOOOOO BOY HERE WE GO

*INHALLLEEEEEE*

First and most important part of creating ANYTHING is self care

You can’t create a comic when you’re burnt out, completely busy, and emotionally exhausted.

Find a list of things that help you care for yourself.

I will beat this into the ground it may seem unrelated but if you don’t take care of yourself the comic will NEVER come to fruition.

Second, only have an update schedule if you can maintain the update schedule

Do not say you’ll put out a new update every week if you have to sacrifice an arm and a leg to do it

You’ll be suprised how kind your readers are when you tell them you’ll need more time, or need a break for a little while.

Third, know your story

You have to know the plot points of your story BEFORE you start drawing. I keep a rough script to look at, you can add little things as you go, but if you have no idea where the story’s going, it gets REALLY stressful really fast

Fourth, I like to sketch the whole update

then once that’s done I can add speech bubbles, lineart and color etc, because it’d be awful if you wanted to change something but the panel before was already done and the effort to change it would be just so much more difficult.

And lastly but not least, keep a color pallete that’s easily importable, saves so much time, this can also be a reference page, but it prevents the colors changing over time because of lighting and such

Ex: