#I didn't look at references drawing these either so

[softcryz]

Average Zoc experience in lobbies

[sturgeonz]

Guys he lives in there (click for better quality PLEEASS)

[non-un-topo]

Thinking about Yusuf and Nicolò as young men again

[onesnoopyaday]

It's Charles M. Schulz's 102nd Birthday Today!

Snoopy #56

26/11/2024

Reference image under the cut :)

(source)

Also here is an interview snippet which I thought was interesting. I've never thought much about what his creative process might have been like. Also, I didn't realise that the panels he drew on were so much larger than what ended up in print. I mean, it makes sense, but I guess I always just assumed he drew up the squares exactly the way they looked in the end.

[sysig]

Employee(s) 416 (Patreon)

[rosielav]

Rosa Murasaki joins the party!!

Heavily inspired by the Leaf design, Rosa is a 20something Pokémon trainer who is starting her journey 10+ years late! She's never had a Pokémon, never bought from a Mart, never even seen a Pokémon Gym before. Please look forward to following her adventures in:

Rosa's PokéJournal, first installment coming soon!!

[sophiamcdougall]

You're a reasonably informed person on the internet. You've experienced things like no longer being able to get files off an old storage device, media you've downloaded suddenly going poof, sites and forums with troves full of people's thoughts and ideas vanishing forever. You've heard of cybercrime. You've read articles about lost media. You have at least a basic understanding that digital data is vulnerable, is what I'm saying. I'm guessing that you're also aware that history is, you know... important? And that it's an ongoing study, requiring ... data about how people live? And that it's not just about stanning celebrities that happen to be dead? Congratulations, you are significantly better-informed than the British government! So they're currently like "Oh hai can we destroy all these historical documents pls? To save money? Because we'll digitise them first so it's fine! That'll be easy, cheap and reliable -- right? These wills from the 1850s will totally be fine for another 170 years as a PNG or whatever, yeah? We didn't need to do an impact assesment about this because it's clearly win-win! We'd keep the physical wills of Famous People™ though because Famous People™ actually matter, unlike you plebs. We don't think there are any equalities implications about this, either! Also the only examples of Famous People™ we can think of are all white and rich, only one is a woman and she got famous because of the guy she married. Kisses!"

Yes, this is the same Government that's like "Oh no removing a statue of slave trader is erasing history :(" You have, however, until 23 February 2024 to politely inquire of them what the fuck they are smoking. And they will have to publish a summary of the responses they receive. And it will look kind of bad if the feedback is well-argued, informative and overwhelmingly negative and they go ahead and do it anyway. I currently edit documents including responses to consultations like (but significantly less insane) than this one. Responses do actually matter. I would particularly encourage British people/people based in the UK to do this, but as far as I can see it doesn't say you have to be either. If you are, say, a historian or an archivist, or someone who specialises in digital data do say so and draw on your expertise in your answers. This isn't a question of filling out a form. You have to manually compose an email answering the 12 questions in the consultation paper at the link above. I'll put my own answers under the fold. Note -- I never know if I'm being too rude in these sorts of things. You probably shouldn't be ruder than I have been.

Please do not copy and paste any of this: that would defeat the purpose. This isn't a petition, they need to see a range of individual responses. But it may give you a jumping-off point.

Question 1: Should the current law providing for the inspection of wills be preserved?

Yes. Our ability to understand our shared past is a fundamental aspect of our heritage. It is not possible for any authority to know in advance what future insights they are supporting or impeding by their treatment of material evidence. Safeguarding the historical record for future generations should be considered an extremely important duty.

Question 2: Are there any reforms you would suggest to the current law enabling wills to be inspected?

No.

Question 3: Are there any reasons why the High Court should store original paper will documents on a permanent basis, as opposed to just retaining a digitised copy of that material?

Yes. I am amazed that the recent cyber attack on the British Library, which has effectively paralysed it completely, not been sufficient to answer this question for you.  I also refer you to the fate of the Domesday Project. Digital storage is useful and can help more people access information; however, it is also inherently fragile. Malice, accident, or eventual inevitable obsolescence not merely might occur, but absolutely should be expected. It is ludicrously naive and reflects a truly unpardonable ignorance to assume that information preserved only in digital form is somehow inviolable and safe, or that a physical document once digitised, never need be digitised again..At absolute minimum, it should be understood as certain that at least some of any digital-only archive will eventually be permanently lost. It is not remotely implausible that all of it would be. Preserving the physical documents provides a crucial failsafe. It also allows any errors in reproduction -- also inevitable-- to be, eventually, seen and corrected. Note that maintaining, upgrading and replacing digital infrastructure is not free, easy or reliable. Over the long term, risks to the data concerned can only accumulate.

"Unlike the methods for preserving analog documents that have been honed over millennia, there is no deep precedence to look to regarding the management of digital records. As such, the processing, long-term storage, and distribution potential of archival digital data are highly unresolved issues. [..] the more digital data is migrated, translated, and re-compressed into new formats, the more room there is for information to be lost, be it at the microbit-level of preservation. Any failure to contend with the instability of digital storage mediums, hardware obsolescence, and software obsolescence thus meets a terminal end—the definitive loss of information. The common belief that digital data is safe so long as it is backed up according to the 3-2-1 rule (3 copies on 2 different formats with 1 copy saved off site) belies the fact that it is fundamentally unclear how long digital information can or will remain intact. What is certain is that its unique vulnerabilities do become more pertinent with age."  -- James Boyda, On Loss in the 21st Century: Digital Decay and the Archive, Introduction.

Question 4: Do you agree that after a certain time original paper documents (from 1858 onwards) may be destroyed (other than for famous individuals)? Are there any alternatives, involving the public or private sector, you can suggest to their being destroyed?

Absolutely not. And I would have hoped we were past the "great man" theory of history. Firstly, you do not know which figures will still be considered "famous" in the future and which currently obscure individuals may deserve and eventually receive greater attention. I note that of the three figures you mention here as notable enough to have their wills preserved, all are white, the majority are male (the one woman having achieved fame through marriage) and all were wealthy at the time of their death. Any such approach will certainly cull evidence of the lives of women, people of colour and the poor from the historical record, and send a clear message about whose lives you consider worth remembering.

Secondly, the famous and successsful are only a small part of our history. Understanding the realities that shaped our past and continue to mould our present requires evidence of the lives of so-called "ordinary people"!

Did you even speak to any historians before coming up with this idea?

Entrusting the documents to the private sector would be similarly disastrous. What happens when a private company goes bust or decides that preserving this material is no longer profitable? What reasonable person, confronted with our crumbling privatised water infrastructure, would willingly consign any part of our heritage to a similar fate?

Question 5: Do you agree that there is equivalence between paper and digital copies of wills so that the ECA 2000 can be used?

No. And it raises serious questions about the skill and knowledge base within HMCTS and the government that the very basic concepts of data loss and the digital dark age appear to be unknown to you. I also refer you to the Domesday Project.

Question 6: Are there any other matters directly related to the retention of digital or paper wills that are not covered by the proposed exercise of the powers in the ECA 2000 that you consider are necessary?

Destroying the physical documents will always be an unforgivable dereliction of legal and moral duty.

Question 7: If the Government pursues preserving permanently only a digital copy of a will document, should it seek to reform the primary legislation by introducing a Bill or do so under the ECA 2000?

Destroying the physical documents will always be an unforgivable dereliction of legal and moral duty.

Question 8: If the Government moves to digital only copies of original will documents, what do you think the retention period for the original paper wills should be? Please give reasons and state what you believe the minimum retention period should be and whether you consider the Government’s suggestion of 25 years to be reasonable.

There is no good version of this plan. The physical documents should be preserved.

Question 9: Do you agree with the principle that wills of famous people should be preserved in the original paper form for historic interest?

This question betrays deep ignorance of what "historic interest" actually is. The study of history is not simply glorified celebrity gossip. If anything, the physical wills of currently famous people could be considered more expendable as it is likely that their contents are so widely diffused as to be relatively "safe", whereas the wills of so-called "ordinary people" will, especially in aggregate, provide insights that have not yet been explored.

Question 10: Do you have any initial suggestions on the criteria which should be adopted for identifying famous/historic figures whose original paper will document should be preserved permanently?

Abandon this entire lamentable plan. As previously discussed, you do not and cannot know who will be considered "famous" in the future, and fame is a profoundly flawed criterion of historical significance.

Question 11: Do you agree that the Probate Registries should only permanently retain wills and codicils from the documents submitted in support of a probate application? Please explain, if setting out the case for retention of any other documents.

No, all the documents should be preserved indefinitely.

Question 12: Do you agree that we have correctly identified the range and extent of the equalities impacts under each of these proposals set out in this consultation? Please give reasons and supply evidence of further equalities impacts as appropriate.

No. You appear to have neglected equalities impacts entirely. As discussed, in your drive to prioritise "famous people", your plan will certainly prioritise the white, wealthy and mostly the male, as your "Charles Dickens, Charles Darwin and Princess Diana" examples amply indicate. This plan will create a two-tier system where evidence of the lives of the privileged is carefully preserved while information regarding people of colour, women, the working class and other disadvantaged groups is disproportionately abandoned to digital decay and eventual loss. Current and future historians from, or specialising in the history of minority groups will be especially impoverished by this.  

[room-surprise]

New Ryoko Kui interview dropped!!!

(This is a quick and dirty translation made using machine translation, and which I've lightly edited to add clarity. I'm not fluent in Japanese so I may have gotten things wrong. I'm sure others will do a better job later.

ADDITIONAL CONTEXT: This article is from a Japanese gaming magazine, like the previous interview in Famitsu, so they focus on video games and don't discuss other influences, even though they do get mentioned and are clearly pretty major.)

Kui was able to write "Dungeon Meshi" because she was not good at eating food and participating in human relationships. In this interview, we dig deeper into the influence of games, and how Ryoko Kui focuses on things she likes and dislikes while writing. [Writers of the Gaming Generation]

Dungeon Meshi.

This manga is attractive for its unique theme of "dungeons, defeating monsters in the labyrinth, and cooking them," as well as the unique characters, detailed human relationships, and deep worldview depicted in the labyrinth. It is currently being made into an anime, and adventurers from all over the world are fascinated by the world of "Dungeon Meshi."

So I thought , "I wonder if this work was drawn by someone who loves food and people." The depiction of such delicious-looking food and the construction of delicate human relationships and characters. Surely, it must have been drawn by someone who absolutely loves it.

However, in reality, the author, Kui Ryoko, says that she "is not good at either food or relationships."

So why was he able to continue drawing things she was not good at?

During the roughly 10 years of serialization, Kui has continued to confront "things she dislikes." This interview delves into Kui's unique creative techniques... and at the same time, it also delves into her "favorite things."

That's the "game"!

Those who are familiar with the subject may already know this, but Kui is also a big gamer. And it seems that "Dungeon Meshi" is heavily influenced by RPGs such as "Wizardry."

As a result, this interview turned out to be "I asked Kui a lot about her likes and dislikes." Likes and dislikes. They are the source of all interests and curiosity.

So how do we use this knowledge in our creative endeavors? How does this knowledge manifest itself in Dungeon Meshi?

How were those charming characters and the deep world created? We spoke to the original author, Kui Ryoko, and the editor, Masaru Hiroi, about things they could only talk about after the series was completed.

This is a game with the volume of a great labyrinth. I hope you will explore it all the way to the final floor!

Dungeon food. It's eat or be eaten. There is no superior or inferior, to eat food is simply a privilege of the living. Dungeon food. Ah, dungeon food.

First, I want to ask about how Kui first encountered video games.

--What are some influences from games in Dungeon Meshi? What was your first game, Ms. Kui?

Ryoko Kui (hereinafter referred to as Kui): I played traditional RPGs such as [blank?] and "Final Fantasy."

I think the first game console I ever played was a Famicom, which my parents won in a lottery . So before I knew it, we had a Famicom at home. I think my parents bought me the Super Famicom and PS1 after that...

After that, I took a break from games for a bit around the time of the PS2, but around the time of the PS4, I was finally able to buy games with the money I had earned myself .

--Why were you able to stay away from games around the time of the PS2?

Kui: I was too busy with exams, so I thought, "Well, I shouldn't be playing games," and left. When I started living alone after that, I couldn't play games because I didn't have a TV. My computer was also a Mac. [Macs aren't compatible with many games.]

--What was the trigger that made you think, "I want to play games" again?

Kui: I think the biggest thing was starting the serialization of "Dungeon Meshi."

Fantasy stories all have different settings, but at the same time, there are also things they share in common. For example, if you want to create a fantasy work, but you only know "Dragon Quest," it will end up resembling "Dragon Quest." It's scary to copy the setting of only one work.

So I just wanted to play a ton of different fantasy games and get an idea of ​​what the most common general understanding of fantasy is.

--Did you start playing it while you were still developing the concept for Dungeon Meal?

Kui: That's right. If I'm going to talk about "eating food," I have to play a game that has a system for eating food .

So I was interested in "Dungeon Master." However, at the time there was no easy way to play "Dungeon Master" on a real machine, so I played "Legend of Grimrock", which can also be played on a Mac.

["Dungeon Master," is a computer RPG released in 1987. Time passes each time you take an action in the dungeon, such as moving, fighting, or resting, so its biggest feature is that the game progresses in real time according to the player's actions. "Legend of Grimrock," is an action RPG released in 2012. It has a game design similar to "Dungeon Master."]

Until then, I had felt that overseas games and games played on PC were too difficult, but I felt like I had overcome one obstacle there. I thought, "Oh, this is pretty easy," and started playing a lot of different games.

-- Those two games are quite heavy even among RPGs, I think, so did you actually have that much difficulty with them?

Kui: No...I would say that my impression is more that best-selling games are easy to play (laughs).

I'm not that good at games myself, so I usually play games that allow you to adjust the difficulty on a super easy setting. So, games that allow you to lower the difficulty are always a lifesaver.

-- I've heard that apart from RPGs , you also like games such as "13 Sentinels: Aegis Rim" and "Paranomasite FILE23: The Seven Mysteries of Honjo ." Do you have a favorite genre, Mr. Kui?

Kui: I guess I'm just not very good at games that require you to use your brain through trial and error.

But in RPGs, if you just level up and keep tapping, you can win and progress in the game. Also, in novel-type games, if you read the text, you can progress. By this process of elimination, I quite like RPGs and text-based games .

Personally, I like games like Disco Elysium the most, which are text-heavy, top-down, and have maps to explore.

...Even I think that's a pretty negative reason (laughs).

Everyone: (laughs).

Hiroi Masaru (hereinafter referred to as Hiroi): But, Ms. Kui, you have really played quite a lot of games, haven't you?

Kui: No, the reason I'm able to play so much is because I play in a pretty callous way ...

I often buy a game, play it, and then just don't play it. So there aren't that many games I complete... I only complete a few a year. I play around 40 games, and if I complete 5 or 6, that's good.

When I asked if I could draw at Comitia, I got scolded.

-- Have you had any exposure to fantasy outside of digital RPGs?

Kui: I think it's not just games, but also the fact that I've always loved foreign fantasy novels . I was given books like "The Neverending Story," "The Lord of the Rings," and "The Chronicles of Narnia."

-- Dungeon Meshi gives off an atmosphere of Western fantasy like gamebooks or tabletop RPGs, rather than the typical Japanese fantasy games like Dragon Quest.

Hiroi: I think I went to Kui's house before the series started. At that time, we were discussing the name of a sci-fi manga called "Drawing Inside the Brain," which I had rejected many times.

Ms. Kui said she wanted to serialize this sci-fi manga... and when he was on the fourth draft, he said, "No, this isn't going to work," and when I looked at the scribbled notes next to her desk, she had already drawn the original version of "Dungeon Meshi" ! (laughs)

Kui: ……………No, I don't remember much (laughs).

Everyone: (laughs).

Kui: But I had wanted to draw a manga about exploring a dark dungeon, like Wizardry .

Since I was in elementary school, the manga I drew in pencil in my notebooks were all fantasy stories about swords and magic, so I had always wanted to draw a proper fantasy manga. However, there weren't as many fantasy manga in bookstores at the time as there are now, so I wondered, "Maybe fantasy doesn't sell."

Hiroi: At the time, there were a lot of people in their teens and twenties posting fantasy illustrations on online communities for artists, such as pixiv, and Kui was one of them.

I thought, there are so many people who want to write fantasy, so if she writes a fantasy aimed at this generation, it might sell.

And when I saw Kui's notes, I thought to myself, "Let's make a straight-forward fantasy manga, without making it weirdly twisted."

Kui: I originally thought of making this "dungeon exploration manga" as just a hobby... When I asked Hiroi if I could draw it at Comitia first, he got angry.

[Comitia is a comics convention in Japan for original self-published comics.]

Everyone: (laughs).

Hiroi: I said, "If you're going to draw at Comitia, then make sure you draw it as a proper serialization!" (laughs)

However, at that time, Kui had already published two collections of short stories, and they were being reprinted. In other words, she had a certain number of fans even before the serialization began.

So I decided, if Kui creates a pure fantasy for those fans, we can't fail badly. If it doesn't work, we'll just learn that fantasy is difficult to sell after all.

--By the way, were there any discussions between you and Ms. Kui about the fact that fantasy doesn't sell?

Kui: I remember vaguely talking about how fantasy manga doesn't sell well and how difficult it seems. I don't know much about light novels, so that might have been there for a while.

However, since a lot of fantasy manga were coming out around the same time, it was probably a "transitional period ." Maybe it was just when people started to feel more and more like they wanted to draw and read fantasy.

Not everyone is that interested in the things I like

-- I feel that "Dungeon Meshi" is a title that has breathed new life into the fantasy genre. How did you go about creating the setting and world when dealing with fantasy?

Kui: I try to think, "Not everyone is that interested in the things I like."

I like to think about pointless settings endlessly, but there are times when I think , "When this setting is actually made into a manga, people probably won't be interested in this story." So I try to include things that will make people interested, and cut out things that will distract people as much as possible.

For example, in "Dungeon Meshi" I initially wanted everyone to speak various languages. On top of that, I wanted to make the characters "only able to communicate with each other in one language"... but Mr. Hiroi said "Don't do that" (laughs).

Everyone: (laughs).

Kui: Even when I'm drawing it myself, I think, "It takes more than six panels to explain this setting...", and if I explain the setting more than necessary, it slows down the pace of the story.

Moreover, since "Dungeon Meshi" was a monthly serialization, unlike a weekly series, there wasn't much time for extraneous stories. Specifically, I had to draw one episode of about 30 pages per month.

In that case, there was no time to add in settings like "Actually, he was thinking about this behind the scenes" or "Actually, he can speak two languages." So, rather than there being any clear choices, there were quite a few times when "there was no time to do things normally." If it had been a weekly serialization, I might have included more.

--Does the scene where Chilchuck yells insults in his own language feel rather "forced"?

Kui: That's right (laughs).I thought, this only takes one frame...it's my chance [to include information about language]!

--So you haven't thought through all of these "fictional languages" yet?

Kui: If Dungeon Meshi were to be my life's work and I were to spend my whole life creating this world, I think it would be more fun to think about it...but initially, I thought that Dungeon Meshi would end in a few years.

Hiroi: Initially, I said, "It'd be nice if it continued for about five volumes" (laughs).

However, Kui's first draft really had a lot of material... so the editors cut out a lot of it. I understand that it's the parts the readers want to read, but I cut out the parts that deviate from the main story. So it's a battle between the "author who doesn't want to be cut" and the "editor who wants to cut."

--By the way, what kind of discussion took place between the "parts you want to cut" and the "parts you don't want to cut"?

Kui: There were a lot of them every time, but I can't remember them specifically now...it was just small, unimportant details that got cut.

In the scene where the hams made by the Red Dragon go back into the pool of blood, I remember saying, "You don't need these," and they were about to cut them off, but I remember desperately stopping them by saying, "We'll need them later!" I'm glad they weren't cut off.

But once I think of the setting, I want to include things, and then they get cut out, so at first I didn't want to expand the world too much.

I also wanted to complete the story within the dungeon. I didn't want to reveal the name of the country, and I didn't want to give the characters surnames. But in the second half, Hiroi-san told me, "The world is too small, so you should make it bigger," and I was like, "Are you sure?"

--Mr. Hiroi, why did you say that?

Hiroi: As the story progressed, it became clear that "Dungeon Meshi" was no longer just about saving a sister in a dungeon. So I decided that it would be unconvincing if the story had no involvement with the outside world, since what was happening in the dungeon was something that would affect the fate of the whole world.

For example, in real life companies, the more important a decision you make, the higher your superior's rank becomes, right? When I thought about it that way, I felt something was off about the idea of ​​Laios and his friends deciding the fate of the world on their own. "How can they make that decision without anyone knowing about it?"

The fact that the Canary Team was there meant that there must have been a system of reporting, contacting, and consulting here, because that's how "society" and "organizations" work.

In short, I think we were thinking about the situation and asking, "If an organization were to get involved in saving the world, how persuasive could they make it given the society that exists in the story?"

Kui: Well, the plot hasn't changed at all.

From the beginning, I had intended to write a story about saving the world, but I also thought it was possible for the world to be saved by only a select few people in the dungeon who knew the circumstances. Changing it was what Hiroi-san thought would make it more persuasive.

When I was drawing the first half, Hiroi told me, "You don't have to decide anything yet." I was in a hurry to move the story forward and explain the world and story setting, but he told me, "It's better to limit it to introducing the four main characters until about the fourth volume." But in the second half, he said, "Introduce more people and expand the world."

Everyone: (laughs).

Hiroi: Kui-san was like , "That's not what you said originally!" (laughs) But both had meaning...

Kui: I was the one saying, "If we expand the world there, the story will never end, right...?"

After drawing it through to the end, I realized that the balance between holding back and expanding didn't work the way I had expected. I think this is one of the reasons why the serialization of "Dungeon Meshi" took so long.

-- But there are a lot of characters in "Dungeon Meshi," and the relationships between them are complicated. I heard that you also created the relationship diagram for "Taikaishu" [※3] ...

Kui: No, I haven't made one [I didn't do that?]!

[Taikaishu is a full-color web comic by Funako Tsukasa that began serialization on a website in 2005 and is still ongoing. Its unique worldview has earned it a loyal fanbase, especially on the Internet.]

-- Eh? Is that not the case?

Kui: To be precise, I just created an account on the fan wiki.

When I started reading "Taikaishu," I struggled with the complex setting and the large number of characters...and I thought "it would be easier to read if there was an explanation or a list of characters."

So I searched for a bulletin board where readers were sharing their thoughts and asked if there was a summary, but they said there wasn't. So I thought, "Maybe if there was a place where someone with more knowledge could summarize it," and I just made a wiki account.

So I didn't actually edit it. It seems like I've been given credit for someone else's work, and I'm sorry about that...

Dungeon Meshi was created from a sense of guilt about food?

-- "Dungeon Meshi" started off with the catchy theme of "cooking monsters," but little by little the darker aspects and deeper world were revealed. Was the structure of "little by little revealing the darker side" something you had in mind from the beginning?

Kui: I thought I needed a theme to serialize it so I thought I'd try "food education." There were a lot of gourmet manga at the time, but I felt like there weren't many that focused on food education.

-- Considering that the theme is "food education," it makes sense that the nutritional value of the dishes in the story is clearly written down.

Kui: With the theme of "food education," I also thought up a rough outline of the story. Rescue the kidnapped princess, defeat the evil wizard, defeat the final boss, and become king... the framework is pretty simple.

But when I actually tried to proceed with the plan, I realized, "No, this story can't be done so lightly..." At first, I thought I could draw it in a more light-hearted manner.

Hiroi: At first, you were trying to finish the fight against the Red Dragon in one episode, right? I was like, "is that possible?" (laughs).

Everyone: (laughs).

Kui: When I tried to actually tell it in one episode, it ended up feeling like a very brief summary... In order to tell the story I wanted to tell, I had to tell it more thoroughly than I originally thought.

-- Did you have any special thoughts about the theme of "food"?

Kui: No... well... if I had to choose, I'd say I have a strong grudge against food.

Since I was a child, I was a very picky eater, and mealtimes were a pain for me. I hated eating in front of other people, and there was a time when I hated seeing other people eating, so I would look for toilets that were rarely used and eat my meals in the toilet.

When I was doing it, the word "toilet meal" didn't exist, so when the term actually appeared in society I was so happy, thinking "everyone was doing it!"

[Toilet Meals are a social phenomenon in Japan.]

Everyone: (laughs).

Kui: I was thinking, "This is so terrible, right...?" but it was a relief to realize that other people were doing the same thing.

--So what made you choose the theme of "food education"?

Kui: My parents, who were struggling with my picky eating, taught me many things, including the "triple eating" method, but it was no use and I continued to be a picky eater into adulthood. My parents had instilled knowledge about food education in me, but I was not able to put it into practice.

[Kui might be talking about Triangular Eating but I'm not sure.]

So the only thing that remains is that I feel an enormous amount of guilt when it comes to food and eating...

Hiroi: If you think about it objectively, the series starts off on a very negative note.

Kui: But now I've gotten over the habit of eating with other people... or rather, I've come to like it. My editor takes me to lots of delicious places.

--When I was a student, I was trying to leave my udon bowl at school, but my teacher found out and made me eat the packet of udon by myself. There was no soup, and it was really hard to eat the udon by itself.

Kui: It must be tough. I tried to hide it, but my teacher found out and I got really angry.

Hiroi: I've tried to hide it in a drawer before. Then, something dried up came out of the drawer... (laughs bitterly).

How can I draw things I hate?

-- Or rather, is it the fact that you're not good at it that gives you a higher level of insight into the food?

Kui: I think it's because you're interested in it that you either like it or dislike it. Inevitably, you spend a lot of time thinking about it.

Since "Dungeon Meshi" depicts a lot of food, one might think "Do I like eating?", but in fact there are many times when I draw it because I dislike something .

--Aside from food, do you also draw things that you dislike?

Kui: Maybe. For example, human relationships, modern times, fashion...?

-- Perhaps the relationships between the characters in "Dungeon Food" are portrayed so delicately because the author is not good at dealing with human relationships?

Kui: I've always been very curious about things like, "(This person is usually so cold, but has such a charming smile in front of other people)" ...

I feel the same way, but I think people are different in the way they show their true colors. I think it's strange that it stands out to me...

-- I have a simple question. When you draw something you hate, how do you feel? No matter how much you hate something, do you find it fun to draw it?

Kui: The events in the manga don't directly involve me, so I don't dislike the things I'm drawing as much. Also, when I draw while looking for the good parts, it can lead to new discoveries.

Also, I think it's scary to draw only what I like.

In my work, the important thing is "what to capture with the camera," and there's no need to go out of your way to capture filthy things, but at the same time, I think the world will look bigger if you keep in mind that "there are a lot of inconvenient, dirty, and unpleasant things outside the camera." That's the feeling I have when I paint/create manga.

When playing a game, if I have to choose between a game where I only feel like I'm in the world inside the game screen, and a game where I feel like there are lots of people living on the other side of the screen, and that the people in that world could travel anywhere they wanted, I think the latter is more fun to play.

I'm always thinking about how to express that "sense of the vastness of the world" ...and I personally like games that have "a world" to them.

-- Do you ever incorporate elements from the game into your manga?

Kui: On the contrary, I think that is a part that cannot be adopted .

The best thing about games is that each person has a different experience. Games that have lots of endings are also a result screen for what you've done up until that point. When I see something like that, I think, "That's so cool."

Personally, I think that's the game's greatest appeal, and something that could never be replicated in a manga that doesn't have players.

If you're so busy, when do you play games?

-- I'm personally curious, how do you find the time to play games? Even though you're busy with your work as a manga artist, you play quite a lot of games.

Kui: I often use the Steam Deck before going to bed or during breaks between writing manuscripts. In fact, I almost only use the Steam Deck now. I keep it by my pillow, so I can take it and play before going to sleep, or during breaks...

--Is Steam Deck really that convenient?

Kui: I recommend it. The screen is small, but it can run Cyberpunk 2077 .

Also, personally, I've gotten tired of having to turn on my PC to start up a game...with Steam Deck, I can just turn it on and it starts up instantly, even when I'm lying down. How do you writers usually play games? There are times when you have to play games for work, aren't there?

--When it comes to work, I calculate backwards how long I'll be playing before I start playing...If it's a game that can be completed in about 60 hours, I usually estimate that I'll play for 3 hours a day and complete it for 20 days in a row.

Hiroi: It's a lot of work!

Kui: That's amazing... You really are a gamer.

I've always thought that I have a talent for playing games ... but I'm not really good at that. If I'm given a game that's a little difficult, I get tired of it right away, and I'm not very good at trial and error. The range of things I can enjoy is very narrow.

I wonder if game developers around the world are also struggling with the question of "Should I make my games accessible to a wide range of people, even those who aren't particularly gamers?" or "Should I make games that are challenging and can be played deeply?" The same problem exists with manga, too.

When there's a game that I can't play well, I feel happy because it means the creator decided that there's no need to pander to people who can't keep up.

-- By the way, when you play games, do you do it as a normal "hobby"? Or do you play more often to find material for your manga?

Kui: Of course, a big part of it is that I play games as a hobby, but it is alleviated by the fact that playing games might be useful for my work (laughs).

Even if I'm not that interested in a game, if I think "it might be useful for work," I'll find the courage to buy it, and no matter how expensive a gaming PC is, I can still buy it if I think of it as a work tool. So the hurdles for many things related to games are lowered for the reason that it's "for work."

--So, when you read manga, do you feel like you're reading it for work?

Kui: In my case, manga has become my job, so when I read it I can't help but think of work.

However, I still enjoy gaming as a hobby . That's why I don't want to lose this hobby... and I don't think I'll be able to enjoy it as much if I get involved in games as a job, so I don't take on any games-related jobs.

Does the depth of the world come from the fact that it is "not decided"?

-- I heard in advance that "Dungeon Meshi" was written with a clear awareness of "what should be explained" and "what shouldn't be explained," so could you tell me more about that?

Kui: Having read a variety of fantasy novels and games, I thought that the "moment of discouragement" was the "repeated use of foreign words." When you write something like "XX of XX of XX," if there are three or more katakana characters, there is a high chance that it will be skipped over by Japanese readers.

That's why I try to refer to town names as "the neighboring town" whenever possible, and refer to characters who appear in flashbacks as "uncle" rather than by their full names, so that readers can understand without having needing exposition.

The magic used during battles in "Dungeon Meshi" is depicted in such a way that you can "understand what kind of magic it is just by looking at the picture."

-- What other aspects of Dungeon Meshi are there that you deliberately left out of its concrete settings?

Kui: Numbers and language are the settings I avoided touching. For example, just by deciding the month of birth, it is first determined that there is a moon in this world. From there, it is also determined that there is gravity.

What's more, just the concept of a "birthday" means that there is a division into a "year" and that the world is determined to have a 365-day cycle. It quickly becomes complicated.

But on the other hand, if I were to set the details and make it something like "This country's currency is 1 gold, which is worth 5 yen," it would be a burden on the reader. When reading the work, the reader would be forced to convert it into "1 gold = 5 yen" in their minds every time. That's why I try to write it with "readability as a priority" as much as possible.

However, if you're creating a "fantasy" in the truest sense of the word, it would be better to create something that corresponds to that world's calendar or metric system in order to really immerse yourself in that world, so it's difficult to get the balance right...

-- I think that style of "deliberately not giving explanations" is quite amazing.

Hiroi: I think that 's definitely partly because "Dungeon Meshi" is a silly title.

The "mindset" of the reader is a little different...I think that from the very beginning, the reader is made to recognize that "this work isn't going to say anything too difficult."

Kui: Also, we had to give a bit of thought to coming up with the character names.

For example, the main characters in Wizardry are given names that correspond to their professions, such as "Warrior" or "Wizard." The "Senshi" in Dungeon Meshi was taken from that ... I named him after thinking, "I want that person to play an active role."

That's why I wanted the overseas version of Senshi's name to be "Fighter", but I was worried that overseas readers would be like, "What does that mean...!?" so I kept it in my head.

--The character names in "Dungeon Meshi" tend to be around 3 or 4 letters long and fit nicely.

Kui: If the name gets too long, it won't fit in the speech bubble...It's generally said that a line in a speech bubble should be about 7 to 8 characters long to be easy to read.

So "Chillchuck" is really long... I actually thought that the abbreviation "Chill" could be used more, so I named it that way, but it didn't work out so well, so in the end I just kept calling it "Chillchuck". Even I was thinking "that's long" while drawing it (laughs).

Everyone: (laughs).

Kui: Anyway, there are quite a few manga-like circumstances where "maybe four characters would be enough."

--By the way, are there any rules for naming the characters in "Dungeon Meshi"?

Kui: It's not detailed, but there are "settings within the story" and "meta-settings that are just for my own enjoyment."

For example, [if Dungeon Meshi was a game] the Shuro party has names that would be given by a certain type of player. When playing a games, some people give their characters themed names that follow self-imposed rules. In that sense, meta-wise, the Shuro party is played by a player who names their characters with a plant-based restriction.

Also, since the player likes girls, the party members are all girls, and so on... (laughs).

Hiroi: Oh, I didn't know that!

Kuon: ...While it's fun for myself, I also create characters by asking questions like, "Why is the party mainly made up of women?" or "Why do they all have similar names?"

However, even if I revealed these settings in the story, it wouldn't have made the story any more interesting, so they are merely "settings that only exist in my own mind."

-- What are some specific examples of "settings that you deliberately didn't reveal"?

Hiroi: I still remember when I said, "I want you to depict the elven kingdom in more detail," Kui replied, "That's going too far."

The dwarven country was depicted quite a bit, so I personally thought it could have been shown a little more...

Kui: I felt that if I depicted that, it would limit the reader's imagination.

There are definitely "lines that suggest something might happen," and when it comes to parts that are better left to the reader's imagination, I often choose not to draw them.

Also, even when we present settings that readers think they can just skim through, they often try hard to remember them...

It all started with the manga "Eating soba through your nose."

--Let's go back to the topic a little. How did Ms. Kui and Mr. Hiroi meet?

Hiroi: I think we scouted her.

I saw a short story that Kui had posted on Pixiv and sent him an email asking if I would like to draw a manga. I remember that he had a really funny four-frame manga called "Eating soba noodles through your nose ." It was about a character eating soba noodles through his nose and crying out in pain... I think I was drawn to his drawing ability, which made me feel like "Wow, that looks painful" when I saw it (laughs).

And from that point on, we have come to this point.

[This may not be the exact comic that Hiroi is talking about, but it's a comic Kui posted on her blog about someone eating soba through their nose.]

Kui: Oh, is that so? Isn't it something like "Shugaku Tenshi" [※4] ?

Hiroi: No, that's not true! The manga about eating soba noodles through the nose was made before "Shingaku Tenshi". By the way, that manga was planned to be published in "Rakugakihon" , but when I asked Kui-san "Can I publish this?", she was very against it...

Kui: No, that's fine, but... I didn't think other people would find it that interesting.

Everyone: (laughs).

Hiroi: But that was more than 10 years ago...

--By the way, was Mr. Hiroi the first publisher to contact you?

Kui: Before that, an editor at East Press had contacted me. I was originally publishing fantasy manga that I had drawn as a hobby on my personal website. I compiled them into a self-published original comic and exhibited it at Comitia, and they asked me, "Would you like to publish this long manga as a book?"

However, after the editor asked around to various people, it seems he was told that "this will be hard to sell"... so the plan was dropped. Instead, it was decided to release a "short story collection" of short manga that had been published at the same time . This is "The Dragon's School is on the Mountain: A Collection of Works by Ryoko Kui" published by East Press.

I was contacted by a few other people as well, but the two people I still keep in contact with are Mr. Hiroi and the editor at East Press.

-- When you went from drawing short stories and web comics to starting a commercial serialization, did you study anything like "how to draw a serialized work"?

Kui: I learned almost everything about how to draw manga from Mr. Hiroi and the editors and writers at Harta .

I had absolutely no understanding of whether panel layout was good or bad, so up until the middle of the serialization, I would rearrange the storyboards one panel at a time, and I would get lectured like "Don't put a panel like this here."

I was also impressed when I was shown original manuscripts by other artists. They look beautiful in print, but the real thing is even more impressive. This is what it means to be good at drawing manga.

It didn't finish as I expected

-- Speaking of "serialization," you mentioned earlier that you initially intended to end it at about volume 5. Did "Dungeon Meshi" continue longer than you had anticipated, Ms. Kui?

Kui: First of all, I didn't really understand what a "serialized" comic meant, so I didn't even know how much of a story I could get done in how many pages. So, I thought I could wrap up the story nicely in about five years, in five volumes.

But I never quite got around to finishing it. It was so hard... (laughs).

Hiroi: To be honest, when I first heard "Volume 5,"I thought to myself, "(Are you kidding me...?)" I didn't say it out loud though (laughs).

--Honestly, even as a reader, around the time of the fight with the Red Dragon in volumes 4 and 5 I was starting to feel like, "Huh? It seems like it's coming to an end soon..."

Kui: From the beginning, my goal was to "defeat the Red Dragon at the halfway point." However, I was supposed to fight the Red Dragon in Volume 4, even though it was supposed to be 5 volumes. So I thought, "Huh? It's not over yet," and I gradually lost interest.

By the time I got to around volume 10, I felt like no matter how much I drew, it would never end. I didn't want to drag it out, but no matter how much I drew, it just never seemed to finish.

Hiroi: Even from an editor's perspective, it seemed like Kui was getting very anxious from around volume 10 onwards.

-- Having finished the long-running serialization of "Dungeon Meshi," did you experience any changes in your mindset?

Kui: I think it was great to have the experience of learning that it would take 10 years to draw a story of this scale. And when I think about my lifespan and how many more works I can draw... it makes me dizzy.

Hiroi: I feel like I'm constantly fainting...

-- Ms. Kui, are there still any works you want to draw in your mind?

Kui: Not that much. But I love drawing manga, so I want to draw a lot. I don't know if I'll have the stamina to continue for another 10 volumes, but I want to continue working as a manga artist somehow.

But maybe... I don't think it will sell that well next time...

Hiroi: Stop! Don't say that!

Everyone: (laughs).

Kui: In that respect, "Dungeon Meshi" sold well, so I was able to draw what I had imagined to the end. Next time, I think it would be better to consider the opposite scenario of "if it doesn't sell" and make it shorter.

That's the next new challenge.

-- In addition to the expectations for your next work, do you feel any pressure?

Kui: In my case, the first collection of short stories I published was fairly well received. For a manga I drew for the first time, that's about it.

That was a relief, but at the same time, I felt that "Ideally, the reputation of my next work will also steadily increase, but there will definitely be ups and downs." If the reputation of the next work is bad, will I be able to continue drawing without getting discouraged? I realized that the "battle with myself" had just begun , and I was terrified when I read the first volume.

What game has cute illustrations, in your opinion?

Kui: This is a completely different topic, but you 've played SaGa Frontier 2 , haven't you? Aren't the pixel art in SaGa Frontier 2 really cute?

--The pixel art in SaGa Frontier 2 is...the best!

Kui: The illustrations in "SaGa Frontier 2" have such exquisite balance... if you try to express that in a picture, you can't reproduce that cuteness. It's like "exquisite head-to-body ratio."

-- In your opinion, Ms. Kui, are there any games that have cute illustrations?

Kui: The first one that comes to mind is definitely SaGa Frontier 2. Also, I still remember how cute the character designs were in Final Fantasy Tactics.

But back in the day, I used to trace characters from FF7 . I thought, "There are so many cool designs in the world..." (laughs).

Hiroi: Nomura (Tetsuya)'s drawings are amazing, aren't they?

Kui: I traced Cloud and Aerith on tracing paper and quietly said to myself, "So cool..." and got really excited. I noticed something while I was working on the "Dungeon Meshi" anime...basically, games and anime are made by many people, aren't they? So I always thought, "Many people must be giving various opinions to make them."

But when I got involved, I realized that one person's power is quite large. This was quite surprising. I thought that there were multiple people who wrote the script and storyboards, and that each person had their own responsibility, but... the power of one person is quite large.

──No matter how much the work is divided up, it's important to have a director or supervisor who brings it all together.

Kui: Yes, in the end, it depends on the power of the person who takes the lead ...

However, at the same time, I think that the division of labor between scriptwriting and storyboarding is something that would never be possible with manga. In the end, you have to create everything in one person's mind, so "bias" inevitably arises. So personally, I don't like the idea of ​​it becoming a "world created in one person's mind."

Hiroi: However, not only in manga but also in novels, the individual author's personality is strongly expressed. I wouldn't go so far as to say "ideology"... but the person's way of thinking is strongly expressed.

Kui: Speaking of which, people who create games alone, such as indie games, are amazing.

It's often said that manga artists "come up with everything, from the art to the story, all by themselves," but I don't think they can compete with independent game creators who create the music, programming, and art all by themselves.

Moreover, even more than manga, no one can give their opinion until the game is completed. If you think about it that way, making a game by yourself is really a "one-man battle." At the same time, what I like about games is that there are quite a few "works that are not made with much consideration for cost" ... I enjoy it a little bit.

-- Do you ever think, "I want to make a game?"

Kui: I once bought RPG Maker , but it ended up being a complete failure... (laughs).

Everyone: (laughs).

Love for "classic RPGs" was a major influence on "Dungeon Meshi"

-- I'd like to ask you, Ms. Kui, since you play a lot of titles on Steam and other platforms, have you ever had any problems playing a game?

Kui: Simply put, a "game that doesn't work" is a problem (laughs).

This sometimes happens with games made by individuals on Steam... they don't have any reviews, so there's no way to deal with it other than contacting them directly. There have been a few times when I've been stuck and wondered, "What should I do?"

Other times, I'll buy a title that just happens to pop up at the top of Steam's rankings. Sometimes I'll play it thinking, "The graphics are kind of cute, so I'll give it a try," only to find that it's incomplete beyond the framework.

--So now people are playing titles that aren't that major.

Kui: Also, when I played Planescape: Torment, which is said to have influenced Disco Elysium.

While playing, I came across a character who was suffering from a terrible curse that made his whole body smell and become sticky. A quest was triggered to ask the NPC who had cast the curse to lift it, but when I asked them to lift the curse, I ended up being cursed with a curse that made me have constant hiccups ...

So when I was walking around the town, the "hiccup" dialogue started popping up all the time. What's more, every time it happened, I would freeze up for about 0.1 seconds. All the dialogue was filled with "hiccups." Anyway, it was a troubling curse.

I had no idea how to deal with this either, so I decided to just kill the NPC who had put the curse on me. The NPC also challenged me by saying, "Maybe if you kill me, the curse will be lifted?", so I tried killing him, but... it didn't lift the curse at all (laughs).

Everyone: (laughs).

Kui: I thought maybe the quest would progress in other places, so I walked around here and there, but the curse was not lifted after all. I was really curious, so I looked back at overseas information exchange thread online, and I found someone had written a lecture that said "You know what happens if you kill an important NPC without thinking about it, right?"

So I realized that this curse can never be lifted again. Even if I wanted to rewind, it was an auto-save, so I had to go back almost to the beginning... I was really... in trouble!

-- But "Planescape: Torment" hits a pretty impressive spot. Was it something that just happened to catch your eye while you were browsing Steam?

Kui: I originally liked games in the same genre as Baldur's Gate, so I think that's how I got into Planescape.

Also, I saw information that a huge amount of text in Planescape was translated by one person... I'm not very good at English, and games like Planescape have a lot of text to begin with, so I'm at a loss if it's not translated into Japanese .

However, when extraordinary people like those who make Planescape use their precious time from their lives to accomplish great things, I feel very grateful.

-- So, Ms. Kui, do you prefer games that are closer to the classics?

Kui: That's right. The first game I played was The Elder Scrolls V: Skyrim, and it was so much fun that I searched for "games similar to Skyrim" and played a lot of the games that came up.

All of them were completely different games from Skyrim, but they were fun. However, I don't like "old games". I think that newer games are generally more polished and well-made.

-- Wizardry, which influenced Dungeon Meshi, is also a classic work.

Kui: When I was a child, I saw my father playing Wizardry V : The Heart of the Maelstrom. As time passed, I remembered that there was a game called Wizardry. The game I played at that time was Wizardry VI: Forbidden Pencil.

I also played Wizardry V , but it was hard to see the map unless I chanted a spell. I was directionally challenged, so even though I had a guidebook at hand, I couldn't progress.

--By the way, were you more interested in making a manga out of "Wizardry" than the tabletop RPG "D&D" ?

Kui: When I was researching fantasy, "D&D" was often mentioned... but I had never even heard of "TRPG" before. First of all, you can't play it without friends, and I was shocked to find out that lots of people have friends they can play with like this...!?

Everyone: (laughs).

Kui: So when I looked up TRPGs on Wikipedia, I couldn't imagine that people actually played this kind of game. I was more confused and thought, "How can people really role-play in front of other people?"

After that, I watched replay videos on YouTube and it was only then that I understood how games like D&D worked.

Games, manga, novels. What is the purpose of all creative works?

-- What was the last game you played?

Kui: Recently I played a school management game called "Let's School." It's made by a Chinese company that also made "My Time at Sandrock."

Hiroi: You really like that kind of game, don't you? (laughs) Oh? Haven't you played "FF7 Rebirth" ?

Kui: I'm thinking about playing the remake of FF7 once it's completed.

Hiroi: No, no, if we don't do it now, we'll never finish it! It'll be a long time before we do it!

--Honestly, I also thought it would take about 10 years for FF7 Rebirth to be released.

Hiroi: I thought it would take about that long too... I really wanted it to be completed while I could still see. So, please do it!

Kui: Once it's finished...I want to play it all at once (laughs).

--Do you and Ms. Kui often talk about games?

Hiroi: Ms. Kui sometimes says, "I want to talk about this game, so I want you to play it." I played "Red Dead Redemption" because of that. Also, a long time ago, Ms. Kui recommended "13 Sentinels: Aegis Rim."

Kui: Whenever there's a game I want to discuss with someone, I always recommend it to Hiroi.

But maybe I haven't been playing games as much lately. Until now, I've been playing games because I thought of it as "for work," but now that the serialization of Dungeon Meshi has ended, I've been playing less games.

Moreover, I'm not the type of person who gets that into one game...I don't generally play through a game in repeated playthroughs, and I'm usually satisfied once I've finished the story.

Hiroi: Then we have to start [a new ] serialization soon.

Everyone: (laughs).

-- I'd like to ask you personally, do you have any "recommended indie games"?

Kui: I highly recommend "Papers, Please" and "Return of the Obra Dinn."

First of all, "Papers, Please" is a simple "spot the difference" game, so I didn't have high expectations at first. But when I played it, I felt like there was a proper "world" to it . Also, I was curious to see how the story continued.

And "Return of the Obra Dinn" had a great atmosphere. There were hints to solving the puzzles if you looked closely, but there was also a good balance of being able to force your way through, and the music and production were cool.

Hiroi: Come to think of it, you read quite a bit of the novel after the serialization ended, didn't you?

Kui: Ah, you mean "1984" by George Orwell? That was good...

I've always thought that creativity isn't necessary for life... It's entertainment, so it's not essential to life. But after reading "1984," I thought, "I guess creativity is necessary after all."

Humans need stories to experience things that should never come true, to prepare for bad things, and to prepare for understanding other people... You might think, "You should have already learned that when you were younger," but I was deeply moved by this realization.

Anyway, I feel that it would be great if people could learn things they didn't know before through this work.

Hiroi: ...Overall, it just felt like we had a fun time talking about games (laughs).

Kui: We just used the interview as an excuse to talk about the game (laughs).

-- No no, thank you very much for sharing your valuable story! (End)

I think I can understand a little bit about being interested in things you hate.

It's easy to analyze "why do you like something?" when you like it, but it's surprisingly difficult to analyze "why do you dislike something?" When you understand the reason, it seems that "why do you dislike it" is often more meaningful.

Perhaps creative works exist in part to help us understand the things we dislike.

I was able to hear a lot of deep "creation stories" that made me think about such things. Also, Ms. Kui is a huge gamer. Mr. Hiroi also likes games quite a bit. Since serious talk and game discussions alternated, the content may have been emotionally confusing. But I feel like "Dungeon Meshi" has a similar atmosphere.

If you haven't read "Dungeon Meshi," please take this opportunity to read it. It depicts a fun adventure. On top of that, it may help you prepare for difficult things that might happen in your life someday. Of course, it's also extremely interesting as a manga. I think it's definitely one of the best "entertainment" of our time.

Why does the body want to live? What does the mind want?

This is because we have a "desire" to pursue what we like and dislike. In fact, "things we dislike" are just as important as "things we like." By understanding our own "likes and dislikes" through creative works and entertainment, humans can prepare for things that happen in their future lives. Food and creative works are equally important for human growth.

...That said, I'm not sure if it has a nice punchline, or maybe not.

To eat. To experience creative works. These are truly the privileges of life. In order to live, we must continue to eat.

Now it's time to eat. What shall we eat today?

[miyukisu]

A Trace of Body Paint .ᐟ

❤︎ Request | He's learning anatomy for his art class—you'll help him, right? 3.1k wc ╰ feat. artist!shidou ryusei (bllk) x afab!reader

tags - lots of tension and build up at first, p*rn with plot, college au, artist! shidou, he and reader are both experienced, FILTHY, dirty talk, unprotected smeggs, rough smeggs, face f*cking, creampies, overstim, no y/n, not beta read

MEGA MASTERLIST

minors do not interact

"Yeah! I'll see you next week for my next assignment. Okay?"

Yeah right... next week...

You didn't peg Shidou as the type to flake on you, especially since he was the one who needed something from you. At first, you gave him the benefit of the doubt, then your mind wandered to impossible territory.

Maybe he found a different person to model for him.

Maybe you weren't good enough a model and he was getting low marks because of you...

But wouldn't that be his fault?

Maybe... he dropped out of class?

Every possibility crossed your mind, but not once did you think of actually asking him, "Hey, what's up with not calling me anymore to model for your art class? You know... THE THING WE DO WEEKLY?"

But pride does get the best of us. You are no different. Either the world ends or he grovels at your feet for ghosting you like that. Anyway, why did you care so much?

Shidou Ryusei only asked you to model for him for a few weeks for an art course he was taking. It just so happens you two were close and your schedules matched (and he thought you were really pretty). In exchange, he'd treat you after every drawing session. Ordinary stuff—that was until you slowly started to develop feelings for him.

There was something about the way he looked at you as he studied every minute detail—making sure they were all transferred to paper. He made you feel so... beautiful in ways you've never realized before. But most of all, you fell for such a creative and passionate spirit.

You were snapped out of your thoughts upon spotting a familiar hairdo across the quad. Your eyes met and you made sure not to waste this opportunity—glaring at him, making sure he knew how much he had pissed you off. Shidou looked left and right, possibly trying to find a way out of it. But maybe the intensity in your eyes worked because before you knew it—he was making his way to you.

"Hey..."

"Really? That's all you have to say after ignoring the texts I sent last week?"

"Eh... must've missed them," he lied.

"What about the time you saw me near your building? You missed me standing a meter away from you?"

"Guess so," he lied again.

His nonchalance made you want to rip your hair out. This hot-and-cold treatment was driving you up the wall. It was clear with the exasperated look on your face.

Though, his eyes never left yours—those same damn eyes that stared at you for hours. It was like there was something he wanted to say, but couldn't.

"Why did you even walk over here?"

He sighed like he didn't gave a shit. "You looked like you were about to murder me."

"Shouldn't you be running away then?" you countered. Shidou simply shrugged. "I'm not sure either."

You were about to unleash your fury, but he sighed loudly before continuing. "Fuck... fine. I've been avoiding you."

"Yes. I can clearly see that. The question is—why?"

"Look. I've been getting the highest scores in class because I have the luxury to have an actual person model for me... while everyone else relies on references on the internet or whatever," he explains. "But now... it's..."

"Isn't that a good thing then?" you asked—confused by his reasoning, but even more confused by his change in demeanor.

He shook his head. "Nah... it's just... I won't be needing you anymore."

Your jaw dropped. He said it so casually like it didn't just left a gaping hole in your chest.

"I mean," he backtracked. "We're gonna start drawing nude figures soon, so either you're willing to strip for me or—"

You cut him off. "Are you gonna draw my face with it?"

"Eh, all I need to draw now is the body since we're done with portraits and—"

You cut him off again. "Then draw me."

"Wha—" Shidou was cut off once more. "You heard me. Draw me," you say, as if challenging him.

It earns a hearty laugh from him—one you haven't heard in a while. "You're saying you're gonna stand butt naked in front of me while I stare at you for an hour or two? You know how that sounds, right?"

"It sounds like you're gonna stare at me butt naked for an hour or two."

You were so shameless, he thought. But it was one of the many things he liked about you. He chuckled, amused by the way things turned. Well... what kind of artist would he be to turn down such an enticing muse?

Shidou let out a low whistle as soon as the last article of clothing met the floor. You used to do these drawing sessions in the library—when all he had to observe from you were innocent things like your eyes, your hands, your hair, and so on.

But now that you have to bare everything to him, you figured the only place to do it was at his dorm. It was like what you imagined: cluttered but artsy enough that you could let it pass.

You stood awkwardly in the middle, feeling a bit chilly with nothing to protect you. But you posed, placing a hand on your hip while looking off to the side. That way, there wouldn't be any awkward eye contact.

Shidou sat down on a stool and quickly got to drawing. He said nothing as his eyes constantly flitted between the paper and your body.

The first few minutes in—you became hyperaware of everything. The fact that he was seeing absolutely everything. The absurdity of this entire situation. But most of all, the way your body was reacting to his gaze.

From your peripheral, you could see his gaze linger a bit too long at times. He'd bite his lower lip every so often and it made you feel conscious. Was he doing that because he could see your nipples hardening due to the temperature? Maybe he noticed the way you'd subtly rub your thighs together?

Whatever it was—it had him clearing his throat and shifting in his seat, seemingly uncomfortable.

Around 15 minutes pass, until he finally spoke. "Feeling tired yet?" he asked without looking up from his paper. You figured he was applying the final touches at this point.

"Yeah. A bit."

He hummed in response. "Get comfortable on my bed then."

"What? On your bed? Now?"

Shidou looked up from his paper. At this point both of you were desensitized by your nakedness (or so you thought). "Yes. Now. I have to draw you in at least 3 poses."

Three?

You gulped. But, once more, pride creeps up. You can't just challenge him to draw you naked so boldly—only for you to back down now. You gathered yourself and sat on his bed which was only a few steps away.

"Go on. You can get comfortable," he encouraged.

So you did. You lied down on your side, propping your head up on your hand. The scene that had unfolded reminded you of that one Titanic scene: Rose sprawled out for Jack to draw.

Knowing that, the moment felt too intimate. But you sucked it up... even though there was an unwanted wetness forming at your core.

Shidou shifted in his seat again, lowering his paper on his lap. "Alright, keep that position," he said, a bit strained.

In this position, you couldn't look off to the side. Your only option for the next few minutes was the wall behind him or Shidou himself.

At some point, your eyes met. There was something in his eyes you've never seen before. It wasn't the usual focus he had; it was something else. Something more intense.

But the 2nd pose passes soon enough and you were down to your last.

"What should I do now?"

He sighed, looking over his current sketches. "Lemme think. I'm having a hard time getting the details right."

"Maybe it's because you're sitting so far away," you commented—not thinking about what it implied.

His eyes zeroed in on you again—caught by your words. You want him to come closer with you like that and him slowly losing his composure? You were playing a dangerous game and you had no idea yet.

Shidou finally stood up from his chair, walking over to the bed. You weren't sure if it was just your imagination, but he was hard. His length strained against his fitted pants. The sight had your mouth watering.

He sat down beside you, eyes never leaving yours. The atmosphere seemed charged with the way you two found yourselves slowly leaning into each other.

"You look great," he whispered. It was something he always said in these sessions. It was a rather simple compliment. But it held more weight now.

"Thanks," you meekly responded. Neither of you realized how fast he inched towards you. His lips were a breath away. You showed no signs of backing away, so he went in.

He pressed his lips on to yours. The kiss felt hungry—needy almost—like he was fighting off this urge for so long. Before you knew it, his weight pushed you down on the softness of his bed. His scent enveloped every sense, clouding your judgement.

Shidou pulled away, breathless. "Pose like this."

He sat upright, eyes raking over your body. This time, he didn't hide the way his gaze would linger on certain parts. His hands ran down your legs, admiring the softness of your skin.

Then, without warning, he pried your legs open. But you didn't stop him. His pink irises trailed down to your core, seeing how wet you've gotten. Shidou thought he was drooling.

"Fuck... I wish I could draw this."

You feel your chest tightening. "Why not?"

"And let everyone see this?" his fingers ghosted over the skin of your inner thigh. "No chance in hell. I want to be the only one to appreciate my muse."

He let his thumb swipe through your folds softly before pressing lightly into your clit, earning a mewl from you. He kept circling the sensitive nub as if in a trance.

"I know what I want the last pose to be," he says. You moan a little louder as he rubs your clit faster. "Want your last pose to be you all fucked out... think you can do that?"

Words got caught in your throat. But it hardly mattered. It didn't seem like he'd take 'no' for an answer anyway.

Things escalated quickly because you soon found his finger plunging in and out of your quivering hole. He made sure to curve it in a way—relentlessly hitting that gummy spot on your walls.

He added another finger, wanting to hear more of your breathless moans reverberating throughout his room. To hell with it if his neighbors heard. This was music—it was art in its purest form.

"Shit... might just cum in my pants from this." He almost did after you clenched down on his fingers, cumming for the first time today.

Even as you coat his digits with your essence, he keeps pushing his fingers in and out until the fluttering died down a bit. He pulled his sticky fingers out before having a taste, savoring every last bit.

He made quick work of his belt, pulling down his pants and letting his member out. Your eyes widened. Not only was his size impressive, but his tip was incredibly swollen and leaky—like he couldn't wait anymore.

Shidou exhaled deeply, feeling the chill of his room brush over the sensitive length. He locked eyes with you again. "Care to take care of me a bit? My hand hurts from all that drawing... and... well, you know what else."

Normally, you'd bite back at his teasing. But your mind was fuzzy. All you could do was wrap your fingers around his length, slowly tugging it at first. The pleasure he felt after being so hard for so long took the strength from him. He almost fell on top of you if it weren't for his thick arms supporting him from either side of you.

"C'mon... do it fucking faster," he ordered. You obeyed—jerking him off as fast as you can without hurting him. It wasn't long before his own hand wrapped around yours as he continued to fuck into your fist. Next thing you knew—hot ropes of cum painted your stomach.

Even he was in a daze as he observed a part of him stained you in such an intimate way. He slowly leaned in, his breath fanning your face. "Hey, can I paint you like this? You look even better with my cum all over you."

You let go of his semi-hard member, slowly tracing his muscles up until you cupped his cheek. Gently, you pulled him down for a searing kiss. It was more than enough for him to know that you too wanted more.

He became rougher—biting your lip and fighting your tongue for dominance. As you pulled away for air, Shidou moved quickly to straddle your upper body. He shamelessly took his cock and slapped it against your lips a couple of times.

"Gonna have to help me get hard again, sweets. Help me out, won't you?"

Though he didn't really give you time to respond as he invaded your mouth inch by inch. One hand held the headboard while the other supported your head. He rolled his hips slowly, gauging how much you can take in at a time.

But, clearly, he underestimated you when you gripped his hips and pulled him in yourself. You felt his cock spring back to life steadily. He pulled out his hardened shaft, letting you breathe. It was only now you realized the grin that crossed his face. He was enjoying this way too much.

He went back to hovering over you, his cock bouncing at every move he made. Your body was jelly at this point—not even a bit of resistance as he flipped you over so easily. He licked a long stripe from your lower back up until your nape. The fresh saliva combined with the chilly air made you shudder.

He carelessly lifted up your hips. With your cheek pressed into his pillows and your ass up in the air, he only got harder at the sight. He leaned down to be eye-to-eye with this so-called masterpiece, your cunt.

His nimble fingers toyed around with your soaked folds, chuckling to himself. "Man, I don't think I could ever capture something so damn beautiful."

He gave it a quick lick to test. "Well, unless you let me get familiar with her long enough." Another lick. "Maybe I can capture at least half of its beauty." Another lick. "Don't you think?"

A muffled sound was the only thing he got from you. "Yeah? You're gonna let me get to know her? As an artist, I'm overjoyed right now. Maybe I should show you."

And show he did.

He lapped up at your arousal, tongue licking long stripes each time. Your legs threatened to give out every time he flattened the pink muscle against your twitching hole. It didn't take long before he started darting in and out. Helpless groans filled his small dorm room.

Big calloused hands squeezed the flesh of your ass, making sure you stayed in place for him to enjoy. He was so messy... so so messy. Shidou suckled on your clit—really trying to coax another orgasm from you.

It didn't take much more for you to cum again, but this time all over his mouth. He happily took in everything, reaping the fruits of his labor.

He gave your ass one quick kiss as if to show his thanks. But he wasted no time lining up his painfully erect cock against your entrance. "Fuuuuck, I need to be inside you already or I'm actually going to explode," he muttered.

At first, it was just the tip. But it stretched you out so good already. The needy whine that escaped you was a testament to that. It only made him grip your hips tighter, surely leaving a mark for you to see tomorrow. Carefully, he pushed in more of his length, feeling every bump of your pussy engulf him.

"Shit. This is the stuff."

But he got impatient, shoving in the rest of his length without warning. It was so tight, so warm—too inviting for him to handle. His hands left your hips, opting to find support on the mattress instead. His thick arms caged you as his chest pressed against your back.

He continued to whisper the filthiest things in your ear, kissing your neck occasionally. But for as slow and sensual his voice may seem, his hips snapped with reckless abandon. He wasn't shy about giving you your third and, maybe, fourth orgasm of the day while chasing his own.

"You finally understand why I didn't want to ask you?"

"Yeah... I knew I was gonna end up fucking you real hard."

"But this is so much better than what I imagined."

His words brought you over the edge, cumming again. But the overstimulation rendered you thoughtless. The only thing on your mind was how good he was dicking you down.

"Fuck... Ryu!" you screamed. His grin only grew wider.

"That's it. Scream my fucking name. Let them hear it."

Your wanton moans encouraged him to go faster, mercilessly pistoning into you. It wouldn't be a surprise if you came another time on his cock.

Shidou harshly grabbed your tit, hoisting both of you up into a sitting position. This way, his cock reached even deeper into you. He kneaded your neglected breast while keeping you steady by the waist.

He showed no signs of slowing—even reaching down to play with your clit. A tear was rolling down your face from how sensitive he made you. But he quickly licked the salty tear off of the curve of your cheek.

He whispered softly, "Cum with me."

Just like the obedient muse that you were, you did. You clamped down on him as he shot rope after rope of gooey seed into you. Finally, he slowed down a bit, letting him empty himself in your pulsing cunt.

As you calmed down and he softened, he gently laid you back down on the soft mattress of his bed. He watched as his cum oozed out of you, smirking to himself.

"My best piece of work yet."

©miyukisu do not repost/reupload/translate any of my works on other platforms

╰ author's note WHAT THE FUCK DID I WRITE DAWG I WAS SO ON EDGE THE WHOLE TIME HELP WHY IS IT SO FILTHY

[the-maddened-hatter]

Alright so I pretty much said all of this verbatim on a reblog of someone else's post, but I wanted to put it here on my blog too.

As I've mentioned before, I would *very* much like to see Peri canonically having a disability that causes him to use his wand/cane and not just have it be an accessory, and so I analyzed the episodes he's in that I've been able to see so far and came up with a few observations:

As much as I'd be unopposed to seeing it portrayed, leg issues don't really seem like a major deal to fairies in general given as Cosmo misplaced his for most of an episode and a pair of sticks were a good enough replacement for him to have fun at the arcade in human form (without even drawing human attention)

And Peri can apparently use his powers as listed above without his cane since he doesn't always immediately have it on his person (especially since Dev & Hazel took his cane in Lost in Fairy World and he didn't have any power or mobility problems)

But!

I *could* easily see him having some kind of magical fatigue issue or magical equivalent of hypotonia or balance disorder, since he's shown to be

very tired after a morning spent magically creating cupcakes (a probably small but very repetitive task that leaves him running low on energy)

When his stationary float is disrupted he remains seated instead of floating back up again

3. A minor contact/startle reflex is enough to disrupt his hover and cause him to immediately fall pretty hard if not very far

4. speaking of distance, he is shown to sometimes float a bit lower than his parents, which, while not consistent and likely just an animation choice, could tie in with the other points to support the diagnosis theory

However, pain may admittedly be more of a factor than the above images suggest,

he may not just be tired from shape shifting like I'd thought since right before that he was walking (albeit in horse form) and afterwards (low) cloud float is apparently easier and faster for him than just quickly trotting past his parents

He also didn't really seem to be having too much of a problem at all before he hit the ground

Where it goes to a definitely tired and possibly more pained look.

Maybe he didn't want to tell Dev that it was painful either out of pride or because he didn't want to potentially upset him and just went with "tired" because that was what he assumed. It'd be interesting to see if it happens again in a different form.

Personally I think it'd be cool to see both and have it be a chronic condition (directly magical or otherwise) that he already had before the series began (diagnosed or not).

If he's the first fairy kid born in a long time he probably would have been monitored very closely, but it may have taken a while for doctors to notice a problem since there was little reference for comparison and may have even caused some potentially serious problems that gave Comso & Wanda a bad scare, which could tie in pretty well with their developing a high amount of over protectiveness of him, and that in turn leading him to try and behave too far in the other direction (not seeking help when he really does need it, pushing himself way too hard and suffering the fallout which he then tries to hide, ect)

If he's undiagnosed but having the problems it could be interesting to see sort of an inversion of the "character must learn to accept their disability" storyline wherein he's more connecting certain events & symptoms and we get to see him adapting to accommodations and letting himself try different approaches moreso than to having new symptoms (though we as the audience may see these symptoms more or behaviors contextualized as symptoms where they weren't necessarily before).

Idk either way I just think it would be cool (and I've probably put away more analysis into this than will ever pay off lol)

also to everyone who draws him as a disabled mobility device user: ILY please draw more of it it feeds my soul

[bogleech]

Captain bogleech do you have handy references for the faces of mosquitos, fleas, houseflies, and ticks? I'm picking at an idea of a character who is themed around disease, and is strictly a source of disease and not diseased themself so like... Worlds best spreaders. The one I'm most locked on is miss aedes aegypti because of her good taste in stripes. SO in season (I dontactually know if stripes are in season)

Yes! First its good to know how a "normal" insect mouth is set up:

In most insects, like a grasshopper or a cockroach or the majority of beetles, there's a labrum covering the top of the mouth, kind of like a duck bill! The chompy mandibles are under that, then there are the maxilla to either side of each mandible, which include the "palps" it uses like little hands to hold food. The labium is the bottom part, and also has another set of palps! @revretch has gone into lots of detail on this but they put it best by explaining that the insect mouth is like a four sided box, formed by the labrum, maxilla and labium, with the mandibles usually inside the box. It's just that lots of insects do weird things with these parts, and many have big giant mandibles that always stick out.

Mosquitoes have all these parts, but they're all long and thin, and they all fold together to form the proboscis, with some of them bending back as it drills into flesh.

Fleas have similar to mosquitoes, but shorter and more compact. And many species have that AWESOME looking "mustache" of thorns right above the mouth, used for anchoring to furry hosts while they feed :)

In the non-biting flies, the mandibles are GONE, the mouth extends on a flexible hose and the labella is modified into a big flaring two-lobed pad. Digestive enzymes flow down the labrum and into grooves on the pad, so it works like a sponge soaked with acid :)

Ticks are a lot different because they're arachnids rather than insects, and arachnids have fewer mouthparts; normally just one pair of palps and one pair of chelicerae, which are the "fangs" in spiders! Below all that is an arachnid's real mouth, usually just a tiny little hole. In ticks, the palps are fused into two flat flippers, which the tick uses to pinch the skin of its host. The chelicerae are formed into a pair of jagged "scissors," if the blades of scissors were on the outside! These dig in and widen a small hole. Then the mouth is surrounded by a long extension, the hypostome, which is thickly covered in sharp tiny toothlike blades. Look how rad it is:

I say this a lot but the entire part people think of as the "head" of a tick is really just the mouth, because ticks are related to mites, and in mites, the head is fused entirely with the body. So when ticks have eyes, they're here:

It's tragic the world sees ticks as fat blobs with tiny heads, when in fact they are just big heads with legs.

For fun here are some of my Mortasheen monsters that hybridize humans with all the above, though my mosquito is very dated and due for a big overhaul someday; I didn't bother trying to merge real mosquito mouthparts with fleshy human ones and just had the whole mouth spiral together:

I also drew the flea without its "helmet" piece first, and went on to draw several alternate helmets :)

I put the most effort into the tick as you can tell. I also incorporated the fact that they smell with their front legs. :)

[yourstrulynobody]

"Since Solar & Eclipse have a child, its now Ruin's turn!!!" Say less (｡･ω･｡)

Meet Comet (or "Comi" as Ruin often refers to him) A scrapped design/body for Stitchwraith/Jake & Andy that "randomly" gained consciousness.

{LORE SUMMARY}:

Eclipse had been showing Ruin some of his worked on but scrapped designs for the kids, telling Ruin that he could just take them apart if Ruin ever needed some materials (friendly gesture I suppose?) and Ruin had agreed to that since it seemed like a good trade; Eclipse gets rid of the junk and Ruin gets materials.

Picking up a scrapped design (that Eclipse said was based of himself but looked more like Sunrise unintentionally), however, he noticed it was brought back to life, startling him and Eclipse in the process.

Ruin would've loved to just leave it to Eclipse, but seeing how tired Eclipse looked (+already having three kids), he decided to take on the responsibility on caring for this new kid—for Comet, his kid now.

{SMALL FACTS ABOUT COMET}:

–Comet doesn't like his high-pitched voice, so he doesn't like speaking often. (Ruin had offered to replace it but Comet didn't like that either)

•The little fellow can mimic any noises he wants which became his way of speaking (nobody, besides Ruin and the other kids + also kinda Eclipse?, knows what he says)

•His voicebox can play music which is also another way that he tends to communicate with the others.

–The "X" for Comet's eye is based off one of Stitchwraith's marking on his face + his missing eye.

–He has an extra set of arms!!

–The clothes he wears are too big for him, but he prefers it that way.

–Comet sees Eclipse as more of an uncle rather than his creator/father (much to Eclipse's relief), so he sees Andrew, Jake and Andy as his cousins! FC is more seen as a best friend.

Watch me slowly change a few things and bring angst into the room.

(another drawing I kinda rushed and its late so I need to sleep, so Im sorry if theres any grammar and spelling mistakes :'D !!)

[baddywronglegs]

I don't think I ever used to get "uncanny valley", like things looked either right or wrong and I didn't think there was anything between the two. Things that had that effect on others just looked off enough to me to evoke more disappointment than anything.

Is that an autism thing? It feels like one.

Anyway, that was before AI image generators came along.

You might've seen the post where @galadriel1010 showed how I came to be here, including a screenshot of me using Bing's image creator to show how badly a machine can misunderstand the concept of "centaur". I've toyed with image generation AI since it went public, and had it been done differently, it could have been an amazing tool in an artist's kit. Reference images on demand, content-aware fill so you never have to draw every individual hair or brick again.

That's not the direction they took.

Instead they tried to be art. But they didn't stop to ask what art is. They just shoved as much stolen art as they could in a black box and hoped if they boiled it long enough they could condense art from the vapours.

And now I get uncanny valley.

Because I've never seen a Midjourney or Stable Diffusion output or whatever out on the wider internet and not been struck by the jarring feeling that something is wrong.

I draw things on the line between comedy and body horror. My ideal reaction to anyone looking at my art is for someone to laugh "No!"; I can appreciate Slightly Off done well, and that's not what this is.

It's like playing Where's Wally but Wally is an extra finger, or a strand of hair which at some point becomes the furniture, or the fact that all of their teeth are incisors. The friendliest tooth, for the friendliest smile from a face which doesn't know what either friendliness or a smile is.

You can't get a pose reference from a computer that doesn't understand what your spine is for.

I'm grateful to the Willy Wonka experience for its part in the death spiral of generative AI as "art". Thank you for doing so little to mask the inadequacies and shortcomings of mechanised plagiarism.

[boxbug]

A Canary’s Final Flight

My piece for @trafficzine 4th edition! Get it for free here! 200 pages of excellent art and fics, incredible work from all participants and from the mods especially!! huge shoutout to the mods for real

Process notes under the cut! (I struggled a lot so it's a bit of a novel)

So the entire process was a Ride. I knew when I picked this prompt that I was going to have a hard time, because Jimmy’s final death had been illustrated a billion times over by extremely talented artists. But I had a Vision of the snapshot of the second before the impact, when everything is still but you know what’s about happen. It was very much inspired by the clip of Fog by Jabberwocky, bu the thing is, they have the advantage of all the build up of the fall, and that’s when the trouble started.

This was my first version, and obviously it wasn't working. And I was trying so hard, with so many iterations! Small wings, big wings, no wings, different poses, less backgrounds elements. I'd done compositions were everything seemed peaceful but something is Wrong, but it wasn't working this time.

So instead I focused on what rendering I'd like to do - I tried a painterly approach, for that visceral feeling, but it wasn't working either (but hey, I did keep the red sky, so, progress)

At this point I'd been doing back and forths for weeks and I was just as lost as at the start. Now that's my tip for people who make art of any kind, in situations like that, stop thinking about how you can make the best piece possible, and think about you can have fun with it (because when you aren't it's visible). And for that was, 1 - going back to using ink and pen nibs and doing way too detailed inking, and 2- looking at Dave McKean's covers for Sandman (which, funnily enough, was also a reference for my previous trafficzine piece)

And from there I was actually going somewhere! Between the jagged rocks, the red sky, and the increased verticality with the borders, I had hit the vibes I wanted.

I did some experimentation with the border, and even though I really liked the bad boys I drew they were taking too much away from the lonely desolation, so I actually used Red (Unecessary Redstone)'s idea of all of Jimmy's worldy's possessions scattered on the ground post impact, with the idea to make it looks like the central image is his grave being dug.

(and yes for a short amount of time the were supposed to be clock markings on the sun, but there was already enough going with the wings so I scrapped that) (also fun fact the reason why the wings aren't fully material but more ghostly is because my toddler cousin was watching me draw the very first draft and asked why he didn't just use his wings and i went :( so the wings are a metaphor now)

So from there I found a bunch of picture and took some myself, cut and assembled everything together, added shadows in all the appropriate places, and repainted some elements so that everything would look better intergrated (some of the wheats are basically 100% handpainted, the cardboard as well). This took a suprisingly long amount of time, but I was done!

Well I wasn't expecting to have that much to say, but I hope if you're still reading, it was at least interesting!

[madfantom]

Full animatic And so, part 2 of my comments, let's start.

◁Part 1 || Part 3 ▷

In the last part, and here, the order in which the children got to William is shown, and I will explain why it is not the order of the murders Here is a MEMO with missing children to make it easier to navigate, since I drew very simplistically.

I mean, when watching usually fnaf animations, I myself had the question "who the fuck are all these kids?" and, either in another animation I understood, or I did not understand at all, or the designs were so simplified that you can guess (I mean a child in all red or with a pirate armband is foxy, Freddy is all brown, etc.) So I just made outlines of their hair and costumes and that's it

It's just a little complaint here, don't pay attention, I'll just say it once, and that's because I didn't think that someone would write the same thing all the time when writing AU And one more thing. Chick's name is SOFIA. Please guys, I know that Suzy from fnaf 6 exists, okay? She's there, hell, she's even in the animation next to Cassidy. I just shifted her from being a chick to another one, not removed. And she also has an interesting role and a different design logic, I just don't have time to do everything. In fact, I even have a reason why Sofia exists and I wrote a very long text post about it, but I haven't finished drawing sketches there, so you won't see it yet. It's just that I'm starting to get a little bit hung up by the same type of comments from Pinterest, although to get rid of this, I write in big letters everywhere that it's AU

Let's go back to the animatic

I have displayed the methods of killing, which will then be reflected in the appearance of the ghosts. In fact, I took the idea from my old horror zine Fnaf art when I was thinking about how the children died there to make their appearance more creepy. Some of the ideas remained, and some were redesigned, as well as some designs

Sofia was placed in a ventilation unit. William caught her and left her there suffocating in the off ventilation , after a light strangulation, suffocating in the off ventilation. She didn't actually die, but she was the first (And I refer to this also in a custom night with the phrase "I was the first, I have seen everything!") And now imagine how the room smelled of chemicals after cleaning it from all kinds of oils and other liquids necessary for mechanisms that are very difficult to wipe off. While ventilation did not work and the girl was locked in a narrow place after she was strangled, forced to watch through the slots for the children who were after her That's why Sofia's ghost makes such a quiet clucking sound, as she coughs as if she's still in the ventilation. She won't die of suffocation, nah, in this comic she's still alive and William can cut her throat.

About the rest it is more obvious, well, not counting the pictures on the Background.

Jeremy was electrocuted, so his ghost hair is pulled up as if by an electric shock. He also has charred lips and eyelid skin and no eyebrows, and his hands have torn and charred stripes from just the same clamp. He looks like the most crippled of the three

Fritz couldn't stand the blows from blunt and sharp objects and in the end they attached a mask to his face with a nail gun or something like that and set it on fire quite a bit. Well, just a little bit. His background is directly related to the comic, which Redraw at the beginning, and now I continue. I'm still doing it, but I need a lot of time for it

Gabriella was basically cut while they wrapped one of those cables around his neck that are forever hanging on the walls in fnaf and pulled out his eye after death

[thesimpthatneverstopssimping]

Obey Me brothers + dateables with an artist MC who uses them as a reference

Warnings: None?

Genre: Fluff?

Reader: Gender neutral, artist

Requested: no

Character: Lucifer, Mammon, Leviathan, Satan, Asmodius, Beelzebub, Belphegor, Simeon, Barbatos, Diavolo

Lucifer

• The first time he noticed you staring at him he immediately stiffened and asked you what you were doing.

• After you explained what you were doing he told you "As long as you dont get in the way or mess with my work you can do what you want"

• When this becomes a common occurrence he barely notices when you are glancing/staring at him

• He is secretly happy that you would choose to use him as a reference for your art.

• If you were to ever give him a art piece then he will thank you. The way he thanks you may seem like he is kind of neutral towards your gift but he is actually really grateful for it and genuinely loves it.

• He would hang it either in his office or bedroom.

Mammon

• The first time he noticed he probably got sort of nervous and said something along the lines of "What are ya doing human?"

• When you tell him you are using him as a reference (either you drawing him or seeing proportions) he relaxes slightly and would probably say something like "Of course you would use the great Mammon as reference. Ya wont have to pay me this time but the next time this happens i will charge ya" he wont.

• As you continue to stare at him he will pretend to be relaxed and calm but he is so anxious because YOU are using HIM as a reference for your art. If you pay close enough attention it becomes pretty obvious he is freaking out

• After a few times of this happening he actually does start to relax when you start staring/drawing him

Leviathan

• Unlike Mammon who was trying to hide the fact he was freaking out, Levi full out panics. He is thinking of a million possibilities of why you would be staring at a 'yucky otaku like him' (his words not mine)

• You staring at him because you were using him as a reference was not one of the possibilities that crossed his mind

• He would question you why you would use him as a reference. When you say you thought he was a good reference and why not he would be skeptical and continue to question you.

•Once you convince him you genuinely want him as your reference he will stop questioning you but become a bit more anxious.

• I dont think he will ever fully get used to you staring at him when drawing but he will calm down enough to not fidget and to be able to play his games and watch his animes without glancing at you alevery five seconds

• He will ask you to draw his favorite characters. If you do he will treasure those drawings forever

Satan

• Much like Lucifer he will stiffen and ask why you are staring at him, but unlike Lucifer he will be fairly calm about it after you tell him what you are doing.

• He may ask you if you want him to do something.

• If you tell him no then he will go back to whatever he is doing (probably reading a book.... most likely it is a mystery novel)

• If you say yes he will do what you requested as long as it is within reason (like asking him to turn his head slightly)

• If you make any cat drawings/paintings (or whatever other art you do) he might ask for one

• If you give him one he will place it wherever there is space in his room

Asmodius

• He is not nervous or surprised in the slightest

• He will tease you for staring at him

• Once he finds out you are using him as a reference he will start posing for you even if you didn't ask him to.

• If you ask him to hold still and stop posing so much, he will pout and whine about it for a little but he will listen and hold still

• One way or another one of the paintings/drawings of him will be his and he will show it off

• He might have some critics if you "Didn't make him pretty enough" then again you would have to be the best artist in the world to make him look pretty enough

• Dont worry he still loves it

Beelzebub

(I dont know much about Beel so please excuse me if i get his personality wrong)

• He probably doesn't care if you are staring. He might get curious why after a while

• You would probably have to show him the drawing/painting because i dont see him asking unless he looks over your shoulder while you are drawing

• He is very supportive and loves your art

Belphegor

• He was a little irritated because you staring at him was making it hard for him to sleep

• He would ask why you were staring at him so intensely

• After you tell him he is like "okay" then trys to go back to sleep

• When it becomes a common occurrence he would wake up to you making an artwork and tiredly ask to see it.

• Sometimes it's a trap though and he pulls you onto the couch so you will take a nap with him

Barbatos

• He would calmly ask you why you were staring at him. He wouldn't be phased at all. He is asking as if he was asking you what the time is

• A simple explanation is enough for him

• Definitely wants to see the finished product almost every time

• Dont. Draw. Rats. I have warned you

• He will remind you to do your work instead of working on your art

• Will keep all of the art you give him.... EXCEPT FOR RATS! I TOLD YOU DONT GIVE HIM RAT STUFF! ARE YOU TRYING TO DIE?

• If you ask for help or critique he will give some really helpful advice and on point critique

Diavolo

• Any and every excuse to get out of work. He isn't concerned or anxious about you staring. He sees it as an opportunity to not do paperwork.

• Is VERY interested in your art. And not just because it gets him away from the work. He is also genuinely curious and wants to learn more

• I can see him just grabbing the piece you were working on and admiring it.

• You want him to pose? Sure! He would be more then happy to

• He is disappointed when Barbatos drags him away so he can finish his work

A/N: I hope you enjoyed and sorry for Beelzebub's being so short. For some reason i have a harder time writing about him. And sorry for no Solomon... at first i forgot he existed then i drew a blank when i tried to write him so....